Haydn - The Complete Paris Symphonies / L’Ours, La Poule, La Reine.. (reference rec. : K.Sanderling)anz Joseph Haydn (1732-1809) - 

 

Γιόζεφ Χάυντν - Βικιπαίδεια

The ‘’Paris’’ Symphonies 82-87 Symphony No.82 in C ‘’L’Ours’’ I.Vivace assai (00:00) II.Allegretto (08:03) III.Menuetto (16:57) IV.Finale - Vivace (21:59) Symphony No.83 in G minor ‘’La Poule’’ I.Allegro spiritoso (27:42) II.Andante (35:39) III.Menuet (43:08) IV.Finale - Vivace (47:38) Symphony No.84 in E-Flat I.Largo - Allegro (52:05) II.Andante (1:01:24) III.Menuet - Allegretto (1:09:10) IV.Finale - Vivace (1:12:45) Symphony No.85 in B-Flat ‘’La Reine’’ I.Adagio - Vivace (1:18:47) II.Romance - Allegretto (1:27:06) III.Menuet - Allegretto (1:34:40) IV.Finale - Presto (1:39:48) Symphony No.86 in D I.Adagio - Allegro spiritoso (1:43:12) II.Capriccio - Largo (1:52:08) III.Menuet - Allegro (1:58:10) IV.Finale - Allegro con spirito (2:04:06) Symphony No.87 in A I.Vivace (2:10:39) II.Adagio (2:18:19) III.Menuet (2:25:04) IV.Finale - Vivace (2:30:01)

 

 Berliner Sinfonie-Orchester Kurt Sanderling Stereo recording in 1971 New mastering in 2018 by AB

 

In 1784 the Paris-based concert enterprise, the ‘Concert de la Loge Olympique, commissioned six large-scale symphonies from Franz Joseph Haydn. First performed in the French capital three years later, they soon became know as his Paris Symphonies. The Paris commission called for symphonies for large concert halls, thereby confronting Haydn with an entirely new problem : whereas his earlier symphonies had all been scored for his own chamber orchestra of between twenty-two and twenty-four musicians and intended to entertain the court, he how had to adapt his style to a whole new type of concert. Public concerts were far more common in Paris and London than they were in, say, Vienna. Haydn now had to write for an orchestra of forty violins, ten double basses and double wind, an array of forces that allowed him to achieve a more subtly differentiated handling of timbre, greater autonomy in his use of the individual instrumental groupings and more pointed dynamic contrats. The Paris Symphonies are generally and rightly regarded as one of the high points in Haydn’s output as a symphonic composer, a view that contemporary audiences clearly shared : all six works were greeted with loup applause when premièred in Paris. Christiane Engelbrecht