Hartmut Haenchen Vidéos
chef d'orchestre allemand
- Allemagne, Royaume des Pays-Bas
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2024-05-04
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Franz Liszt Hartmut Haenchen Netherlands Philharmonic Orchestra 1996
Provided to YouTube by NAXOS of America Eine Symphonie zu Dantes Divina Commedia, S109/R426, "Dante Symphony": II. Purgatorio - Magnificat (excerpt) · Netherlands Philharmonic Chorus Classic Masterworks - Franz Liszt ℗ 1996 Capriccio Released on: 1996-01-01 Choir: Netherlands Philharmonic Chorus Conductor: Hartmut Haenchen Orchestra: Netherlands Philharmonic Orchestra Composer: Franz Liszt Auto-generated by YouTube.
Franz Liszt Hartmut Haenchen Netherlands Philharmonic Orchestra 1998
Provided to YouTube by NAXOS of America Eine Symphonie zu Dantes Divina Commedia, S109/R426, "Dante Symphony": I. Inferno: Lento · Netherlands Philharmonic Chorus Liszt, F.: Dante Symphony / A La Chapelle Sixtine ℗ 1998 Capriccio Released on: 1998-01-01 Choir: Netherlands Philharmonic Chorus Conductor: Hartmut Haenchen Orchestra: Netherlands Philharmonic Orchestra Composer: Franz Liszt Auto-generated by YouTube.
Bach Carl Philipp Emanuel Bach Hartmut Haenchen Frederick Great Georg Monn Sammartini Johann Stamitz Graun Carl Philipp Emanuel Bach Chamber Orchestra 1741 1755
Carl Philipp Emanuel Bach Chamber Orchestra conducted by Hartmut Haenchen I - Allegro assai: 0:00 II - Andante: 3:17 III - Allegro: 7:04 C.P.E. Bach composed the Symphony in C major in 1755, while working for Frederick the Great in Berlin. The "symphonic form," in general, was finally coming into its own during this time. Composers such as Bach, his brother J.C., Georg Monn, G.B. Sammartini, and Johann Stamitz did much to develop and establish the symphonic genre. The work was originally orchestrated for string orquestra and two horns, but later Bach added two flutes to the score. This is also the only early symphony that survives in an autograph score. Fourteen years separate this work with Bach's first symphony in 1741, and notable differences are apparent. These can largely be explained by the great development of the concerto, especially the keyboard concerto, in Bach’s hands in the intervening years. The individual movements, particularly the first movements, are longer. In the structure of the first movements the ritornello principle is less evident; there is a tendency for the movement to fall into three sections, the third of them a tonally prepared section in the tonic key that increasingly resembles the recapitulation of a sonata design. A further innovation rooted in developments in the concerto and the operatic overture is a tendency to link the three movements of the cycle. Starting with the C major symphony (Wq 174) and continuing until the final Berlin work, the Symphony in F Major (Wq 181). Bach provides transitions between at least one pair of movements in each symphony, ending one movement on the dominant of the following movement and proceeding attacca into it. In this way Bach shows that he has gone beyond the formal model of Graun. The first movement, in C major, is written in three section, being less evident the principle of ritornellos. It begins with the strings presenting a vivacious and transparent theme, over the support of the basso and the woodwinds, ornamenting and adding flourishes. The comes the second section as a kind of development, with the presence of two ritornellos. The unusual modulations and strong, passionate contrasts are the marks of the personality of the composer. The third final section is a brief decrescendo to establishes the beginning of the next movement. The second movement, in F major, is written in ternary form. It opens with a graceful, arioso-like theme presented by flutes and violins, continued with plain melodic figures in thirds and sixths. In the middle section we find a more expressive and drammatic culmination of the theme. Then, the music returns to the Apollonian initial calm, ending with a gentle coda. The third and last movement, returning to the tonic key of C major, is written in a binary form separated by repeats. In the first section, the orchestra presents an energetic and playful theme. Then, as the second section, comes a short development, including an intriguing little jaunt into the parallel minor. The work ends with a fast coda that ends brightly. Picture: Engraving of Carl Philipp Emanuel Bach (c1987) Sources: (http•••) and (http•••) Musical analysis done by myself
Netherlands Philharmonic Orchestra Gustav Mahler Hartmut Haenchen 2002
Provided to YouTube by NAXOS of America IV. Adagietto: Sehr langsam · Netherlands Philharmonic Orchestra Mahler: Symphony No. 5 ℗ 2002 PentaTone Released on: 2002-01-01 Composer: Gustav Mahler Conductor: Hartmut Haenchen Orchestra: Netherlands Philharmonic Orchestra Auto-generated by YouTube.
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