Mozart Symphony # 31 in D major; (PARIS) - Harnoncourt / Vienna Philharmonic
ฝัง
- เผยแพร่เมื่อ 30 เม.ย. 2014
- HD ALL THE WAY
The Vienna Philharmonic Orchestra conducted by Nikolaus Harnoncourt
MOZART Symphony # 31 in D major (Paris) in 3 movements.
Established and profound conductor Nikolaus Harnoncourt founded his own period instrument ensemble in the 1950s, and became a pioneer of the Early Music movement, although did NOT become particularly successful until the early 1980's when (thankfully) period instrument performances became very popular.
His period-instrument ensemble Concentus Musicus Wien was formed together with his wife, Alice Hoffelner. In 2001 a critically acclaimed and Grammy Award winning recording of Bach's St Matthew Passion conducted by Harnoncourt was released on Teldec Records. - เพลง
Good morning Mozarians.
Glad to see you all here.
Have an amazing day!
One day of 1984 in a music store I discover the world of classical music, I use to be a Rock fan but after listen this symphony I fall in love with the classical music. Since this year I am a devote fan of the great composers, I can't explain why but once you understand this never figure out the rest of the comercial music, thanks for publish this extraordinary work form the genius W A Mozart.
You’re lucky. When it hits you... you’ll never be the same. It’s been dormant in your mind many years but had to come out. And you probably will explore more great music of the past of different genres. Fortunately, you may see that “most” of today’s ‘music’ is nothing more or less than the hidden desires of a fraudulent lack of “inherent “ musicality.. something you must be born with!
my epiphany occurred a rainy Saturday afternoon as a 12 year old, going through my grandfather's record collection and discovered the Eroica....thus entering a new and wonderful world....
@@GreatPerformers1 yes, composers are born...it cannot be taught. If you need learn to compose.....you are not a composer!
kecen qian The poster was talking about musicality, not necessarily being a composer.
❤️😍
I saw this LIVE.. Violin really Flow..
Brass Section floated over the scheme.
0:00 Allegro assai
8:45 Andante
14:49 Allegro
Thank you so much!!!
Intelligent and crisp 🎉execution by maestro Harnoncourt the best ever
It’s a great pleasure to watch him conduct ❤❤
Great performance, you can see the conductor really had a passion for this piece..
Felt bad about going into work today. Put this on. Feel better about going into work today.
Bonjour quelles belles musiques de Mozart ❤❤❤❤❤❤❤
Stunning. Absolutely Beautiful.
I just heard it for the first time last week An excellent compilation.
I simply love the grace and elegance of the slow mvt.
M a g n i f i c e n t !!! I only wish I could have been in that same music hall LIVE !!!
💐 Bravo 💐 How beautiful and high class, promising and optimistic 01:07 - 07:55 🎶 Relaxation at the height of unhappiness 14:27 🎶 Eternal success in the all of Mozart's final movements 18:07 🎶
Words aren’t enough to describe the beauty of this wonderful, magical music⭐️! Wolfgang Amadeus Mozart: the GREATEST, the God of classical music !!! Nikolaus Harnoncourt: a genius musician, conductor, thanks to whom these wonderful symphonies sound more alive ⚜️!
Yes, I am absolute agree! You are right very much!)
Excelent concert! Thank you!
Wanderful concert good rendition orchestra
Wonderful Performance ! Thank you very much !
I adore the 2nd movement of this symphony. I like that here, the metal instruments are a bit louder than in other performances. You also how Harnoncourt (R.I.P), rides the wave of the music especially in the god-written 2nd movement
Great music!thank you!
Un ajustement parfait de la symphonie !
3:08 Maestro Harnoncourt was like saying "Get into the right note at once!"
Superb! This 2nd mov of K279 (1778) was so cherished by Mozart that he used it as the Andante of his K614 (1791) String Quintet in the brink of his death. RIP dear Prince.
INCOMPARÁVEL ❤
Alles Gute zum Geburtstag, Herr Mozart. ❤ 27/1/2023 👍🏼
Excelente versión de esta genial y preciosa sinfonía del Gran Mozart
beautiful!!!
One of Mozart's great works written in Paris (along with violin and keyboard sonatas) before he unwillingly got called back to Salzburg by daddy Leopold, just when he was becoming well known in Paris.
It’s a great sounding work - an aural spectacular, but it’s not a great symphony.
En parís Mozart cambio de estilo y astutamente,comenzó con el golpe de arco,preferido por los franceses,haciéndo de él un auténtico tema que vertreba todo l pomposo movimiento.El ANDANTE, está lleno de encanto poético y el ALLEGRO FINAL es brillante y empieza en una frase sincopada PIANO rematada por un sorprendente y arrebatador unísimoque hicieron las delicias de los asistentes, por vez primera incluye los clarinetes en una sinfonia
I know Im asking the wrong place but does anybody know a tool to log back into an Instagram account??
I was dumb lost the account password. I would love any tricks you can give me.
@Apollo Alaric Instablaster =)
Awesome! It's really a creative and curative masterpiece.
Seems like I like this symphony better than most of Mozart's other ones. It is refreshing and satisfying to hear!! It is substantial but so pleasing and interesting as it is so pleasantly carried along!
This is a staged video. There's no audience, the video doesn't stem from a live performance.
Excellente pièce et chef d'orchestre
Greate Music. Thanks
Me gusta esta sinfonia.
Wow 🤩 7.18 is very reminiscent of the Can Can … Mozart was light years ahead 🥰
7:18
Not really; it’s just some beautifully orchestrated but very common tonic-dominant banging about, something with which this symphony abounds.
Monsieur Harnoncourt avait le don de rendre la musique de Mozart et bien d'autres plus transparentes en réajustant les tempos qui auraient été plus ressemblants à ceux de l'époque du compositeur, selon les recherches pointus qu'il faisait parce que « l'allegro » à la fin du XVIIIe a un tempo plus lent que celui des Romantiques. Je crois savoir qu'entre ces deux périodes que tous les tempos étaient quelque peu différents quant aux indications de la partition. Harnoncourt affirmait qu'il fallait en prendre compte. Pour ne prendre que cet exemple, l'allegro n'était pas aussi vif au temps de Mozart qu'il ne l'était à celui de Chopin. (Harnoncourt a écrit quelques traités sur l'esthétique musicale.)
C'est très joli
Something happened to Mozart in the late 1770s. His composing style rapidly developed into what we perceive as his "mature" style. This symphony is a prime example..
mr sneaky2010
Some thoughts:
In terms of the beautiful sounds Mozart gets out of the orchestra in this spectacular sounding symphony - his first one using clarinets - you are absolutely correct.
Mozart wrote this symphony for Paris having arrived in that city from Mannheim and clearly had the sounds of that city’s renowned orchestra in his mind; if you listen to Cannabich’s three movement symphony in D major (No 63), or perhaps Toeschi’s symphony in D of 1773, one could speculate that Mozart must have heard either of these works in Mannheim - the similarities are startling.
As regards the composition itself; it is difficult to include the work in any list of Mozart’s ‘greatest’ symphonies.
If you read Mozart’s letters, he is scathing about the French audience (‘dumb’, ‘stupid asses’ et cetera), and therefore wrote a symphony to suit - it is relatively simple and straightforward - but brilliant sounding.
Some features:
- showy special effects (premier coup d’archet);
- a succession of ideas in the first movement, but virtually no development;
- quite straightforward, simple, and easy to assimilate ideas (repeated often);
- lots of orchestral D major;
- it’s actually quite a conventional work;
- lots of triads and scalic patterns, and so forth,
- there is very little ‘difficult’ counterpoint for the French ears to put up with.
Mozart’s father noted that the French audience liked ‘noisy’ symphonies, and Wolfgang duly obliged with his masterful handling of the very large orchestra.
The original slow movement was deemed too difficult, and Mozart was asked for a simpler replacement; Mozart himself intended to replace the finale in the mid-1780’s when he later wanted to programme the work again - ie he too possibly became dissatisfied with what is in fact another very conventional movement.
Mozart wrote far greater symphonies once he reached Vienna; the Paris symphony sounds ‘mature’ - the orchestration in particular is masterful and very effective - but I’m not sure that in many respects, this symphony really is one of Mozart’s greatest.
Remember he was 23 when he wrote this. Unusually, Mozart's ascent to maturity was much like his biological clock's. :)
And now let us sit back and contemplate what he might have written in his forties.
@@emreyigit3404
An interesting question about Mozart in his forties, but it is not straightforward.
Would Mozart have continued to develop, and if so, how in the face of the new music of Beethoven (and later Haydn) ?
Would Mozart have become old-fashioned in the post-1800 musical world ?
Or would Mozart have developed music in a new way that was different to the paths taken by Beethoven ?
Would Mozart have plateaued at some point ?
Would Mozart and Beethoven have got on, or had a difficult relationship similar to that between Haydn and Beethoven ?
We know that Mozart made uncomplimentary comments about Clementi’s more modern keyboard-playing style, what would he have made of Beethoven’s Opus 1 trios, and Opus 2 sonatas ?
Similarly, Beethoven appears to have heard Mozart play once in 1787 on his brief visit to Vienna where he later criticised Mozart’s playing as ‘choppy’ (ie no modern piano-playing legato), would Mozart’s piano playing and writing have developed in the same way Haydn’s did in his later works ?
The questions are endless, matched indeed only by the number of possible answers.
Damn this is some good stuff right here. Reminds me of Dragonquest
Great!
Scelta di contrasti forti e tono leggermente cupo.
Es uno de los más grande directores clasicista del siglo veinte
15:10
Magnificent symphony!)
I am have such question: Is clarinets parties was exist In period of this symphonies creations in It?
..of course
Yes, the clarinet had been recently developed and Mozart was among the first major composers to write for it. It was not yet a standard orchestral instrument, so some of Mozart's symphonies (like this one) use clarinets and others don't, depending on what group he was writing for. Here's an interesting article about it: issuu.com/closedcylinder/docs/mozart_clarinet_symphonies
Dia dhuit,
Today, on the birthday of Wolfgang Amadeus Mozart, a rosary devottee, it is good to remember that he wrote 60 pieces of beautiful sacred and religious music including 19 Masses.
And...... to remember that Mozart was raised in a deeply religious house.
His parents lead family prayer including the rosary, they fasted, attended Mass and went frequently to confession.
His father and early music tutor, Leopold Mozart, impressed upon his son that his amazing musical talent was a gift of God.
Leopold wrote to his 22 year old son while Wolfgang was away debuting his 31st symphony in Paris:
“God must come first! From His hands we receive our temporal happiness; and at the same time we must think of our eternal salvation. Young people do not like to hear about these things, I know, for I was once young myself. But, thank God, in spite of all my youthful foolish pranks, I always pulled myself together. I avoid all dangers to my soul and ever kept God and my honor and the consequences, the very dangerous consequences, before my eyes."
Wolfgang Mozart replied to his father, describing the debut and the audience reaction. He concludes the account of the evening:
“The moment they heard the forte, they started to clap. I was so happy that as soon as the symphony was over I went off to the Palais Royal and had a large ice, said the rosary, as I'd vowed to do, and then went home."
Strange something is missing from the Andante part. Or maybe maestro Harnocourt thought it was an addition to the score and decided to remove it. He's done that before where publishers add a part but can't confirm if the composer intended it to be there. Sometimes pupils of Mozart would add extra measures or in the case of Mozart's wife after his death, she gave some of his scores to Staedler to finish his unfinished pieces or add to some. Some urtext editions remove those added measures after careful studies of the score. And some leave them.
Uno de mis Directores de orquesta predilectos. Perfecto sonido, no por nada dió clases de sonido. Bravísimo!!
GreaRT
A question from an amateur listener: Is the tempo a bit slow or is this the original one? Thank you for sharing this masterpiece.
Not quite the amateur you think! Indeed, I believe the first movement is a "tad" to slow in this particular performance by Harnoncourt. Good comment! Please subscribe, as your opinions are indeed welcome to see and comment on
The trend recently has been to go really fast on older pieces -- too fast in my opinion. Like look at Hillary Hahn playing the JS Bach concertos. I mean I think she's great, and it takes technique to play so fast, but it's too fast. I love the tempi here, I love everything here.
Musicians - chill out and slow down a little, not too much.
Too much allegro not enough assai
Slow!!! But very well done.
It's true that he marked it as Allegro assai. But Harnoncourt probably looked at Türk's anotations for tempi from 1789 which is from the time this was written. Türk assigned Allegro assai to 132bpm. Which is exactly what Harnoncourt seems to be doing here. So from that point of view this is exactly the historically right tempo for Allegro assai if Türk is to be believed.
From 12:59-13:06, either they are working from a very very strange edition, or the producer of the audio track made a HUGE editing error. In measure 67, there's a sudden modulation from D Major to A Major then back to D. It sounds as though those 5 measures were cut in from the prior, analogous section, which is in A.
You are indeed, right! I had noticed this when editing the piece, and had to play it 3 times to make sure. This was a huge editing mistake!! Good musicality and a good ear you have.
*****
I'd be in big trouble if I missed that, as I was due to conduct the piece a week later.
hmaren
Believe me...you are probably the only one of anyone who listened to this that noticed it......
If that's the worst this video can do I'm ok with that...-_-
completely right. The problem is that this kind of mistakes are not expected in a DGG recording indeed. Especially with the VPO involved.
15:50 wtf is this moment?
The pace seems just right, similar to Karl Bohm's performance. Tate and others seem to race through the Allegro. But Harnoncourt's orchestra appears to be tuned a wee bit flat compared to others. Ja oder nein?
That flatness is a hallmark of the NH style in Mozart. Although an early proponent of HIP (his Concentus Musicus Wien was one of the earliest period instrument ensembles, founded in the 50's) here he seems to have reached an uneasy compromise with the VPO with K.297 (which was definitely written for larger forces). The HIP mannerisms are evident in the bitter, flat string tone and the prickly stilted phrasing.
These mannerisms would become more and more pronounced as NH got older. In the early 80's he made several recordings and performances with the VPO, including a cycle of the Mozart VC's (which also included a reading of the Sinfonia Concertante), but his HIP inflected style never seemed a good fit for the VPO...here one can sense the scepticism in the expressions of some of the players...yet it seems clear that NH must have had enough currency with a critical mass of the orchestra to have been involved in so many projects, but one wonders what they really thought of what he was having them do with Mozart here....my guess is that many players thought it quite vulgar indeed...
@@Hotspur77 What are 'NH' and HIP'?
@@bengordon2373 NH = Nick Harnoncourt. HIP = historically informed performance.
Harnoncourt was a great musician and I always find his readings interesting, if not always successful. He is definitely a “details” guy. The problem with that approach is the line gets chopped up. All those moments of insight - and NH does often highlight aspects of the music overlooked by other conductors - do not necessarily add-up to a symphony. In this music, there must be flow and pulse. The whole always exceeds to sum of the parts. When Harnoncourt subordinated the parts to the whole, he could be brilliant. But when he didn’t - such as in this performance - he could fall flat.
@@Hotspur77 Thanks :-)
I’d like to add that this is still my favorite symphony of Mozart. Heard it in high school, 1953, by accident - it was on the other side of a Schubert’s “Unfinished” symphony record which I hurried to buy when our band started learning it. Incredibly, Mozart wrote this beautiful symphony in Paris as his Mother was dying. The heavenly melodic andante - sheer, inexplicable genius!
Karl Joseph Toeschi - Sinfonia in D-major 1773. is the "base" for Mozart's Paris Symphony(W. A. Mozart, Sinfonia n. 31 in Re maggiore KV 297). Mozart took musical ideas from many (Hermann Friedrich Raupach, Johann Gottfried Eckard, Johann Schobert, Leontzi Honauer .... without these ideas there is no Mozart - the stars of Paris (Chevalier de Saint-Georges, Gluck, Gretry, Gosek, Sakini), the stars of London (Johann Bach, Thomas Arne, Thomas Linley), Mannheim (Stamic, Anton Fils), Dresden Schuster), Stockholm (Swedish Mozart- Joseph Martin Kraus), Prague (Misliveček, Mattress), Vienna (Dittersdorf, Salieri, Leopold Kozeluch, Paul Wranicki, Vanhal, Michael Haydn, Josef Haydn, ...) Italian (Samartini, Leo, Traetta, Paisiello, Anfossi, Gacaniga, Pichini, Andrea Luchesi ...)
Thanks for mentioning all of them!
Pensar que a los 22 años Mozart escribió esto
Does anybody know wht Mozart used clarinets in this Symphony, than waited so long to use them again in another one?
I imagine that it was just a matter of availability. Not all orchestras had clarinets those days. This symphony was written for Paris but numbers 32-35 were written for Salzburg which had a much smaller orchestra. 36 and 38 were for Linz and Prague respectively. Finally, in symphonies 39-41 (evidently written for performance in Vienna) we see clarinets again. It was a practical decision based on the orchestra he had to write for.
@@thomasskoronski8625
You’re absolutely correct in your summary; similarly, when Haydn went to London, during the first visit (1791/92) they were not available, so are absent from Symphonies 93 - 98.
However, they were available during the second visit (1794/95) for Symphonies 99 - 104, but it is clear from the conservative parts Haydn wrote for them that he did not particularly trust the London players who were clearly not as good as those in Vienna.
What is the recording date of this performance?
❤️❤️❤️❤️❤️❤️
2. 8:52
3. 14:49
😎😎👍🏼
Hi, thank you for publishing this video. Do you maybe know the year when it was performed? Thank you in advance for your help!
I think Mozart was so brilliant that God got a bit jealous...and took him early.
I agree! I can only imagine the compositions he would have created if he were to have lived a long life.
That is blasphemy!
Meravigliosa questa sinfonia parigina 31 di mozart porco cane veramente fantastica !!!????!!!!@#%$&??????!!!!
モーツァルト【交響曲第31番「パリ」】
Exelente,se ve demasiado el director y muy poco la orquesta, debería ser lo contrario
Sign of the times. Not a single woman in the orchestra!
Savage eh
Interesting to hear Harnoncourt before he was swallowed up by the HIP world.
Harnoncourt more or less founded the HIP movement in the 1950s. This performance is 1984. You can bet that he has good historical reasons for his choices.
Sounds slightly flat...
Indeed it is and what you are hearing is a feature (some might call it a tic) of the Harnoncourt style in Mozart. This performance is actually rather gemutlich compared to what he would do later in his career.
Stilted. Harnoncourt gauche and graceless.
I agree - Harnoncourt sometimes gets too carried away with all of the point-making, and this video is an apt example of that phenomenon. Don't get me wrong, NH could be brilliant and bring tremendous insight into the music he was interpreting, and I have always respected his willingness to take risks, but when he flops he flops he flops hard. Here we have a lumpy mess for a "Paris" - eccentric, self-indulgent. The whole is not greater than the sum of its many, many, painstakingly highlighted points.
P.S. I know it's hard to tell such things from an edited concert video, but it doesn't seem much like the Viennese players are buying what Harnoncourt is selling.
The "grace" is in the music. NH works hard to make sure his vision is realized without making it about himself. Most of the "gracefulness" you probably witness from conductors is more ego and self-awareness than craftsmanship. In my opinion, of course.
very slow...
No.... not very slow st all! Now listen to this;
m.th-cam.com/video/jsdWbEVRlN0/w-d-xo.html
Exceedingly fast!
GreatPerformers1 you are right the other is very fast, dont like it... but i want more energy in the first move... nevertheles is a good video
Agreed!
PS. An older recording from 1969 with great timing and still good sound is BARENBOIM on EMI .... still one of my favorites
It's sad an orchestra without women, too much uniformity, Vienna Philharmonic did not admits women until 1997.
Far too easy to sit on our 21st century perch and take shots at previous generations. Of course it is better to not have any restrictions (or quotas) on genders in an orchestra. It shouldn't matter one iota. Great music is great music.
In other news, 1+1=2.
Platitudes are usually platitudinous.
Quand tous ces baroqueux de la génération d'Harnoncourt ont en eu assez de faire n'importe quoi avec Bach, Vivaldi ou Haendel, quand ils en ont terminé avec leurs sacrilèges et qu'ils veulent se détendre un peu, ils entreprennent Mozart ou Beethoven, et là, débarrassés de leurs sordides convictions ils deviennent enfin de bons serviteurs de la Musique.
Ah, the glory days of the all white male orchestra. (kidding)
SvenG You’re savage, Sir (Not kidding)
The things we notice today...kind of sad that we now have to call this “white” music. I guarantee Mozart didn’t see himself as a “white” composer - and neither should we.
The VPO of the postwar years was AWESOME. And they aren’t any better or worse for having women in the orchestra today. Artistically, it’s utterly meaningless.
0:00 Allegro assai
8:45 Andante
14:49 Allegro
INCOMPARÁVEL ❤