Konrad Junghänel | Johann Christian Bach: Sinfonia g-Moll op. 6 Nr. 6 | SWR Symphonieorchester
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- เผยแพร่เมื่อ 15 ต.ค. 2024
- Konrad Junghänel | Schwetzinger Orchesterakademie | Johann Christian Bach: Sinfonia g-Moll op. 6 Nr. 6 | Schwetzinger Schloss, Mai 2017 im Rahmen der Schwetzinger SWR Festspiele
SWR Symphonieorchester
Dirigent: Konrad Junghänel
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My sincere gratitude to the SWR Symphony Orchestra, directed by Konrad Junghaenel, for the outstanding interpretation of this jewel of Johann Christian Bach.
Both orchestra and conductor manifest the apex of musical achievement.
We should not loose our musical heritage of such compositions.
BRAVO steady and excellent performance
1st 0:00
2nd 3:25
3rd 10:10
Heard a lot of his Giaches de Wert madrigals many years ago, a top fine conductor
One of J.C. Bach's most dramatic orchestral works. You can see how this must have influenced young Mozart; one thinks of Mozart's early G Minor symphony. We need to hear more of J.C. Bach. He was a very talented composer, and a good orchestrator. Mozart admired him for a good reason!
It’s good to see orchestras playing this repertoire as normally almost all concert programming of late eighteenth century music is concentrated on Mozart and Haydn; this work is well worth performing, especially when it is done as well as it is here.
Just a couple of points:
i) I think music from this period was written by composers expecting the 1st and 2nd violins to be sat opposite each other; this performance follows this practice, and we can hear clearly the antiphonal effects the composer intended.
ii) I would however question the omission of the first movement repeats -presumably in the score - it is a mistake as it unbalances both the movement and the symphony as a whole.
Overall though, a great performance - thank you.
Your knowledge and - above all - your writing style inspire me! - No video list of you to find. Too bad. Greetings from Germany.
Dimar Pesstgt
Thank you for your kind comment.
I have been busy practicing writing about my ideas on music (mainly from the period c.1750 - 1800).
If you are interested to learn more, you will find some lengthy comments on the Antonini Haydn 2032 project - which also include some fascinating replies, many Haydn symphony, quartet, sonata, mass, opera performances etc; works by ‘lesser’ composers of the age such as CPE and JC Bach, Vanhal, Boccherini, Dittersdorf and the like.
Recently, I have added some replies to comments regarding Beethoven’s piano trio Op 1 No 3, and first symphony.
Many of the pieces I have written are replies to either interesting or downright incorrect pieces of information. I hope you find them of interest.
I visited Berlin in November 2019; I thoroughly enjoyed my time there and as ever, was hugely impressed by the standard of English of so many people around the city - a great credit to everyone.
Greetings from England; we may be leaving the EU, we are not leaving Europe!
I looks to me like the layout is the following, from the conductor's left to right: 1st violins, violas, cellos/basses, 2nd violins. In one closeup (at 6:58), for example, one can see a violinist with much larger violas playing to his right.
David Wahrheit
I think you are right and I’m wrong; thanks for pointing that out - I’ll amend my comment above to reflect that.
On a second listening - and more careful watching - the antiphonal effects are clearer than I initially thought.
Hi Elaine, thanks for your wonderful comments. I just purchased the score from Schott (the Eulenburg miniature score), and there are no repeats marked in the first movement. The second movement has both halves marked for repeat, which I believe are both omitted in this performance, as in many other earlier recordings (such as the classic Zinman). Newer recordings, that adhere more closely to period performance practice, seem to include the repeats -- and, I agree with you, they are absolutely indispensable to maintain the correct balance amongst the movements. I also completely agree with you that divisi violins are critical for music of this period. It's an abomination to lump firsts and seconds to the conductor's left, yet that was the practice for so long. Thankfully, in Europe and now finally in North America, orchestras are dividing the violin desks in Austro-German repertoire. PS: One correction to what I just wrote. Having rewatched the film, the conductor observes the first half repeat in the middle movement, but omits the second half repeat (not my favourite approach). And, as I noted, no repeats are marked by Bach in either outer movement.
Stately, magnificent just a delight.
Thank you!
gut
Bela interpretação.
Brawisema welikolepnaja muzika.
Sensacional!
Spettacolo!
Magnífico , Johann Christian Bach , toda una "delikatesse" .
I like this but where is the thumbs up icon?
Thank you. Hm, we can see the thumbs up icon, just below the video...
The thumbs up icon was missing from all my listening yesterday but has returned today. 👍
Wokal i muzika super duhowna.
Sounds very similar to Mozart Symphony 25.
He inspired mozart so it makes sense
Nicolas Newcomb actually, he inspired Mozart. Mozart met him in England when he was 8 and was inspired to write his first couple of symphonies.
ν_α_ς_ρ_ι_c_κ_Ι_ε
It might help if I list the chronology of the key g minor ‘sturm und drang’ symphonies so that you can better understand the ‘influences’.
1767 - Haydn Symphony 39
1770 - JC Bach Opus 6 No 6 published in Amsterdam
1771 - Vanhal g1 (there is a g2 whose date is uncertain but probably c.1774)
1773 - Mozart Symphony 25 (K183).
(All these symphonies are in g minor).
In short; the Haydn is the seminal work, and Mozart was aware of all three of the works listed above when he wrote K183.
Elaine Blackhurst oh cool I didn’t know
@@elaineblackhurst1509 you missed out anton fils! Early 1760s or late 1750s
In comparison to CPE Bach, JC Bach did not possess the same level of inspiration. Not too much "sturm und drang" here, as one can hear in the developement sections of the first and last mvts. (from 1:36-2:14 and 11:19- 11:51) nothing really happens here; both passages are musically very predictable.
Couldn't disagree more! While I concede that J.C.'s forte was not "Sturm und Drang", and this symphony is not my favourite; Mozart didn't admire J.C. for nothing. As to C.P. E., personally I find him prone to empty theatrics, well nigh unlistenable after a while, to this listener at least, after plodding through his catalogue. I do, however, like the wildly eccentric concerto for harpsichord and fortepiano.
@@duncanmckeown1292me too
Whereas CPE is initially very striking, the effect wears off quickly and his extravagant gestures become tiresome. JC is more subtle, and utlimately more satisfying (at least for me). Of the other JSB composer sons, WF, is more genuinely eccentric and original than CPE, and JCF, more in the JC manner, is well worth the listen.
@@dorette-hi4jThere’s subtle and then there’s soporific. With all due respect to Johann Christian, this piece is a sedative.
で、通奏低音は？
通奏低音ちゃんと入ってますね。お詫びします。
00:00~03:23 第1楽章 ト短調
00:00→提示部第1主題 ト短調
00:36→提示部第2主題 変ロ長調
01:32→展開部
02:21→再現部第2主題 ト短調
02:58→コーダ
再現部に第1主題戻ってこない・・・。でもそれがいいんだな。