Full Album available // Mozart: Symphonies Nos. 29, 39, 40 & 41 "Jupiter" by Ferenc Fricsay 🎧 Qobuz (Hi-Res) cutt.ly/oelMAx7o Tidal (Hi-Res) cutt.ly/oelMAHCR 🎧 Apple Music (Lossless) cutt.ly/melMANyl Deezer (Hi-Fi) cutt.ly/celMA6B7 🎧 Amazon Music (Hi-Res) cutt.ly/FelMSp7P Spotify (mp3) cutt.ly/FelMSbBu 🎧 Idagio (Hi-Fi) cutt.ly/pelMSILN TH-cam Music (mp4) cutt.ly/PelMSHzj 🔊 Download the album (Hi-Res Master) cutt.ly/pelMS6hR Wolfgang Amadeus Mozart (1756-1791) Symphony No. 40 in G Minor, K. 550 00:00 I. Molto Allegro (2024 Remastered, Studio 1960) 09:28 II. Andante (2024 Remastered, Studio 1960) 18:47 III. Menuetto: Allegretto (2024 Remastered, Studio 1960) 23:19 IV. Allegro assai (2024 Remastered, Studio 1960) Wiener Symphoniker Conductor: Ferenc Fricsay Recorded in 1960 New mastering in 2024 by AB for CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon www.patreon.com/cmrr/about As of 1788, the last years of Mozart's life remain a mystery. His father Leopold having just died, we no longer have the priceless source of information provided by the letters they wrote to each other nearly every day. We merely have the distress calls which Wolfgang sent to his main moneylender, the Freemason, Puchberg. Mozart, in physically weak condition, sank into silence and solitude. The mystery of his existence is enlightened only by the emergence of masterpieces, the origins of which are increasingly unclear. Paradoxically, though the man was wounded, his creative instinct remained as strong as ever. Between June 26 an August 10, 1788 - in 45 days! - he composed his last three symphonies, No. 39 in E flat major, No. 40 in G minor and No. 41 "Jupiter". They crown his works for orchestra and express, with incomparable brilliance, the power of his musical genius. As no trace of their performance has reached us, we are unable to say whether Mozart heard them during his lifetime, other than in his mind. Symphony No. 40 in G Major, K. 550 // Completed on July 25, 1788, it stands as one of Mozart's most tragic works and forms an absolute contrast with the cheerful symphony in E-flat major, which was finished barely a month earlier. "This symphony," wrote Hermann Abert, "expresses in a poignant way the deep-seated and fatalistic pessimism that was rooted in Mozart's nature... while works such as The Magic Flute and the Requiem show only extreme sadness and reveal that... this symphony was just one stage of his spiritual evolution." The work was initially written for strings, flute, two horns, two oboes, and two bassoons, but Mozart revised the score and added two clarinets. Both versions are performed nowadays. The symphony has been described as "tragic," "pathetic," or "romantic." Eric Blom explains why he prefers the latter qualification: "... The personal feeling that distinguishes romanticism from the objective and severe perfection of classicism has never been felt more strongly in any musical work than in this symphony... It can be said that in the Symphony in G minor, romanticism and classicism meet..." I. Allegro molto. Kretschmar analyzes this movement as follows: "The impression of deep suffering that is already glimpsed in the sixth of the first theme is expressed, with even more clarity, in the following section, and in the final motif, the inner tension bursts forth with irresistible force. The second theme is not in opposition to the first but, on the contrary, confirms and reinforces this emotional and dark character with accents full of anguish and burning desires. In the development, attempts to lighten the dark and oppressive atmosphere are felt, but these attempts are in vain. After resounding dissonances and violent outbursts, the struggle concludes with a soft passage played by the woodwinds." II. Andante. A sense of unease hangs in the air. The main theme begins calmly and moderately, but the subsequent passage immediately brings an intensification of the feelings expressed. The jagged rhythm of the main theme is accompanied, in the development, by dark chords that increase in strength. The recapitulation is remarkable for its counterpoint. III. Menuet. Although resembling, in its outer form, a dance, it exceeds the limits of the minuet by its material of intense emotion; it has been rightly described as the prototype of the scherzo. The only glimmer illuminating the entire work is provided by the trio in G major, which forms an idyllic intermezzo. IV. Allegro assai. All elements of the symphony are in a frenzy in the finale. The main motif is of a dark, impetuous character, and the second theme tries in vain to cast a ray of light. The development is almost entirely played forte, with the fervor further intensified by the sudden and unexpected passage of the main theme in different keys. There is no calmer intermezzo in the recapitulation. Other Album available // Dvořák: Symphony No. 9 in E minor, Op. 95 "From the New World" by Ferenc Fricsay 🎧 Qobuz cutt.ly/uezalFcu Tidal cutt.ly/Zezal0yD 🎧 Deezer cutt.ly/8ezazih5 Amazon Music cutt.ly/5ezazHwO 🎧 Spotify cutt.ly/Zezaz1V1 TH-cam Music cutt.ly/Jezaxu1U
As of 1788, the last years of Mozart's life remain a mystery. His father Leopold having just died, we no longer have the priceless source of information provided by the letters they wrote to each other nearly every day. We merely have the distress calls which Wolfgang sent to his main moneylender, the Freemason, Puchberg. Mozart, in physically weak condition, sank into silence and solitude. The mystery of his existence is enlightened only by the emergence of masterpieces, the origins of which are increasingly unclear. Paradoxically, though the man was wounded, his creative instinct remained as strong as ever. Between June 26 an August 10, 1788 - in 45 days! - he composed his last three symphonies, No. 39 in E flat major, No. 40 in G minor and No. 41 "Jupiter". They crown his works for orchestra and express, with incomparable brilliance, the power of his musical genius. As no trace of their performance has reached us, we are unable to say whether Mozart heard them during his lifetime, other than in his mind. Symphony No. 40 in G Major, K. 550 // Completed on July 25, 1788, it stands as one of Mozart's most tragic works and forms an absolute contrast with the cheerful symphony in E-flat major, which was finished barely a month earlier. "This symphony," wrote Hermann Abert, "expresses in a poignant way the deep-seated and fatalistic pessimism that was rooted in Mozart's nature... while works such as The Magic Flute and the Requiem show only extreme sadness and reveal that... this symphony was just one stage of his spiritual evolution." The work was initially written for strings, flute, two horns, two oboes, and two bassoons, but Mozart revised the score and added two clarinets. Both versions are performed nowadays. The symphony has been described as "tragic," "pathetic," or "romantic." Eric Blom explains why he prefers the latter qualification: "... The personal feeling that distinguishes romanticism from the objective and severe perfection of classicism has never been felt more strongly in any musical work than in this symphony... It can be said that in the Symphony in G minor, romanticism and classicism meet..." I. Allegro molto. Kretschmar analyzes this movement as follows: "The impression of deep suffering that is already glimpsed in the sixth of the first theme is expressed, with even more clarity, in the following section, and in the final motif, the inner tension bursts forth with irresistible force. The second theme is not in opposition to the first but, on the contrary, confirms and reinforces this emotional and dark character with accents full of anguish and burning desires. In the development, attempts to lighten the dark and oppressive atmosphere are felt, but these attempts are in vain. After resounding dissonances and violent outbursts, the struggle concludes with a soft passage played by the woodwinds." II. Andante. A sense of unease hangs in the air. The main theme begins calmly and moderately, but the subsequent passage immediately brings an intensification of the feelings expressed. The jagged rhythm of the main theme is accompanied, in the development, by dark chords that increase in strength. The recapitulation is remarkable for its counterpoint. III. Menuet. Although resembling, in its outer form, a dance, it exceeds the limits of the minuet by its material of intense emotion; it has been rightly described as the prototype of the scherzo. The only glimmer illuminating the entire work is provided by the trio in G major, which forms an idyllic intermezzo. IV. Allegro assai. All elements of the symphony are in a frenzy in the finale. The main motif is of a dark, impetuous character, and the second theme tries in vain to cast a ray of light. The development is almost entirely played forte, with the fervor further intensified by the sudden and unexpected passage of the main theme in different keys. There is no calmer intermezzo in the recapitulation. Other Album available // Dvořák: Symphony No. 9 in E minor, Op. 95 "From the New World" by Ferenc Fricsay 🎧 Qobuz cutt.ly/uezalFcu Tidal cutt.ly/Zezal0yD 🎧 Deezer cutt.ly/8ezazih5 Amazon Music cutt.ly/5ezazHwO 🎧 Spotify cutt.ly/Zezaz1V1 TH-cam Music cutt.ly/Jezaxu1U
At first I thought I didn't care for the tempo, even thought it was rather clunky, then I began to really feel all dark emotions this piece evokes. Its quite a revelation! I always enjoyed the minor key but did not feel the anger, sadness, frustration, fear that this piece expresses interspersed with little rays of sunshine and hope that are not quite able to dispel the darkness. The emotions are far more complex than I had realized. Thank-you for posting this. Its a treasure! 💐 Bravo!
Well, Ive never heard anything like this. Immediately, the slower tempo but mainly its the very clear, articulation and vibrato of the strings that jump out. This version is like no other.
The slower tempo actually helps the clarity by allowing many more of the individual notes to be heard, which is such a joy especially in connection with the works of a genius composer such as Mozart, as opposed to the hurried and muddled, deliveries by virtually all modern-day conductors, including (supposedly) "great" maestros such as HvK and L. Bernstein. The placement of microphones (and whether they are uni- or omni-directional) as well as the acoustics of the performance hall itself also play a major role in the articulation, as you aptly put it, and the clarity of the final product. The first and second movements in this particular recording are a tad too slow for my personal taste, but the third and fourth are pure ecstasy!
Fritz Wunderlich a chanté une seul fois sous Fricsay en 1960 ( Lucia di Lammermoor). Ils auraient dû se retrouver en 1963 lors d'une représentation de la Zauberflöte, mais Fricsay était déjà décédé. Merci beaucoup et salutations de Montréal, Qc, Canada
La tuve que escuchar dos veces para entender el tempo más lento. Queda muy hermoso. Y en la célebre meolodía del comienzo también hay algunas notas más staccatte y nítidas que en las versiones más conocidas. Un hallazgo para mí. El masterizado muy bueno.
Una interpretación muy limpia, me gusta mucho que sea un poco más lenta , le da un carácter más maduro . Excelente dirección y grabación. Muchas gracias
Wunderschöne und dynamische Interpretation dieser perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher, brillanten Tönen aller Blechbläser und vor allem milden Tönen aller Holzbläser. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der letzte Satz echt lebhaft und auch überzeugend. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im lebhaften Tempo und mit möglichst effektiver Dynamik. Danke fürs wertvolle Onlinestellen!
Sadly he died when stereo was in its infancy, Wit modern re-mastering, even good mono recordings can sound great. His early death was a great tragedy - comparable to that of Guido Cantelli.
Full Album available // Mozart: Symphonies Nos. 29, 39, 40 & 41 "Jupiter" by Ferenc Fricsay
🎧 Qobuz (Hi-Res) cutt.ly/oelMAx7o Tidal (Hi-Res) cutt.ly/oelMAHCR
🎧 Apple Music (Lossless) cutt.ly/melMANyl Deezer (Hi-Fi) cutt.ly/celMA6B7
🎧 Amazon Music (Hi-Res) cutt.ly/FelMSp7P Spotify (mp3) cutt.ly/FelMSbBu
🎧 Idagio (Hi-Fi) cutt.ly/pelMSILN TH-cam Music (mp4) cutt.ly/PelMSHzj
🔊 Download the album (Hi-Res Master) cutt.ly/pelMS6hR
Wolfgang Amadeus Mozart (1756-1791) Symphony No. 40 in G Minor, K. 550
00:00 I. Molto Allegro (2024 Remastered, Studio 1960)
09:28 II. Andante (2024 Remastered, Studio 1960)
18:47 III. Menuetto: Allegretto (2024 Remastered, Studio 1960)
23:19 IV. Allegro assai (2024 Remastered, Studio 1960)
Wiener Symphoniker
Conductor: Ferenc Fricsay
Recorded in 1960
New mastering in 2024 by AB for CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ Support us on Patreon www.patreon.com/cmrr/about
As of 1788, the last years of Mozart's life remain a mystery. His father Leopold having just died, we no longer have the priceless source of information provided by the letters they wrote to each other nearly every day. We merely have the distress calls which Wolfgang sent to his main moneylender, the Freemason, Puchberg. Mozart, in physically weak condition, sank into silence and solitude. The mystery of his existence is enlightened only by the emergence of masterpieces, the origins of which are increasingly unclear.
Paradoxically, though the man was wounded, his creative instinct remained as strong as ever. Between June 26 an August 10, 1788 - in 45 days! - he composed his last three symphonies, No. 39 in E flat major, No. 40 in G minor and No. 41 "Jupiter". They crown his works for orchestra and express, with incomparable brilliance, the power of his musical genius. As no trace of their performance has reached us, we are unable to say whether Mozart heard them during his lifetime, other than in his mind.
Symphony No. 40 in G Major, K. 550 // Completed on July 25, 1788, it stands as one of Mozart's most tragic works and forms an absolute contrast with the cheerful symphony in E-flat major, which was finished barely a month earlier. "This symphony," wrote Hermann Abert, "expresses in a poignant way the deep-seated and fatalistic pessimism that was rooted in Mozart's nature... while works such as The Magic Flute and the Requiem show only extreme sadness and reveal that... this symphony was just one stage of his spiritual evolution."
The work was initially written for strings, flute, two horns, two oboes, and two bassoons, but Mozart revised the score and added two clarinets. Both versions are performed nowadays. The symphony has been described as "tragic," "pathetic," or "romantic." Eric Blom explains why he prefers the latter qualification: "... The personal feeling that distinguishes romanticism from the objective and severe perfection of classicism has never been felt more strongly in any musical work than in this symphony... It can be said that in the Symphony in G minor, romanticism and classicism meet..."
I. Allegro molto. Kretschmar analyzes this movement as follows: "The impression of deep suffering that is already glimpsed in the sixth of the first theme is expressed, with even more clarity, in the following section, and in the final motif, the inner tension bursts forth with irresistible force. The second theme is not in opposition to the first but, on the contrary, confirms and reinforces this emotional and dark character with accents full of anguish and burning desires. In the development, attempts to lighten the dark and oppressive atmosphere are felt, but these attempts are in vain. After resounding dissonances and violent outbursts, the struggle concludes with a soft passage played by the woodwinds."
II. Andante. A sense of unease hangs in the air. The main theme begins calmly and moderately, but the subsequent passage immediately brings an intensification of the feelings expressed. The jagged rhythm of the main theme is accompanied, in the development, by dark chords that increase in strength. The recapitulation is remarkable for its counterpoint.
III. Menuet. Although resembling, in its outer form, a dance, it exceeds the limits of the minuet by its material of intense emotion; it has been rightly described as the prototype of the scherzo. The only glimmer illuminating the entire work is provided by the trio in G major, which forms an idyllic intermezzo.
IV. Allegro assai. All elements of the symphony are in a frenzy in the finale. The main motif is of a dark, impetuous character, and the second theme tries in vain to cast a ray of light. The development is almost entirely played forte, with the fervor further intensified by the sudden and unexpected passage of the main theme in different keys. There is no calmer intermezzo in the recapitulation.
Other Album available // Dvořák: Symphony No. 9 in E minor, Op. 95 "From the New World" by Ferenc Fricsay
🎧 Qobuz cutt.ly/uezalFcu Tidal cutt.ly/Zezal0yD
🎧 Deezer cutt.ly/8ezazih5 Amazon Music cutt.ly/5ezazHwO
🎧 Spotify cutt.ly/Zezaz1V1 TH-cam Music cutt.ly/Jezaxu1U
As of 1788, the last years of Mozart's life remain a mystery. His father Leopold having just died, we no longer have the priceless source of information provided by the letters they wrote to each other nearly every day. We merely have the distress calls which Wolfgang sent to his main moneylender, the Freemason, Puchberg. Mozart, in physically weak condition, sank into silence and solitude. The mystery of his existence is enlightened only by the emergence of masterpieces, the origins of which are increasingly unclear. Paradoxically, though the man was wounded, his creative instinct remained as strong as ever. Between June 26 an August 10, 1788 - in 45 days! - he composed his last three symphonies, No. 39 in E flat major, No. 40 in G minor and No. 41 "Jupiter". They crown his works for orchestra and express, with incomparable brilliance, the power of his musical genius. As no trace of their performance has reached us, we are unable to say whether Mozart heard them during his lifetime, other than in his mind.
Symphony No. 40 in G Major, K. 550 // Completed on July 25, 1788, it stands as one of Mozart's most tragic works and forms an absolute contrast with the cheerful symphony in E-flat major, which was finished barely a month earlier. "This symphony," wrote Hermann Abert, "expresses in a poignant way the deep-seated and fatalistic pessimism that was rooted in Mozart's nature... while works such as The Magic Flute and the Requiem show only extreme sadness and reveal that... this symphony was just one stage of his spiritual evolution."
The work was initially written for strings, flute, two horns, two oboes, and two bassoons, but Mozart revised the score and added two clarinets. Both versions are performed nowadays. The symphony has been described as "tragic," "pathetic," or "romantic." Eric Blom explains why he prefers the latter qualification: "... The personal feeling that distinguishes romanticism from the objective and severe perfection of classicism has never been felt more strongly in any musical work than in this symphony... It can be said that in the Symphony in G minor, romanticism and classicism meet..."
I. Allegro molto. Kretschmar analyzes this movement as follows: "The impression of deep suffering that is already glimpsed in the sixth of the first theme is expressed, with even more clarity, in the following section, and in the final motif, the inner tension bursts forth with irresistible force. The second theme is not in opposition to the first but, on the contrary, confirms and reinforces this emotional and dark character with accents full of anguish and burning desires. In the development, attempts to lighten the dark and oppressive atmosphere are felt, but these attempts are in vain. After resounding dissonances and violent outbursts, the struggle concludes with a soft passage played by the woodwinds."
II. Andante. A sense of unease hangs in the air. The main theme begins calmly and moderately, but the subsequent passage immediately brings an intensification of the feelings expressed. The jagged rhythm of the main theme is accompanied, in the development, by dark chords that increase in strength. The recapitulation is remarkable for its counterpoint.
III. Menuet. Although resembling, in its outer form, a dance, it exceeds the limits of the minuet by its material of intense emotion; it has been rightly described as the prototype of the scherzo. The only glimmer illuminating the entire work is provided by the trio in G major, which forms an idyllic intermezzo.
IV. Allegro assai. All elements of the symphony are in a frenzy in the finale. The main motif is of a dark, impetuous character, and the second theme tries in vain to cast a ray of light. The development is almost entirely played forte, with the fervor further intensified by the sudden and unexpected passage of the main theme in different keys. There is no calmer intermezzo in the recapitulation.
Other Album available // Dvořák: Symphony No. 9 in E minor, Op. 95 "From the New World" by Ferenc Fricsay
🎧 Qobuz cutt.ly/uezalFcu Tidal cutt.ly/Zezal0yD
🎧 Deezer cutt.ly/8ezazih5 Amazon Music cutt.ly/5ezazHwO
🎧 Spotify cutt.ly/Zezaz1V1 TH-cam Music cutt.ly/Jezaxu1U
Thank you❤ very helpful for me❤
@@IrinaBiedebach Are you a student?
Fricsay ! You can always trust him. Absolute perfection.
Ahhh...Mozart's 40. Elegance, sophistication, form, symmetry, beauty...basically all the superior words in the English dictionary. 👌
At first I thought I didn't care for the tempo, even thought it was rather clunky, then I began to really feel all dark emotions this piece evokes. Its quite a revelation! I always enjoyed the minor key but did not feel the anger, sadness, frustration, fear that this piece expresses interspersed with little rays of sunshine and hope that are not quite able to dispel the darkness. The emotions are far more complex than I had realized. Thank-you for posting this. Its a treasure! 💐 Bravo!
Thank you for your comment, I felt the same way.
木管の響きが透き通っていて心地よい響きです。
All of Mozart’s music is the immortal lullaby of the soul, and will quench and moisturize the dryness of the soul, and evoke comfortable feelings
Thanks for all the notes, Mozart. Every time I listen to a different recording I hear something new.
Very good channel. Clever selections and complete info with each post. Thank you. Just subscribed.
La Sinfoniia 40 es muy linda es mí favorita ❤️ con sus cuatro movimientos excelente mozart ❤😊
Well, Ive never heard anything like this. Immediately, the slower tempo but mainly its the very clear, articulation and vibrato of the strings that jump out. This version is like no other.
The slower tempo actually helps the clarity by allowing many more of the individual notes to be heard, which is such a joy especially in connection with the works of a genius composer such as Mozart, as opposed to the hurried and muddled, deliveries by virtually all modern-day conductors, including (supposedly) "great" maestros such as HvK and L. Bernstein. The placement of microphones (and whether they are uni- or omni-directional) as well as the acoustics of the performance hall itself also play a major role in the articulation, as you aptly put it, and the clarity of the final product.
The first and second movements in this particular recording are a tad too slow for my personal taste, but the third and fourth are pure ecstasy!
Fritz Wunderlich a chanté une seul fois sous Fricsay en 1960 ( Lucia di Lammermoor).
Ils auraient dû se retrouver en 1963 lors d'une représentation de la Zauberflöte, mais Fricsay était déjà décédé.
Merci beaucoup et salutations de Montréal, Qc, Canada
La tuve que escuchar dos veces para entender el tempo más lento. Queda muy hermoso. Y en la célebre meolodía del comienzo también hay algunas notas más staccatte y nítidas que en las versiones más conocidas. Un hallazgo para mí.
El masterizado muy bueno.
The slow pace seems unusual, but I think it's really effective, bringing out the tragic quality of the work from its perhaps excessive familiarity
The pace is ideal. It should not sound jaunty.
Una interpretación muy limpia, me gusta mucho que sea un poco más lenta , le da un carácter más maduro . Excelente dirección y grabación. Muchas gracias
Con mucho gusto, saludos :)
This music for EVER❤❤❤
Wunderschöne und dynamische Interpretation dieser perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher, brillanten Tönen aller Blechbläser und vor allem milden Tönen aller Holzbläser. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der letzte Satz echt lebhaft und auch überzeugend. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im lebhaften Tempo und mit möglichst effektiver Dynamik. Danke fürs wertvolle Onlinestellen!
Sadly he died when stereo was in its infancy, Wit modern re-mastering, even good mono recordings can sound great.
His early death was a great tragedy - comparable to that of Guido Cantelli.
Not really in its infancy, but it was new for commercial applications. Of course I agree with your point, it was a real tragedy.
Fricsay sound like Celibidache on this recording he's taking his time (unusual for him) to let the music enfold to great effect.
No, Celi always sounds oleaginous, Fricsay always sounds crystal clear
Wiener Philharmoniker (not Philharminiker)...
In this recording:
Symphoniker
(!)
@@maltekuhn7794 No... Philharmoniker!
Absolument il s'agit de l'orchestre symphonique de Vienne , il y a une erreur sur le disque .. .... bien vu bravo !!@@maltekuhn7794