Bernstein understood Haydn so well. This Credo is a masterpiece, especially the final movement. Those violins may well be singing a text themselves. - I am convinced that Haydn at this point was producing some of the best music ever written.
Lovely to see that Bernstein chose to spend time on this marvelous work. And proof again that the conductor really does make the difference. Love the stately tempo of the Credo, for instance. Perfectly suitable for this grave, glorious work. So many performances of it are rushed and breathless, which does not suit at all.
This is one of Haydn's most puzzling works, insofar all the slow sections are absolute masterpieces, the fast sections being less convincing. Haydn builds the Kyrie as a standard sonata form 1st mov. of symphony with a slow introduction, like the Kyrie of the Heiligmesse. After these two attempts he will abandon such a cold rigid approach in the following four masses to get a great original achievement with the Kyrie of the Harmoniemesse, the last one.
In the Classical period, a major key does not always mean happy demonstrated by this profound mass written in a time of war; there are lots of other examples of this in Mozart, Haydn, and elsewhere as in Gluck’s Orfeo where he sings about the second loss of Euridice in the famous aria ‘Che farò senza Euridice, che farò senza il mio ben’ which is in C major.
@@elaineblackhurst1509 Exactly, my prime example. Deepest sadness, and he goes off on a jolly Che farò in C major. Could never understand it. But then, Gluck knew about counterpoint as much as my cock.
Ich schätze, dass diese Aufnahme aus den 1980er Jahren stammt. Die Namen der Ausführenden - Chor und Gesangssolisten - zu erfahren wäre nett. Leider kann ich die Schriftzeichen nicht entziffern.
00:43 Kyrie
06:16 Gloria
18:26 Credo
30:16 Sanctus
33:16 Benedictus
40:26 Agnus Dei
Thank You.
Bernstein understood Haydn so well. This Credo is a masterpiece, especially the final movement. Those violins may well be singing a text themselves. - I am convinced that Haydn at this point was producing some of the best music ever written.
The Benedictus shows how the old Haydn could also compose in this sort of mozartian long breath structures. What a piece ❤
Il qui tollis rappresenta l'apice della musica liturgica cattolica. Solo chi ha fede può comporre un capolavoro insuperabile come questo.
Aggiungerei anche l'Agnus Dei dalla Messa dell'Incoronazione di Mozart.
Lovely to see that Bernstein chose to spend time on this marvelous work. And proof again that the conductor really does make the difference. Love the stately tempo of the Credo, for instance. Perfectly suitable for this grave, glorious work. So many performances of it are rushed and breathless, which does not suit at all.
This is one of Haydn's most puzzling works, insofar all the slow sections are absolute masterpieces, the fast sections being less convincing. Haydn builds the Kyrie as a standard sonata form 1st mov. of symphony with a slow introduction, like the Kyrie of the Heiligmesse. After these two attempts he will abandon such a cold rigid approach in the following four masses to get a great original achievement with the Kyrie of the Harmoniemesse, the last one.
Es una preciosidad de misa, con un Kirie impresionante. Toda la obra desprende la angustia por la circunstancia que fue compuesta.
Always happy Haydn, always in a major key, never mind war and distress, it's all good.
In the Classical period, a major key does not always mean happy demonstrated by this profound mass written in a time of war; there are lots of other examples of this in Mozart, Haydn, and elsewhere as in Gluck’s Orfeo where he sings about the second loss of Euridice in the famous aria ‘Che farò senza Euridice, che farò senza il mio ben’ which is in C major.
@@elaineblackhurst1509 Exactly, my prime example. Deepest sadness, and he goes off on a jolly Che farò in C major. Could never understand it. But then, Gluck knew about counterpoint as much as my cock.
The Credo is a bellic march
Ich schätze, dass diese Aufnahme aus den 1980er Jahren stammt. Die Namen der Ausführenden - Chor und Gesangssolisten - zu erfahren wäre nett. Leider kann ich die Schriftzeichen nicht entziffern.
As for the sow section of the Gloria, it is a pre-Rossinian incredible proof of the asemanticity of the music...
Prachtig!
25:17 ❤
Das ist doch Brigitte Fassbaender im Alt-Solo, oder?
Stimmt, Brigitte Fassbaender ist Alto-solo.
❤❤❤❤❤❤❤❤❤❤
❤
Great version ! Merci infiniment !
44:27 Dona nobis pacem
Ninguém poder aplaudir no início ???...🙄
粗い