- Performer: Nikolaus Harnoncourt
- Audio CD (21 July 2014)
- Number of Discs: 2
- Label: Sony Music Classical
- ASIN: B00IROIE1I
- Average Customer Review: 4.4 out of 5 stars See all reviews (12 customer reviews)
- Amazon Bestsellers Rank: 55,266 in Music (See Top 100 in Music)
Mozart: Symphonies Nos. 39, 40 & 41
|Price:||£13.46 & FREE Delivery in the UK on orders over £20. Details|
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Frequently Bought Together
Customers Who Bought This Item Also Bought
Three Symphonies – One Work:
Mozart’s Instrumental Oratorium
Symphonies: Nos. 39, 40, 41
Harnoncourt regards the last three symphonies as one whole work, which he calls Mozart’s ‘Instrumental Oratorium’. Sony Classical present Harnoncourt’s final recording of these works, with a fascinating new interpretation.
In terms of structure, he argues that the first movement of the Symphony No. 39 is the Prelude of the ‘Instrumental Oratorium’, whilst the last movement of the Symphony No. 41 is the Finale. He points out that the Symphony No. 39 has no real ending, whilst the Symphony No. 40 has no real beginning, and only the Symphony No. 41 has a Finale.
There are a number of factors which Harnoncourt points to as further proof of his new interpretation – musical themes which are evident throughout all three symphonies, Mozart’s intense knowledge of the oratorios of Bach and Handel, the fact that Mozart wrote the works without a commission (which he didn’t do for any other works) all in one summer, and that he didn’t write any more symphonies during the following 3 years of his life, until his death – this was his last statement.
Recorded for the first time with Harnoncourt’s own ensemble Concentus Musicus Wien, which he founded in 1953.
About Nikolaus Harnoncourt:
Nikolaus Harnoncourt is celebrated as one of the most influential musical personalities of the second-half of the twentieth century. A pioneer of the early music movement, he founded the period-instrument ensemble Concentus Musicus Wien in 1953 with his wife, Alice Hoffelner. After 60 years of conducting this ensemble, and a life-long study of the last three Mozart Symphonies, he now feels the time is right to make his last statement and record these works.
Harnoncourt has received numerous international awards for his work: he is an honorary member of the Gesellschaft der Musikfreunde and the Konzerthausgesellschaft in Vienna (since 1992), he holds honorary doctorates from the University of Edinburgh and the Mozarteum music college in Salzburg, and is an honorary member of the Graz and Vienna colleges of music. He was awarded the Ernst von Siemens Music Prize in 2002 and the Stockholm Polar Prize, and in 2005 he was honoured with the Kyoto Prize, the world's most important independent cultural award bestowed on outstanding international personalities from the arts and sciences.
Having regularly conducted the leading orchestras of the world, Harnoncourt now mainly devotes his time to performances with the Concentus Musicus Wien. This year he will give concerts in Vienna, Salzburg, Berlin and the annual festival styriarte in Graz, which he also helps to organise.
There are nearly 500 recordings in Nikolaus Harnoncourt's discography, which have been awarded all the major international Classical prizes, including a Grammy in 2002 for his recording of the St Matthew Passion.
Top Customer Reviews
The beginning of the 39 is the most fiery and visionary I have ever heard. The tendency to perform the Allegro not too fast, with airy movements, is confirmed with the results that I find brilliant. Harnoncourt shows he knows the question of Tempi of Mozart and the simple souls who consider themselves satisfied with the simple formula Allegro=fast, adagio Adagio(Andante)=slow, should study a topic very complex. The first bars of the symphony in G minor, characterized by strong contrasts can impact the listener, but it can also provoke inviting him to a different approach from the usual. The finale of the symphony itself is unforgettable: a precipitous descent to the underworld, with the impressive incursions of natural horns, as voices coming from the mysterious depths, and with dramatic pauses that the Maestro said with his breath.Read more ›
What about the performances? First of all, I was struck by the fact that most of the movements are at moderate speed, despite the tempo markings like "vivace" or "molto." The quicker movements sound a bit slower than usual, and the slower ones a bit quicker. This might be a problem for some listeners, but I didn't mind it. It created a sense of a ceremonial occasion, and, more important, Harnoncourt's insistence on a strong rhythmic foundation mitigated any sense of turgidity. I was reminded of Klemperer's Beethoven or of Bohm's Brahms: the rhythm was the basis of the thing, and the vivid textures and variety of phrasing and dynamics added to the life of the whole.Read more ›
Most Recent Customer Reviews
Late Harnoncourt's continual search for honesty and passion in all kinds of music and periods.Published 4 months ago by Maha Shawarby
Performance and recording are fine, but I couldn't get at the second disc without serious damage to the case which seemed to have been wrongly assembled - possibly a one-off fault,... Read morePublished 21 months ago by Dr. Peter D. Wilson
Excellent rendition of the symphonies at exactly the speed I like. Some reviewers think it's too fast; I think it's perfect.Published on 11 Oct. 2014 by N. Hudson
#40 starts too soon after #39. I think mr Harnoncourt should have taken a much longer pause here. It makes the whole effort implausible. Read morePublished on 18 Sept. 2014 by tim van motman