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   Joseph Haydn - The Paris Symphonies Nos. 82-87 (2005), Concentus Musicus Wien, Nikolaus Harnoncourt
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 Posted: 09-01-2012, 23:11 (post 1, #1041444)

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Concentus Musicus Wien, Nikolaus Harnoncourt - Joseph Haydn - The Paris Symphonies Nos. 82-87
Артист: Concentus Musicus Wien, Nikolaus Harnoncourt
Альбом: Joseph Haydn - The Paris Symphonies Nos. 82-87, 2005
Издатель: Deutsche Harmonia Mundi / 82876606022
Жанр: Classical
Формат файла: NetLab
Ссылка 1: eMule CD 1 65 clicks
Ссылка 2: eMule CD 2 49 clicks
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Нахождение: eDonkey/Torrent
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When the members of a Parisian concert society commissioned a set of symphonies from Haydn in the mid-1780s they would have looked forward to receiving works of the most up-to-date and sophisticated kind by the genre's acknowledged master. The arrival of a recording of the 'Paris' Symphonies by Nikolaus Harnoncourt and the Vienna Concentus Musicus will have aroused a similar sense of anticipation in some and, just as Haydn must have surpassed expectations with his six superb creations, so the wonders of this threedisc set are surely more than even Harnoncourt fans can have hoped for.
(Three discs? Yes, Harnoncourt takes every repeat going, which means sonata-movement second halves, full sets of repeats for minuets and trios and even a repeat for No 85's slow introduction, with the result that most of the performances come in at just over half an hour.) But if this makes for one more disc than the norm, there is certainly no danger of the music outstaying its welcome. For the pre-Revolution Parisians these were grand works of powerful and unrelenting invention, and Harnoncourt's achievement is to remind us of the fact, revealing in these underrated masterpieces a brilliance and muscle that can almost make us forget 200 years of symphonic history.
For that alone we should be thankful, but these are also just about the most enjoyable and involving Paris performances you are likely to come across. The Concentus Musicus are on superb form, serving up a sound both clear and substantial, with horns a more than usually dark flavouring. And Harnoncourt is typically alert to every message the music has for us, drawing drama, humour, tenderness and colour at all turns, leaving the listener nothing to do but gasp, smile or glow in his wake.
There is barely room here to list this set's distinguishing delights, but among the most memorable are the fooling with the placing of the final chords of No 82, the leisured unrolling of the main theme of No 84's first movement, the fiercely stabbing wind chords of No 83's finale, and the gloriously unleashed pedal notes at the climax of No 85. Furthermore, Harnoncourt treats each symphony – indeed each movement, each bar – on its own terms. Harnoncourt has shown here that there is more to the 'Paris' Symphonies than the bluff, rolling bonhomie of some interpreters – so much more, in fact, that you have to wonder if they can ever be the same again.

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