The Operas

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The Operas

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dc.contributor.other Joseph Haydn es
dc.contributor.other Jessye Norman es
dc.contributor.other Helen Donath es
dc.contributor.other Claes H. Ahnsjö es
dc.contributor.other Wladimiro Ganzarolli es
dc.contributor.other Domenico Trimarchi es
dc.contributor.other Kari Lövaas es
dc.contributor.other Anthony Rolfe Johnson es
dc.contributor.other Orchestre de Chamber de Lausanne es
dc.contributor.other Mario Salerno es
dc.contributor.other Antal Dorati es
dc.contributor.other Pablo Loerkins es
dc.contributor.other Francis Marcellin es
dc.contributor.other Francesco Puttini es
dc.contributor.other Pietro Travaglia es
dc.coverage.spatial Epalinges, Switzerland es
dc.date.accessioned 2012-09-25T15:11:30Z
dc.date.available 1977
dc.date.available 2012-09-25T15:11:30Z
dc.date.copyright 2009
dc.date.issued 2012-09-25
dc.identifier.uri http://hdl.handle.net/123456789/2355
dc.description.abstract Franz Joseph Haydn is the composer who, more than any other, epitomizes the aims and achievements of the Classical era. Perhaps his most important achievement was that he developed and evolved in countless subtle ways the most influential structural principle in the history of music: his perfection of the set of expectations known as sonata form made an epochal impact. In hundreds of instrumental sonatas, string quartets, and symphonies, Haydn both broke new ground and provided durable models; indeed, he was among the creators of these fundamental genres of classical music. His influence upon later composers is immeasurable; Haydn's most illustrious pupil, Beethoven, was the direct beneficiary of the elder master's musical imagination, and Haydn's shadow lurks within (and sometimes looms over) the music of composers like Schubert, Mendelssohn, and Brahms. Part and parcel of Haydn's formal mastery was his famous sense of humor, his feeling for the unpredictable, elegant twist. In the Symphony No. 94 ("Surprise") (1791), the composer tweaks those audience members who typically fall asleep during slow movements with the sudden, completely unexpected intrusion of a fortissimo chord during a passage of quietude. Haydn's pictorial sense is much in evidence works like his epic oratorio The Creation (1796-1798), in which images of the cosmos taking shape are thrillingly, movingly portrayed in tones. By one estimate, Haydn produced some 340 hours of music, more than Bach or Handel, Mozart or Beethoven. Few of them lack some unexpected detail or clever solution to a formal problem. Haydn was prolific not just because he was a tireless worker with an inexhaustible musical imagination, but also because of the circumstances of his musical career: he was the last prominent beneficiary of the system of noble patronage that had nourished European musical composition since the Renaissance. Born in the small Austrian village of Rohrau, he became a choirboy at St. Stephen's cathedral in Vienna when he was eight. After his voice broke and he was turned out of the choir, he eked out a precarious living as a teenage freelance musician in Vienna. His fortunes began to turn in the late 1750s as members of Vienna's noble families became aware of his music, and on May 1, 1761, he went to work for the Esterházy family. He remained in their employ for the next 30 years, writing many of his instrumental compositions and operas for performance at their vast summer palace, Esterháza. Musical creativity may often, it is true, meet a tragic end, but Haydn lived long enough to reap the rewards of his own imagination and toil. The Esterházys curtailed their musical activities in 1790, but by that time Haydn was known all over Europe and widely considered the greatest living composer. (He himself deferred to Mozart in that regard, and the friendly competition between the two composers deepened the music of both.) Two trips to London during the 1790s resulted in two sets of six symphonies each (among them the "Surprise" symphony) that remain centerpieces of the orchestral repertoire. Haydn's final masterpieces included powerful choral works: the Creation and Seasons oratorios and a group of six masses. Haydn stopped composing in 1803, after which he prefaced his correspondence with a little musical quotation (from one of his part-songs) bearing the text "Gone is all my strength; I am old and weak." He died in Vienna on May 31, 1809. © AMG, All Music Guide es
dc.description.tableofcontents CD9-- Sinfonia-- Act One ; Che burrasca! Che tempesta! ‘Introduzione (Rosina, Masino, Baronessa, Ernesto, Lisetta, Villotto), S’è lecito signora ‘Recitativo’ (Masino, Baronessa, Ernesto, Rosina, Villoto), Non s’innalza ‘Aria’ (Baronessa), Su via volgete o bella ‘Recitativo’ Villotto, Rosina, Masino), So che una bestia sei ‘Aria’ (Masino), Ewiva allegremente ‘Recitativo’ (Villotto, Conte, Masino, Ernesto, Baronessa), Non sparate...mi disdico...‘Aria’ (Villotto), Vanne sciocco balordo intendo ‘Recitativo’ (Baronessa, Conte, Ernesto, Lisetta, Masino), Io son poverina ‘Aria’ (Lisetta), Ah che già sono ormai ‘Recitativo’ (Conte, Rosina, Villotto), Mira il campo all’intorno ‘Recitativo ed Aria’ (Conte), A trionfar t’invita ‘Aria (Conte), Cara Lisetta da qual gelida mano ‘Recitativo’ (Rosina, Lisetta), Con un tenero sospiro ‘Aria’ (Rosina), Ecco che siamo o cara ‘Recitativo’ (Villotto, Rosina, Masino), Finale I: Ah che divenni stupida (Rosina, Villotto, Masino), Bel godere la campagna (Baronessa, Ernesta, Rosina, Villotto, Masino, Lisetta, Conte), Ah no mio dolce amore (Conte, Rosina), Che miro Rosina? (Baronessa, Ernesto, Villotto, Rosina, Conte, Lisetta, Masino)-- es
dc.format.extent 62:57 min. es
dc.format.medium 1 CD Rom (62 min., 57 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 650287061 es
dc.subject.lcsh Opera es
dc.title The Operas es
dc.title.alternative La Vera Costanza es
dc.title.alternative La Vera Costanza Act I es
dc.title.alternative La Vera Costanza Dramma giocoso in tre atti es
dc.language.rfc3066 eng es
dc.rights.holder Decca Music Group Limited es
dc.identifier.classification 028947817765 es
dc.subject.cdu Ha.34 es


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