Mozart - Symphony No. 41 - Jupiter Symphony | Adam Fischer | WDR Symphony Orchestra скачать в хорошем качестве

Mozart - Symphony No. 41 - Jupiter Symphony | Adam Fischer | WDR Symphony Orchestra

Symphony No. 41, the ‘Jupiter Symphony’, by Wolfgang Amadeus Mozart, performed by the WDR Symphony Orchestra under the baton of Adam Fischer. Recorded live on 6 December 2024 at the Kölner Philharmonie. Wolfgang Amadeus Mozart - Symphony No. 41 in C major, K. 551 00:00:00 I. Allegro Vivace 00:11:51 II. Andante Cantabile 00:23:00 III. Menuetto. Allegretto 00:27:31 IV. Molto Allegro WDR Symphony Orchestra Adam Fischer, conductor ► More about the symphony orchestra, concerts and current livestreams can be found at https://sinfonieorchester.wdr.de ► The WDR Symphony Orchestra on Facebook   / wdrsinfonieorchester   ► Further concerts and introductions to works from the world of classical music, symphonic crossover, choral singing and concerts for children can also be found in the ARD Mediathek: https://www.ardmediathek.de/klassik Introduction to the works: If the G minor symphony is the warm-hearted favourite among Mozart's symphonies, its successor, the C major symphony, is the joyful hotspur that brightens the mind. Johann Peter Salomon, who, as Haydn's impresario, made his London successes possible, had a fitting nickname for this symphony: the ‘Jupiter’ Symphony, named after the glorious supreme deity of ancient Rome. It begins with significance in forte with three beats, and Mozart immediately follows with a delicate piano contrast. This is, so to speak, programmatic for the entire work: variety at all levels, between loud and soft, major and minor, fiery and relaxed. For centuries, the ‘Jupiter’ Symphony was consistently considered the ‘crowning achievement’ of Mozart's instrumental music. In this work, the equally ingenious vocal composer achieves a synthesis of both musical forms in the first movement: As an additional melodic idea after the two main themes, he quotes the bass aria ‘Un bacio di mano’, which he had composed a few months earlier as an interlude for an opera by Pasquale Anfossi. In the final movement, he presents himself in an extended fugue as a sovereign warden of the most demanding instrumental form in terms of compositional technique. It is only too obvious how Mozart was once christened because of this work: as ‘Jupiter of music’. Text: Otto Hagedorn