Mozart - Symphony No. 39 | Adam Fischer | WDR Symphony Orchestra скачать в хорошем качестве

Mozart - Symphony No. 39 | Adam Fischer | WDR Symphony Orchestra

Symphony No. 39 by Wolfgang Amadeus Mozart, performed by the WDR Symphony Orchestra under the baton of Adam Fischer. Recorded live on December 6 and 7, 2024 at the Kölner Philharmonie. Wolfgang Amadeus Mozart - Symphony No. 39 in E-flat major, K. 543 00:00:00 I. Adagio – Allegro 00:10:30 II. Andante con moto 00:18:33 III. Menuetto. Allegretto 00:22:27 IV. Finale. Allegro WDR Symphony Orchestra Adam Fischer, conductor ► For more information on the symphony orchestra, concerts and current livestreams, visit 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: In the early 19th century, Mozart's E-flat major Symphony was known as his “swan song”. It was thought to be his last great work – regardless of the G minor and C major symphonies. This is because at the time, orchestral works were often published in chamber music arrangements. In a popular edition for piano, flute, violin and cello by Mozart's student Johann Nepomuk Hummel, the E flat major symphony is the last. Mozart opens the work with a slow introduction. Musicologist and conductor Peter Gülke – who proposed the theory of a cycle for the three symphonies – sees this section as the opening of the entire triad: solemn, announcing something important, harmonically sharp. The fast main section then surprises with a sparkling lightness. The way Mozart packs dreamy tenderness, jubilation, brief melancholy clouds and drama into the smallest space seems all the more masterful because he manages to make the contrasts seem natural. The ending of this symphony has repeatedly stirred the emotions. the Swiss musicologist Hans Georg Nägeli – a contemporary of Beethoven – called it “in the last two bars so unstylistically inconclusive, so snapping off, that the unbiased listener does not know what is happening to him”. And indeed: what we may perceive today as a refreshing surprise effect was nothing but irritating to Mozart's contemporaries. Text: Otto Hagedorn