Unfinished and yet the most famous: Symphony in B minor “Unfinished” by Franz Schubert performed by the Budapest Festival Orchestra (BFO) conducted by Iván Fischer. The concert took place on February 28, 2014 at the Béla Bartók National Concert Hall in Budapest.
(00:00) I. Allegro moderato
(15:00) II. Andante con moto
Franz Schubert (1797 - 1828) had already composed six complete symphonies by 1820, all of which were successors to the works of the great classical symphonists Haydn, Mozart and Beethoven. It was followed by symphony drafts which Schubert then abandoned. Only from the third draft did he complete two movements in 1822, including orchestration. Of a third movement – the Scherzo – only a few bars exist. Although the two completed movements of this B minor symphony have gone down in history as “Unfinished,” they appear to be self-contained. No wonder, therefore, did Schubert send it as a symphony to the Steiermärkischer Musikverein in Graz in 1823, which had appointed him an honorary member. It is possible that Schubert himself was convinced of the completed character of the two symphonic movements. Beginning in 1825, he again worked on a four-movement symphony, later known as the “Great Symphony in C Major”. Judging by the order in which they were written, the “Unfinished” symphony would have to be considered Schubert’s 7th symphony, and the “Great” his 8th. However, in his complete published works, Schubert’s symphonies were numbered according to the order in which they were found and first performed, so that it has become customary to refer to the “Great Symphony in C major” (D 944) as the seventh and the “Unfinished” (D 759) as Symphony No. 8 in B minor. In more recent sources, the reverse numbering is occasionally found.
The Symphony in B minor was not premiered until 1865, after Schubert had already been dead for 37 years. Even the premiere was a sensational success, and to this day the “Unfinished” is an absolute favorite with audiences. It is considered the first “Romantic” symphony ever because it contains much that is musically new. Its opening alone, with the mysterious and almost threatening ascending and descending melody in the low strings, builds up a tension that is maintained until the end of the two movements. Both movements are similar not only in tempo but also in structure. Somber, ominous passages are followed by sultry, homely ländler, which in turn break off abruptly, so that positive melodic lines always prove deceptive. Although the second movement seems more optimistic overall, the thematic blocks always take unexpected turns. But still, the symphony fragment ends in a kind of chorale in which the conflicting themes are reconciled.
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W.A. Mozart, concierto n. ° 3 en re mayor 1 hora / Elisey Mysin (cadenza Elisey Mysin)
https://youtu.be/lsjk4rlbfdc
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00:00 W.A. Mozart, concierto n. ° 3 en re mayor 1h.
05:43 Cadenza (por Elisey Mysin)
07:30 E. Grieg Kobold
Director: Adik Abdurakhmanov
solista: Elisey Mysin
estudiante de la Escuela Central de Música del Conservatorio Estatal de Moscú que lleva el nombre de P.I. Tchaikovsky
Profesor: Artista de Honor de Rusia, profesor del Conservatorio Estatal de Moscú que lleva el nombre de P.I. Tchaikovsky N.V. Trull
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Vivaldi | Juditha triumphans RV 644
Oratorium Juditha triumphans devicta Holofernes barbarie RV 644 von Antonio Vivaldi. (1716)
Libretto: Giacomo Cassetti
BRIXNER INITIATIVE MUSIK UND KIRCHE
13.08.2020 Dom zu Brixen
Luciana Mancini - Juditha
Silvia Alice Gianolla - Holofernes
Silvia Frigato - Vagaus
Marta Redaelli - Abra
Claudia De Pian - Ozias
Venice Monteverdi Academy
Orchestra Lorenzo Da Ponte
Roberto Zarpellon, Dirigent
Teil 1
00:00 Chor: arma, caedes, vindictae, furores
04:24 Arie Holofernes: Nil arma, nil bella
08:05 Arie Vagaus: Matrona inimica
13:01 Arie Juditha: Quo cum patriae me ducit amore
17:20 Arie Abra: Vultus tui vago splendori
20:38 Vagaus und Chor: O quam vaga, venusta, o quam decora
22:26 Arie Vagaus: Quamvis ferro et ense gravis
27:23 Arie Juditha: Quanto magis generosa
36:16 Arie Holofernes: Sede, o cara
40:51 Arie Juditha: Agitata infido flatu
44:58 Vagaus und Chor: O servi, volate
48:58 Arie Juditha: Veni, veni, me sequere fida
56:29 Arie Abra: Fulgeat sol frontis decoræ
01:00:37 Chor: Mundi rector de caelo micanti
Teil 2
01:04:30 Arie Ozias: O Syderae, o stellae
01:10:34 Arie Holofernes: Nox obscura, tenebrosa
01:17:55 Arie Juditha: Transit Aetas
01:22:59 Arie Holofernes: Noli, o Cara
01:28:08 Sopran und Chor: Plena nectare
01:30:22 Arie Juditha: Vivat in Pace
01:34:48 Arie Vagaus: Umbrae caræ
01:41:59 Arie Abra: Non ita reducem
01:45:59 Rez. Juditha: Summe astronum
01:47:51 Arie Juditha: In sonno profundo
01:53:36 Rez. Juditha: Impii, indigni, tyranni
01:55:12 Arie Abra: Si fulgida per te
02:00:01 Arie Vagaus: Armatæ face et anguibus
02:04:17 Arie Ozias: Gaude felix Bethulia
02:07:44 Rez.Ozias: Ita decreto æterno
02:08:58 Chor: Salve invicta Juditha
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Johannes Chum Tenor (Evangelist & Arien) Dietrich Henschel Bass (Christus)
Münchener Bach-Chor
Bach Collegium München
Hansjörg Albrecht Cembalo & Leitung
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