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作曲家介绍:
弗朗兹·约瑟夫·海顿(Franz Joseph Haydn, 1732-1809)著名的奥地利作曲家,维也纳古典乐派的最早期代表。自幼在很艰苦的条件下学习音乐。1761年在埃斯特哈齐公爵家里当乐长,工作极繁重,地位却很低下。但他在艰苦的环境中创作了大量作品,至九十年代初,成为当时首屈一指的音乐家。后两次去伦敦旅行,写了十二部《伦敦交响乐》,是他一生中最优秀的作品,从此名震全欧。他的创作涉及面很广,其中以交响乐和弦乐四重奏最为杰出。他把交响乐固定为四个乐章的形式,并在配器上形成一套完整的交响乐队编制,为现代交响乐的发展奠定了基础。他的音乐旋律丰富,经常流露出纯朴开朗的乡间气息。在四重奏创作中,常用“说话的原则”,即把各部的主题彼此象交谈般地呼应,既有清晰的旋律,又有复调的美。此外,他在乐曲的发展中常用“主题活用的原则”,这直接启示着贝多芬“动机发展”的灵感。海顿还是现德国国歌的作者。 引用介绍: The supreme, voluptuary realist of French painting, Jean Ingres, exclaimed that Haydn was music's alpha and 作曲家介绍: 弗朗兹·约瑟夫·海顿(Franz Joseph Haydn, 1732-1809)著名的奥地利作曲家,维也纳古典乐派的最早期代表。自幼在很艰苦的条件下学习音乐。1761年在埃斯特哈齐公爵家里当乐长,工作极繁重,地位却很低下。但他在艰苦的环境中创作了大量作品,至九十年代初,成为当时首屈一指的音乐家。后两次去伦敦旅行,写了十二部《伦敦交响乐》,是他一生中最优秀的作品,从此名震全欧。他的创作涉及面很广,其中以交响乐和弦乐四重奏最为杰出。他把交响乐固定为四个乐章的形式,并在配器上形成一套完整的交响乐队编制,为现代交响乐的发展奠定了基础。他的音乐旋律丰富,经常流露出纯朴开朗的乡间气息。在四重奏创作中,常用“说话的原则”,即把各部的主题彼此象交谈般地呼应,既有清晰的旋律,又有复调的美。此外,他在乐曲的发展中常用“主题活用的原则”,这直接启示着贝多芬“动机发展”的灵感。海顿还是现德国国歌的作者。
引用介绍: The supreme, voluptuary realist of French painting, Jean Ingres, exclaimed that Haydn was music's alpha and omega: 'Whoever studies music, let his daily bread be Haydn...the first who created everything, discovered everything, taught everything to the rest!' While an intervening century or two of musicology might tell us that if Haydn was father to the symphony and string quartet, there were some interesting midwives among his contemporaries, Haydn's sheer industry remains unequalled; but so too his creative facility and fertility in returning to the well time and time again, and never returning empty. In this first volume of Brilliant Classics's survey of Haydn's music, issued to mark the 200th anniversary of his death in 1809, are many of his most famous works: all 104 symphonies, his two oratorios of imperishable power and beauty, The Creation and The Seasons, as well as another with much no less striking music, The Return of Tobit. There are several of the operas he wrote for the court at Eszterhaza, where he was more or less a servant-prisoner for most of his adult life, and -- a first on disc -- a complete recording of the 126 trios written at the behest of the court's prince for an obsolete string instrument, the baryton, in which the prince had himself attained a modest accomplishment. Most of the string quartets are here too, in recordings made especially for Brilliant by the Buchberger Quartet, and historically informed interpretations of the complete piano sonatas on instruments of Haydn's day. This is a significant contribution to the anniversary of one of the great composers, with much new material, and at an unbeatable price.
1. CD 1-33: Symphonies [complete] 2. CD 34: Piano Concertos [complete] 3. CD 35: Violin Concertos [complete] 4. CD 36-37: Organ Concertos [complete] 5. CD 38: Trumpet Concerto, Horn Concertos [complete] 6. CD 39: Cello Concertos [complete] 7. CD 40: Lira Concertos [complete] 8. CD 46-49: The Creation, The Seasons 9. CD 50-54: La Vera Costanza, Die Feuerbrunst, La Fedelta Premiata 10. CD 55-56: L'infedelta Deluza 11. CD 57-59: Il Ritorno di Tobia 12. CD 60: The Seven Last Words 13. CD 61-78: Folk Songs [complete] 14. CD 79-81: Songs [complete] 15. CD 82-101: String Quartets 16. CD 102-111: Piano Trios [complete] 17. CD 112-131: Baryton Trios [complete] 18. CD 132: Works for Lute & Strings 19. CD 133-134: Concertini & Divertimenti for Piano Trio 20. CD 135: Violin Sonatas, Viola Sonatas 21. CD 136-145: Piano Sonatas [complete] 22. CD 146-150: Klavierstucke [complete] 23. CD-ROM: Texts & Liner notes
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