Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Wednesday, March 23, 2016
Haydn, Symphony No. 7, Symphony No. 83, Violin Concerto, Harry Christophers, Handel and Haydn Society
There is a right-sized orchestra for authentic practice, no 120 musicians creating imposing Beethoven-Bruckner mountains of accretion. Not surprising. Gottlieb Graupner, a founder of the orchestra, was oboist performing Haydn in London before he moved to Boston. And in Harry Christophers, director of the H & H since 2008 and also of the acclaimed early music group the Sixteen, we have a master of the authentic nuances of these works. The live recording in Boston's Symphony Hall has real presence.
The "Violin Concerto in C major" is an especially nice addition, as it is not as well known as it should be. It was only published in the 20th century. Concertmaster Aisslinn Nosky does a fine job with the solo part, unfussy and direct.
And we get two excellent examples of early and later Haydn symphonies, the Seventh with its grace and uncomplicated freshness, the 83rd with its more developed dramatic complications, each in its own way superb and superbly played.
I give you my strongest recommendations for this offering. It leaves nothing to be desired.
Posted by Grego Applegate Edwards at 5:01 AM
Labels: classical period symphonic gems, contemporary performance practice, haydn symphony no 7 symphony no 83 violin concerto in c major christophers handel and haydn society gapplegate classical-modern review
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