❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Franz Joseph Haydn (1732-1809) - Die Jahreszeiten. The Seasons • Les Saisons Hob.XX1:3. *Click to activate the English subtitles for the presentation* (00:00-03:12) DER FRÜHLING / SPRING / LE PRINTEMPS Rezitativ : Seht, wie der strenge Winter flieht ! (00:00) Chor : Komm, holder Lenz ! (06:10) Rezitativ : Vom Widder Strahlet jetzt (09:54) Arie : Schon eilet froh der Ackersmann (10:22) Rezitativ : Der Landmann hat sein Werk vollbracht (13:51) Terzett & Chor : Sei nun gnädig, milder Himmel ! (14:25) Rezitativ : Erhört ist unser Flehn (20:56) Freudenlied : O wie lieblich ist der Anblick (22:18) Chor : Ewiger, mächtiger, gütiger Gott ! (29:01)
DER SOMMER / SUMMER / L'ÉTÉ Einleitung & Rezitativ : Im grauen Schleier rückt heran (35:19) Arie : Der muntre Hirt versammelt nun (40:16) Terzett & Chor : Sie steigt herauf, die Sonne (43:30) Rezitativ : Nun regt und bewegt sich alles umher (48:34) Rezitativ : Die Mittagssonne brennet jetzt (49:12) Kavatine : Dem Druck erlieget die Natur (50:40) Rezitativ : Willkommen jetzt, o dunkler Hain (54:57) Arie : Welche Labung für die Sinne ! (1:00:06) Rezitativ : O seht! Es steigt in der schwülen Luft (1:06:42) Chor : Ach, das Ungewitter naht (1:09:37) Terzett mit Chor : Die düstern Wolken trennen sich (1:14:15) DER HERBST / AUTUMN / L'AUTOMNE Einleitung (1:19:14) Rezitativ : Was durch seine Blüte (1:21:07) Terzett mit Chor : So lohnet die Natur dem Fleiß (1:22:18) Rezitativ : Seht, wie zum Haselbusche dort (1:29:31) Duett : Ihr schönen aus der Stadt, kommet her ! (1:30:33) Rezitativ : Nun zeiget das entblößet Feld (1:39:42) Arie : Seht auf die breiten Wiesen hin ! (1:40:45) Rezitativ : Hier treibt ein dichter Kreis (1:44:03) Chor : Hört das laute Getön (1:44:44) Rezitativ : Am Rebenstocke blinket jetzt (1:48:46) Chor : Juchhe ! Juchhe ! der Wein ist da (1:49:52) DER WINTER / WINTER / L'HIVER Einleitung (1:57:34) Rezitativ : Nun senket Sich das blasse Jahr (2:01:15) Kavatine : Licht und Leben sind geschwächt (2:04:28) Rezitativ : Gefesselt steht der breite See (2:07:06) Arie : Hier steht der Wandrer nun (2:09:18) Rezitativ : So wie er naht, schallt in sein Ohr (2:13:17) Lied mit Chor : Knurre, schnurre, knurre ! (2:14:33) Rezitativ : Abgesponnen ist der Flachs (2:17:30) Lied mit Chor : Ein Mädchen, das auf Ehre hielt (2:17:54) Rezitativ : Vom dürren Osten dringt ein scharfer Eishauch (2:21:24) Arie : Erblicke hier, betörter Mensch (2:22:14) Rezitativ : Wo sind nun, die hoh'n Entwürfe (2:24:31) Terzett : Dann bricht der große Morgen an ! (2:27:02) Simon : Walter Berry (Baß) ein Pächter / a farmer / un fermier Hanne : Gundula Janowitz (Sopran) seine Tochter / his daughter / sa fille Lukas : Werner Hollweg (Tenor) ein junger Bauer / a country lad / un jeune paysan Chor der Deutschen Oper Berlin Chorus Master : Walter Hagen-Groll Berliner Philharmoniker HERBERT VON KARAJAN Recorded in 1972, at Berlin Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr Après la glorification musicale de Dieu dans son oratorio "La Création", il a été suggéré à Haydn de parler de la terre, de la nature, des hommes. Un nouveau sujet où le compositeur pouvait composer avec la nature et l'alternance de ses manifestations comme sujet : Les Quatre Saisons. Le fermier Simon, sa fille Hanne et le jeune paysan Lukas animent la description des saisons, ce qui donne à Haydn de grandes possibilités de variations de formes et de groupes de chanteurs, en plus des chœurs de paysans et de chasseurs. La puissante version de Karajan met l'accent sur les échanges entre l'homme et la nature où l'on peut voir le doigt de Dieu. La musique de Haydn est si fraîche et si éloquente que tous ceux qui l'ont écoutée sans en comprendre les paroles l'apprécieraient. La musique de Haydn, est liée au texte de van Swieten, sans viser consciemment la poésie, mais en espérant évoquer le monde disparu de la gaieté rustique qui brille dans Les Saisons. Il y a de quoi se réjouir dans la représentation des Saisons par Haydn. Ses introductions merveilleusement puissantes aux quatre parties (dommage qu'il les ait abrégées en automne et surtout en hiver) ; ses splendides chœurs, en particulier la Prière et la Jubilation au printemps, le Lever du soleil en été et la scène de la Tempête en hiver, les nombreux chœurs fugués si magistralement conçus. Puis la peinture de mots par orchestre, jadis méprisée, aujourd'hui appréciable car musicalement si inventive même (peut-être plus) quand elle n'est pas onomatopéique. Les arias, certaines courtes et décrites comme Cavatina, peuvent résumer une situation (simplement exposée dans une narration vivante, comme pour le voyageur d'hiver qui s'égare - peut-être aussi que la description de la mort de Thomson dans la neige a été abandonnée par van Swieten qui l'a envoyé au 'bistro' avec ses joyeuses chansons), ou plus généralement apporter une détente, lyrique malgré les implications plus drastiques du texte. L'orchestre est toujours utilisé avec économie et grande imagination. Ce dernier s'emballe dans la scène de boisson où triangle, tambourin et double basson sont importés pour le point culminant d'une splendide valse rapide. Il y a un formidable accord de la majeur pour grand orchestre lorsque Winter apparaît pour la première fois. Haydn a peut-être gémi sur un hymne à l'industrie, mais il l'a couronné d'un accord sensationnel de neuvième de dominante. Moins prétentieux, il a utilisé sa grande section de bois avec une merveilleuse perspicacité, notamment la flûte (piccolo pour le laboureur qui siffle) et le basson - souvent, avec une variété éclairante - et bien sûr les trombones, très rares en dehors de la musique d'église de l'époque. Certaines touches orchestrales peuvent rappeler des musiques plus tardives de Beethoven, Weber, Schumann ou Wagner. La chanson de Jane qui tourne et l'histoire qu'elle raconte au pub en sont des exemples. En fait, les paroles de ces chansons ont été empruntées à des poèmes existants (de Bürger et Weisse, deux poètes bien connus). Le dernier refrain, qui comporte un puissant solo de trompette, peut nous rappeler Haendel, à qui les oratorios de Haydn doivent beaucoup, mais aussi la Flûte enchantée de Mozart qui est souvent rappelée, surtout lorsqu'une phrase commence par une sixte montée, un geste musical d'idéalisme pour les deux compositeurs. Les opéras de Haydn avaient beaucoup appris à Mozart sur la signification spécifique d'un geste musical, ce qui était d'ailleurs une seconde nature pour Mozart depuis sa jeunesse. Les opéras de Haydn sont pleins de musique qui, malgré sa beauté et son originalité, pourrait tout aussi bien convenir à un autre contexte. Dans La Création et Les Saisons, il apprend à faire correspondre une situation dramatique et un geste musical. De nombreux passages des Saisons suggèrent cette nouvelle découverte et font le vœu qu'il ait vécu pour écrire plus d'opéras dignes de son génie. Il a déclaré qu'avec Les Saisons, il s'était écrit lui-même. Mais la musique est celle d'un jeune homme viril en contact avec le monde rustique où il a grandi. Il semble plus jeune que le Mozart, la moitié de son âge, qui a écrit La Flûte enchantée et le Requiem. Haydn - Die Schöpfung / The Creation, The Chaos, Adam and Eve duet (reference record.: Karl Forster) : ruclips.net/video/ss-b9NBd_eM/видео.html Franz Joseph Haydn PLAYLIST (reference recordings) : ruclips.net/video/jplhJGuu8Dw/видео.html
Let's agree that maestro Herbert von Karajan was a true genius and a deep thinking orchestral conductor. This is an excellent interpretation of this heavenly composition by the great Franz Josef Haydn.
@@biomuseum6645 The Seasons was first performed 24 April 1801; it is the magnificent Harmoniemesse (Hob. XX:14) first performed 8 September 1802 that was Haydn’s last major work. The Creation Mass (Hob. XX:13) first performed 13 September 1801, also post-dates the oratorio.
Certainly worthy of "Century's Recording", this performance of possibly Haydn's most human, influential, and underestimated work shows how Herbert Von Karajan managed to coax the best from his orchestra and from talented singers. The result is a combination of glorious beauty rendered with apparently effortless, understated, and expressive ease. The remastering is superb. Thank you. Sharing this has certainly made my lock-down easier!
After the musical glorification of God in his oratorio 'The Creation', it was suggested to Haydn of the earth, of nature, of men. A new subject where the composer could compose with nature and the alternation of its manifestations as his subject: The Four Seasons. The farmer Simon, his daughter Hanne and the young peasant Lukas animate the description of the seasons, which gives Haydn great possibilities for variations in forms and groups of singers, in addition to peasant and hunter choirs. Karajan's powerful version emphasizes exchanges between man and nature where the finger of God can be seen. *Click to activate the English subtitles for the complete presentation* (00:00-03:12) Haydn - Die Schöpfung / The Creation, The Chaos, Adam and Eve duet (reference record.: Karl Forster) : ruclips.net/video/ss-b9NBd_eM/видео.html
Since my last comment, and given the time we have on our hands over this awful period, I have listened to other recordings of The Seasons on RUclips, generally most of them are good and competent performances of Haydn's masterpiece. But I always return to this recording, which is exquisite (see my earlier comments). Karajan's interpretation insists on a fundamental reassessment of Haydn's place in the cannon. Some may argue it's not within the ethos of "period" which misses the point. The remastering is superb and brings great clarity to this exceptional performance. Simply, it's an exultation of man and the relationship we have with nature. There is nothing that compares. Once again I thank you for sharing.
Maybe going a bit far. While this is a fabulous performance, I think Harnoncourt's interpretation does compare, and often quite favourably. With moments also of delicacy and lightness & humour that don't come easy to Karajan. Especially in the last sections.
At least you can appreciate recordings from the golden age! I can't say the same for many period geeks. For this recording the commenter before you did not go too far in referring to this recording as special. It is the very definition of the word!
This is an amazing gem of Haydn's I wasn't aware of! The finale of the summer part (Die düstern Wolken trennen sich ) is very Brahms German Requiem-like... so warm :)
Bro, why everybody rushing the tempo in classical music?? These old recordings, specially by karajan and Bohm are so precious and heart warming! Totally recomend Karl Böhm' Mozart Requiem with teh Vienna philarmonic -- simply my favorite.
I hear here foreshadowings of Beethoven, Weber, Wagner. "Foreshadow" is not an inferior stage or developmental niveau, this would be utter chronolatry, to foreshadow simply means source of inspiration.
I think the bigger problem was that they misunderstood Haydn, especially as by the early 19th century, they knew only a very tiny percentage of his music. 19th century commentators were in truth, in no position to be making judgements about Haydn at all.
@@elaineblackhurst1509 If I am not mistaken, you are a distinghuished Haydn scholar. It is a honor to receive a reply from you. In his essay about the personal relations between Haydn and Beethoven, Webster underlines the "terrifying" uncapability of the romantic culture to understand Haydn.
Reminds me strongly of Beethoven 6. One beautiful detail (among hundreds in this work) is the flute figure depicting receding lightning in two groups of three figures, then recounted in a group of three figures for the clarinet in the following trio w/ chorus. Delightful and gorgeous orchestral writing. I wish Karajan had followed Haydn's score and used fortepiano rather than harpsichord for the continuo. This would add a greater bit of modernity to what is a late Classical/slightly early Romantic work. The aria for the wanderer lost in the snow anticipates Schubert ("Wohin? Wohin?"). I also wish Karajan had gone against Haydn's revision and reinstated the original orchestral prelude to Winter, a longer, more chromatic, more effective contrast after the noisy final chorus of Autumn.
@@f.w.2054 Furtwangler has nothing to say about that. Karajan certainly wasn't THE greatest conductor of all time, but he was among them. Furtwangler less so, primarily because he was lousy and didn't bother rehearsing the orchestra to play the notes. That's why a lot of his recordings have a ton of mistakes and fallible playing. He had a genius vision for a lot of works though.
@@f.w.2054 Your comment flies in the way of reality, what I'm saying is that Furtwangler had great ideas about how certain pieces should go, but often wasn't capable of getting the orchestra to play it often times. That's just a fact. Of course the best example is his 1942 Beethoven Ninth which is hailed as the greatest ever by certain people. It is objectively a terrible performance, horribly recorded, the orchestra isn't together, full of mistakes. Furtwangler was a great conductor, that's it. He was no deity.
@@f.w.2054 It's really not hard to understand, he was a great conductor no doubt about it, he had some great performances and interpretations. But he had massive faults and was far from a perfect conductor. Btw he did a great Ninth in Lucerne at the very end of his life, the orchestra actually plays the notes for him and realizes his vision for the work.
@@TheKingUgb Beethoven learned a huge amount from Haydn, but absolutely *not* from the counterpoint lessons from Fux’s Gradus ad Parnassum taken on-and-off over about fourteen months between his arrival in Vienna in November 1792, and Haydn’s departure for his second trip to England in January 1794. Any imaginary perceived links between Beethoven piano concerti, The Seasons, and the counterpoint lessons are entirely fanciful.
I listened to this interpretation from a 3 lp set (Angel) and it's not my cup of tea. Karajan isn't capable of catching my attention for long. The sound is terrible, muffled ... no layers can be found ! Also a pretty uninteresting story. For me Karajan's Tchaikovsky is pretty good. Here he can accelerate and being bombastic. I also can stand both of his Beethoven cycles.
The story is not uninteresting at all. Actually, it describes, poetically, a lifestile now dissapeared. My grandparents, in their childhood in Central Castilla (Spain), lived in a world somehow similar to Haydn`s without electricity, cars (my grandfather could even remember oxen carts coming from Valencia loaded with oranges), watermills and small stone houses full of domestic animals (dogs, hens, donkey or horse, cows, pigs...). This music brings to my mind the stories they told me as a child. Curiously my grandma loved this music (Böhm´s version)... she did not understand a single word in German and she did not even know that it is sung in German...
Stijn..how big of you to be able to stand Karajans Beethoven cycle, one of the glories of recorded classical music (the first and second cycles). The sound here might not be high tech, but it more than conveys this human and humane interpretation of what may be Haydns masterpiece. Berry and Janowitz are predictably first rate!
![Yeat & Quavo - 5BRAZY [Official Music Video]](http://i.ytimg.com/vi/4XxnTAwyxus/mqdefault.jpg)
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Franz Joseph Haydn (1732-1809) - Die Jahreszeiten.
The Seasons • Les Saisons Hob.XX1:3.
*Click to activate the English subtitles for the presentation* (00:00-03:12)
DER FRÜHLING / SPRING / LE PRINTEMPS
Rezitativ : Seht, wie der strenge Winter flieht ! (00:00)
Chor : Komm, holder Lenz ! (06:10)
Rezitativ : Vom Widder Strahlet jetzt (09:54)
Arie : Schon eilet froh der Ackersmann (10:22)
Rezitativ : Der Landmann hat sein Werk vollbracht (13:51)
Terzett & Chor : Sei nun gnädig, milder Himmel ! (14:25)
Rezitativ : Erhört ist unser Flehn (20:56)
Freudenlied : O wie lieblich ist der Anblick (22:18)
Chor : Ewiger, mächtiger, gütiger Gott ! (29:01)
DER SOMMER / SUMMER / L'ÉTÉ
Einleitung & Rezitativ : Im grauen Schleier rückt heran (35:19)
Arie : Der muntre Hirt versammelt nun (40:16)
Terzett & Chor : Sie steigt herauf, die Sonne (43:30)
Rezitativ : Nun regt und bewegt sich alles umher (48:34)
Rezitativ : Die Mittagssonne brennet jetzt (49:12)
Kavatine : Dem Druck erlieget die Natur (50:40)
Rezitativ : Willkommen jetzt, o dunkler Hain (54:57)
Arie : Welche Labung für die Sinne ! (1:00:06)
Rezitativ : O seht! Es steigt in der schwülen Luft (1:06:42)
Chor : Ach, das Ungewitter naht (1:09:37)
Terzett mit Chor : Die düstern Wolken trennen sich (1:14:15)
DER HERBST / AUTUMN / L'AUTOMNE
Einleitung (1:19:14)
Rezitativ : Was durch seine Blüte (1:21:07)
Terzett mit Chor : So lohnet die Natur dem Fleiß (1:22:18)
Rezitativ : Seht, wie zum Haselbusche dort (1:29:31)
Duett : Ihr schönen aus der Stadt, kommet her ! (1:30:33)
Rezitativ : Nun zeiget das entblößet Feld (1:39:42)
Arie : Seht auf die breiten Wiesen hin ! (1:40:45)
Rezitativ : Hier treibt ein dichter Kreis (1:44:03)
Chor : Hört das laute Getön (1:44:44)
Rezitativ : Am Rebenstocke blinket jetzt (1:48:46)
Chor : Juchhe ! Juchhe ! der Wein ist da (1:49:52)
DER WINTER / WINTER / L'HIVER
Einleitung (1:57:34)
Rezitativ : Nun senket Sich das blasse Jahr (2:01:15)
Kavatine : Licht und Leben sind geschwächt (2:04:28)
Rezitativ : Gefesselt steht der breite See (2:07:06)
Arie : Hier steht der Wandrer nun (2:09:18)
Rezitativ : So wie er naht, schallt in sein Ohr (2:13:17)
Lied mit Chor : Knurre, schnurre, knurre ! (2:14:33)
Rezitativ : Abgesponnen ist der Flachs (2:17:30)
Lied mit Chor : Ein Mädchen, das auf Ehre hielt (2:17:54)
Rezitativ : Vom dürren Osten dringt ein scharfer Eishauch (2:21:24)
Arie : Erblicke hier, betörter Mensch (2:22:14)
Rezitativ : Wo sind nun, die hoh'n Entwürfe (2:24:31)
Terzett : Dann bricht der große Morgen an ! (2:27:02)
Simon : Walter Berry (Baß) ein Pächter / a farmer / un fermier
Hanne : Gundula Janowitz (Sopran) seine Tochter / his daughter / sa fille
Lukas : Werner Hollweg (Tenor) ein junger Bauer / a country lad / un jeune paysan
Chor der Deutschen Oper Berlin
Chorus Master : Walter Hagen-Groll
Berliner Philharmoniker
HERBERT VON KARAJAN
Recorded in 1972, at Berlin
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
Après la glorification musicale de Dieu dans son oratorio "La Création", il a été suggéré à Haydn de parler de la terre, de la nature, des hommes. Un nouveau sujet où le compositeur pouvait composer avec la nature et l'alternance de ses manifestations comme sujet : Les Quatre Saisons. Le fermier Simon, sa fille Hanne et le jeune paysan Lukas animent la description des saisons, ce qui donne à Haydn de grandes possibilités de variations de formes et de groupes de chanteurs, en plus des chœurs de paysans et de chasseurs. La puissante version de Karajan met l'accent sur les échanges entre l'homme et la nature où l'on peut voir le doigt de Dieu.
La musique de Haydn est si fraîche et si éloquente que tous ceux qui l'ont écoutée sans en comprendre les paroles l'apprécieraient. La musique de Haydn, est liée au texte de van Swieten, sans viser consciemment la poésie, mais en espérant évoquer le monde disparu de la gaieté rustique qui brille dans Les Saisons. Il y a de quoi se réjouir dans la représentation des Saisons par Haydn. Ses introductions merveilleusement puissantes aux quatre parties (dommage qu'il les ait abrégées en automne et surtout en hiver) ; ses splendides chœurs, en particulier la Prière et la Jubilation au printemps, le Lever du soleil en été et la scène de la Tempête en hiver, les nombreux chœurs fugués si magistralement conçus.
Puis la peinture de mots par orchestre, jadis méprisée, aujourd'hui appréciable car musicalement si inventive même (peut-être plus) quand elle n'est pas onomatopéique. Les arias, certaines courtes et décrites comme Cavatina, peuvent résumer une situation (simplement exposée dans une narration vivante, comme pour le voyageur d'hiver qui s'égare - peut-être aussi que la description de la mort de Thomson dans la neige a été abandonnée par van Swieten qui l'a envoyé au 'bistro' avec ses joyeuses chansons), ou plus généralement apporter une détente, lyrique malgré les implications plus drastiques du texte.
L'orchestre est toujours utilisé avec économie et grande imagination. Ce dernier s'emballe dans la scène de boisson où triangle, tambourin et double basson sont importés pour le point culminant d'une splendide valse rapide. Il y a un formidable accord de la majeur pour grand orchestre lorsque Winter apparaît pour la première fois. Haydn a peut-être gémi sur un hymne à l'industrie, mais il l'a couronné d'un accord sensationnel de neuvième de dominante. Moins prétentieux, il a utilisé sa grande section de bois avec une merveilleuse perspicacité, notamment la flûte (piccolo pour le laboureur qui siffle) et le basson - souvent, avec une variété éclairante - et bien sûr les trombones, très rares en dehors de la musique d'église de l'époque.
Certaines touches orchestrales peuvent rappeler des musiques plus tardives de Beethoven, Weber, Schumann ou Wagner. La chanson de Jane qui tourne et l'histoire qu'elle raconte au pub en sont des exemples. En fait, les paroles de ces chansons ont été empruntées à des poèmes existants (de Bürger et Weisse, deux poètes bien connus). Le dernier refrain, qui comporte un puissant solo de trompette, peut nous rappeler Haendel, à qui les oratorios de Haydn doivent beaucoup, mais aussi la Flûte enchantée de Mozart qui est souvent rappelée, surtout lorsqu'une phrase commence par une sixte montée, un geste musical d'idéalisme pour les deux compositeurs.
Les opéras de Haydn avaient beaucoup appris à Mozart sur la signification spécifique d'un geste musical, ce qui était d'ailleurs une seconde nature pour Mozart depuis sa jeunesse. Les opéras de Haydn sont pleins de musique qui, malgré sa beauté et son originalité, pourrait tout aussi bien convenir à un autre contexte. Dans La Création et Les Saisons, il apprend à faire correspondre une situation dramatique et un geste musical. De nombreux passages des Saisons suggèrent cette nouvelle découverte et font le vœu qu'il ait vécu pour écrire plus d'opéras dignes de son génie. Il a déclaré qu'avec Les Saisons, il s'était écrit lui-même. Mais la musique est celle d'un jeune homme viril en contact avec le monde rustique où il a grandi. Il semble plus jeune que le Mozart, la moitié de son âge, qui a écrit La Flûte enchantée et le Requiem.
Haydn - Die Schöpfung / The Creation, The Chaos, Adam and Eve duet (reference record.: Karl Forster) : ruclips.net/video/ss-b9NBd_eM/видео.html
Franz Joseph Haydn PLAYLIST (reference recordings) : ruclips.net/video/jplhJGuu8Dw/видео.html
Let's agree that maestro Herbert von Karajan was a true genius and a deep thinking orchestral conductor. This is an excellent interpretation of this heavenly composition by the great Franz Josef Haydn.
I can safely say that this is the most beautiful interpretation of this brilliant work by Haydn.
When you love beautiful music, it's like the impulse of first love.
[Berliner Philharmoniker / HERBERT VON KARAJAN / Recorded in 1972, at Berlin]
Thank you so much for introducing me to a precious album. 👏👏👏👍😊
The opening of the spring is so good. This oratorio is one of the best Haydn's works.
Also his last major piece I think, after it just small ones
@@biomuseum6645
The Seasons was first performed 24 April 1801; it is the magnificent Harmoniemesse (Hob. XX:14) first performed 8 September 1802 that was Haydn’s last major work.
The Creation Mass (Hob. XX:13) first performed 13 September 1801, also post-dates the oratorio.
Thankyou very much for this magnificent performance of Haydn's wonderful work. A welcome light in these dark days.
Certainly worthy of "Century's Recording", this performance of possibly Haydn's most human, influential, and underestimated work shows how Herbert Von Karajan managed to coax the best from his orchestra and from talented singers. The result is a combination of glorious beauty rendered with apparently effortless, understated, and expressive ease. The remastering is superb. Thank you. Sharing this has certainly made my lock-down easier!
La ringrazio per la competenza e l'intelligenza del commento.
This is an absolutely brilliant composition by Haydn..and Karajan was just so perfectly interpreted it so it became absolute beautiful
Magical, extraordinary and truly beautiful piece of music... thank you again CM/RR.
After the musical glorification of God in his oratorio 'The Creation', it was suggested to Haydn of the earth, of nature, of men. A new subject where the composer could compose with nature and the alternation of its manifestations as his subject: The Four Seasons. The farmer Simon, his daughter Hanne and the young peasant Lukas animate the description of the seasons, which gives Haydn great possibilities for variations in forms and groups of singers, in addition to peasant and hunter choirs. Karajan's powerful version emphasizes exchanges between man and nature where the finger of God can be seen. *Click to activate the English subtitles for the complete presentation* (00:00-03:12)
Haydn - Die Schöpfung / The Creation, The Chaos, Adam and Eve duet (reference record.: Karl Forster) : ruclips.net/video/ss-b9NBd_eM/видео.html
Classical Music/ /Reference Recording The Four seasons
@@meishum2304 :-)
Brilliant, magnificent, awesome, the very best version that I have heard.
Literally the best version every 🙏🏾🙏🏾🙏🏾
Since my last comment, and given the time we have on our hands over this awful period, I have listened to other recordings of The Seasons on RUclips, generally most of them are good and competent performances of Haydn's masterpiece. But I always return to this recording, which is exquisite (see my earlier comments). Karajan's interpretation insists on a fundamental reassessment of Haydn's place in the cannon. Some may argue it's not within the ethos of "period" which misses the point. The remastering is superb and brings great clarity to this exceptional performance. Simply, it's an exultation of man and the relationship we have with nature. There is nothing that compares. Once again I thank you for sharing.
Agree I love authentic/ period instrument performances but always return to this one it's very special. A true Classic
Maybe going a bit far. While this is a fabulous performance, I think Harnoncourt's interpretation does compare, and often quite favourably. With moments also of delicacy and lightness & humour that don't come easy to Karajan. Especially in the last sections.
At least you can appreciate recordings from the golden age! I can't say the same for many period geeks. For this recording the commenter before you did not go too far in referring to this recording as special. It is the very definition of the word!
Yea totally agree, this is about the best interpretation you may find.
This is an amazing gem of Haydn's I wasn't aware of! The finale of the summer part (Die düstern Wolken trennen sich ) is very Brahms German Requiem-like... so warm :)
Magnifique hymne à la nature, l'interprétation est exceptionnelle, musique puissante, douce, les voix à la mesure de la musique immense plaisir.
Une des plus belles réussites de H.v Karajan. Quarante ans après
, cet enregistrement tient toujours la route.
Fifty years later actually. Cinquante ans apres...
@@riccardop2851 😉
Una delle più belle registrazioni delle stagioni di haydn. Grande karajan e janovitz
Bro, why everybody rushing the tempo in classical music?? These old recordings, specially by karajan and Bohm are so precious and heart warming! Totally recomend Karl Böhm' Mozart Requiem with teh Vienna philarmonic -- simply my favorite.
Romantic composers despised Haydn... and how much they robbed while despising!
I hear here foreshadowings of Beethoven, Weber, Wagner. "Foreshadow" is not an inferior stage or developmental niveau, this would be utter chronolatry, to foreshadow simply means source of inspiration.
I think the bigger problem was that they misunderstood Haydn, especially as by the early 19th century, they knew only a very tiny percentage of his music.
19th century commentators were in truth, in no position to be making judgements about Haydn at all.
@@pepehaydn7039
You might find the comment above of interest.
@@elaineblackhurst1509 If I am not mistaken, you are a distinghuished Haydn scholar. It is a honor to receive a reply from you. In his essay about the personal relations between Haydn and Beethoven, Webster underlines the "terrifying" uncapability of the romantic culture to understand Haydn.
Sometimes I think that Haydn was not aware of his genious. Good man old Joseph...
Einfach wunderschöne Musik ❤️
Reminds me strongly of Beethoven 6. One beautiful detail (among hundreds in this work) is the flute figure depicting receding lightning in two groups of three figures, then recounted in a group of three figures for the clarinet in the following trio w/ chorus. Delightful and gorgeous orchestral writing.
I wish Karajan had followed Haydn's score and used fortepiano rather than harpsichord for the continuo. This would add a greater bit of modernity to what is a late Classical/slightly early Romantic work. The aria for the wanderer lost in the snow anticipates Schubert ("Wohin? Wohin?"). I also wish Karajan had gone against Haydn's revision and reinstated the original orchestral prelude to Winter, a longer, more chromatic, more effective contrast after the noisy final chorus of Autumn.
Indeed this is a wonderful towering intepretation.
An unusually raw presentation of this fine work from Papa Haydn!
…from Joseph Haydn.
"Une merveille" : ces deux mots suffisent à eux seuls...
Thank you ~ Magnifique 🎼
c'est magnifique
Thank you! 🌸
Los mejores recursos puestos a disposición del gran Joseph.
von Karajan is still the best and the greatest music maker!
@@f.w.2054 Furtwangler has nothing to say about that. Karajan certainly wasn't THE greatest conductor of all time, but he was among them. Furtwangler less so, primarily because he was lousy and didn't bother rehearsing the orchestra to play the notes. That's why a lot of his recordings have a ton of mistakes and fallible playing. He had a genius vision for a lot of works though.
@@f.w.2054 Your comment flies in the way of reality, what I'm saying is that Furtwangler had great ideas about how certain pieces should go, but often wasn't capable of getting the orchestra to play it often times. That's just a fact. Of course the best example is his 1942 Beethoven Ninth which is hailed as the greatest ever by certain people. It is objectively a terrible performance, horribly recorded, the orchestra isn't together, full of mistakes. Furtwangler was a great conductor, that's it. He was no deity.
@@f.w.2054 and the fact that he was an inspiration to many, has nothing to do with the music and is totally irrelevant to the subject.
@@f.w.2054 Just from the recordings, and his recordings have been surpassed, that's all there is to it.
@@f.w.2054 It's really not hard to understand, he was a great conductor no doubt about it, he had some great performances and interpretations. But he had massive faults and was far from a perfect conductor. Btw he did a great Ninth in Lucerne at the very end of his life, the orchestra actually plays the notes for him and realizes his vision for the work.
Sounds like Mendelssohn and even Mahler in some points...
good sound.
Great music
Magnifique enregistrement.
OUI :-)
💕
Cold
Hear a lot of Beethoven's concerto for piano and chorus here.
Beethoven must have listened and learned well from his tutor - Haydn
@@TheKingUgb
Beethoven learned a huge amount from Haydn, but absolutely *not* from the counterpoint lessons from Fux’s Gradus ad Parnassum taken on-and-off over about fourteen months between his arrival in Vienna in November 1792, and Haydn’s departure for his second trip to England in January 1794.
Any imaginary perceived links between Beethoven piano concerti, The Seasons, and the counterpoint lessons are entirely fanciful.
start~!! Michelangelo~!!!
Mozart is number 1 fe me, but Haydn is as grt as wll.💎😍🔮🙂🤙🏽
Why the sound is saturated like this
This was recorded in 1972 and this was the sound we experienced back then. We're too spoiled with digital sound nowadays.
Quel est le genre d'une œuvre pareil ? Cantate/oratorio profane ?
Il s'agit bien d'un Oratorio :)
I listened to this interpretation from a 3 lp set (Angel) and it's not my cup of tea. Karajan isn't capable of catching my attention for long. The sound is terrible, muffled ... no layers can be found ! Also a pretty uninteresting story.
For me Karajan's Tchaikovsky is pretty good. Here he can accelerate and being bombastic. I also can stand both of his Beethoven cycles.
The story is not uninteresting at all. Actually, it describes, poetically, a lifestile now dissapeared. My grandparents, in their childhood in Central Castilla (Spain), lived in a world somehow similar to Haydn`s without electricity, cars (my grandfather could even remember oxen carts coming from Valencia loaded with oranges), watermills and small stone houses full of domestic animals (dogs, hens, donkey or horse, cows, pigs...). This music brings to my mind the stories they told me as a child. Curiously my grandma loved this music (Böhm´s version)... she did not understand a single word in German and she did not even know that it is sung in German...
Stijn..how big of you to be able to stand Karajans Beethoven cycle, one of the glories of recorded classical music (the first and second cycles). The sound here might not be high tech, but it more than conveys this human and humane interpretation of what may be Haydns masterpiece. Berry and Janowitz are predictably first rate!