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Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Now II : part II of the cycle Profiles of Light

Now II : part II of the cycle Profiles of Light

“Now II” is the second part of a triptych of chamber pieces entitled “Profiles of Light”. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013). All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities. This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.

SEK 281.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the ‘Paris’ symphonies (Hob. I:82-87) and their ‘London’ counterparts (Hob. I: 93-104) the last ones he wrote before histrips to England in 1791-92 and 1794-95.The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The secondand fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests thatheregarded them as a sort of musical quarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.This edition continues the collaborationwith the Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies. It is based on the Henle Complete Edition of the Works of Joseph Haydn. The complete performance material for several Sturm undDrang symphonies and all of the London and Paris symphonies is now available from Bärenreiter.

SEK 478.00
1