79.00 PLN

Studio Master FLAC 24/96:

Nr kat.: HDTT030F
Label  : HDTT (USA)

79.00 PLN

HQ CD:

Nr kat.: HDTT030Q
Label  : HDTT (USA)

69.00 PLN

DVD-Audio:

Nr kat.: HDTT030D
Label  : HDTT (USA)

The Symphony No. 2 in D, Op. 73 was composed by Johannes Brahms in the summer of 1877 during a visit to the Austrian Alps. Its gestation was brief in comparison with the fteen years which Brahms took to complete his First Symphony. The symphony is scored for 2 utes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings (violins I and II, viola, cello, and double bass). In the Second Symphony, Brahms preserved the structural principles of the Classical symphony, in which two lively outer movements frame a slow second movement followed by a short scherzo: * Allegro non troppo in D major The cellos and double-basses start o the symphony on a tranquil note before the horns gently announce the main theme. The woodwind instruments developed the section and other instruments joined in gradually progressing into a full-bodied forte (bar 58). A new theme is introduced in bar 82 in F sharp minor. After bar 182, the symphony may be repeated from the beginning depending on the conductor and orchestra. After the development section (see sonata form), the second subject is repeated again in bar 370. Towards the conclusion of the rst movement, Brahms marked bar 497 as 'in tempo, sempre tranquillo' and it is this mood which pervades the remainder of the movement as it closes in the home key of D major. * Adagio non troppo in B major A brooding subject is introduced by the cellos from bars 1 to 12 alongside the bassoons and double basses. Brahms inserted a new tempo in bar 33 marked 'L'istesso tempo, ma grazioso'. Here, the dark and sombre mood of the piece continues until the end of the movement. * Allegretto grazioso (quasi andantino) in G major Pizzicato cello provides the backdrop at the beginning but the oboe carries the main melody. A contrasting second subject marked 'Presto ma non assai' begins with the string instruments and the full orchestra develops the theme. Bar 107 returns to the main tempo and gentle mood but the idyll setting was again disrupted in bar 126 when the earlier 'Presto' marking makes a re-entry. Brahms yet again diverts the piece back into its principal tempo (bar 194) and thereafter to its peaceful close. * Allegro con spirito in D major. Busy-sounding (but quiet) strings begin the nal movement. A loud section breaks in unexpectedly in bar 23 with the full orchestra. As the excitement appears to fade away, violins introduce a new subject in A major marked 'largamente' (to be played 'broadly'). The wind instruments would repeat this and develops into the other instruments as well. Bar 155 of the movement repeats the symphony's rst subject again but instead of the joyful outburst heard earlier, Brahms introduced the movement's development section. A mid-movement 'tranquillo' section (bar 206) elaborates earlier material. The rst theme comes in again (bar 244) and the familiar orchestral forte is played. This time, instead of the A major theme in the 'largamente' marking, Brahms allows the theme to be reprised in the symphony's home key of D major. Towards the end of the symphony, descending chords and a mazy run of notes by various intruments of the orchestra (bars 395 to 412) sound out the familiar A major theme again but this time drowned out in a blaze of brass instruments as the symphony ends on a triumphant note by the full orchestra complete with a timpani drumroll. The cheerfulness of the Symphony has been likened with the pastoral mood of Ludwig van Beethoven's Sixth Symphony. In contrast, Brahms' First Symphony was marked by its sombre tonality (C minor). The composer had written to his publisher (November 22, 1877) that the forthcoming symphony would be music of melancholy, that indeed the score must come out in mourning ([1]). And while the work is not tragic nor especially dramatic, the mood of the rst two movements, largely quiet or contemplative and reaching climaxes in the minor, suggests that this letter may not have been entirely a creation of wit. The last two movements are lighter in mood but also much briefer. One interesting fact about the rst movement is what starts as a cello theme which transfers to woodwinds and upper strings; the theme is what is commonly known as the "Lullaby" which Brahms is famous for in popular culture. The premiere was given on December 30 1877 in Vienna under the direction of Hans Richter. A typical performance lasts around 40 minutes. Charles Munch Born: September 26, 1891 - Strasbourg, Alsace, France Died: November 6, 1968 - Richmond, Virginia, USA The eminent Alsatian-born French conductor, Charles Munch (originally, Münch), was the son of the Alsatian organist and choral conductor Ernst Münch (1859-1928). His elder brother was the choir-master and professor of music, Fritz Münch. Charles studied violin at the Strasbourg Conservatory and with Lucien Capet in Paris. At the outbreak of World War I (1914), he enlisted in the German army; made a sergeant of artillery, he was gassed at Peronne and wounded at Verdun; after the end of the war (1918) and his return to Alsace-Lorraine (1919), he became a naturalised French citizen. Having received further violin training from Flesch in Berlin, Charles Munch pursued a career as a soloist; was also professor of violin at the Leipzig Conservatory and concert-master of the Gewandhaus Orchestra there. In November 1932, he made his professional conducting debut in Paris with the Straram Orchestra. He studied conducting with Szendrei in Paris from 1933 to 1940. He quickly rose to prominence; was conductor of Paris's Orchestra de la Société Philharmonique from 1935 to 1938, and in 1936 became a professor at the École Normale de Musique. In 1938 he became music director of the Société des Concerts du Conservatoire de Paris, remaining in that post during the years of the German occupation during World War II; refusing to collaborate with the Nazis, he gave his support to the Resistance, being awarded the Légion d'honneur in 1945. Charles Munch made his USA debut as a guest conductor of the Boston Symphony Orchestra in December 1946; a trans-continental tour of the USA with the French National Radio Orchestra followed in1948. In 1949 he was appointed music director of the Boston Symphony Orchestra, which he and Monteux took on its rst European tour in 1952; they took it again to Europe in 1956, also touring in the Soviet Union, making it the rst USA orchestra to do so. After retiring from his Boston post in 1962, he made appearances as a guest conductor; also helped to launch the Orchestre de Paris in 1967. Charles Munch acquired an outstanding reputation as an interpreter of the French repertoire, his performances being marked by spontaneity, colour, and elegance. French music of the 20th century also occupied a prominent place on his programs; he brought out new works by Roussel, Milhaud, Arthur Honegger, and others. He wrote Je suis chef d'orchestre (1954).