Introduction to Schubert, “Schwanengesang” (Swan Song), D.957
Introduction: Schumann, “Liederkreis” (Song-Cycle), op.39
Tango sinfonico
Haydn, Symphony No.79 in F major
Christopher Hogwood founded the Academy of Ancient Music in 1973 and is one of the pioneers of historical performance practice as a harpsichordist and conductor. His interpretations of the Baroque and classical opera and concert literature have brought him international acclaim. The Academy of Ancient Music has taken as its goal the performance of the works of the Baroque and Classical eras on historic instruments. The ensemble, which has a varying amount of performers, boasts a number of outstanding specialists for historical performance practice. The performance of this Haydn symphony took place in Salzburg on 2 February 1997 during the “Mozart Weeks”.
Mozart, Piano Concerto in B flat major, K. 450
Christopher Hogwood founded the Academy of Ancient Music in 1973 and is one of the pioneers of historical performance practice as a harpsichordist and conductor. His interpretations of the Baroque and classical opera and concert literature have brought him international acclaim. The Academy of Ancient Music has taken as its goal the performance of the works of the Baroque and Classical eras on historic instruments. The ensemble, which has a varying amount of performers, boasts a number of outstanding specialists for historical performance practice. The performance of this Mozart concerto with Robert Levin at the fortepiano took place in Salzburg on 2 February 1997 during the “Mozart Weeks”.
Mozart, Piano Concerto No. 26 in D major, K. 537 (Coronation Concert)
Christopher Hogwood founded the Academy of Ancient Music in 1973 and is one of the pioneers of historical performance practice as a harpsichordist and conductor. His interpretations of the Baroque and classical opera and concert literature have brought him international acclaim. The Academy of Ancient Music has taken as its goal the performance of the works of the Baroque and Classical eras on historic instruments. The ensemble, which has a varying amount of performers, boasts a number of outstanding specialists for historical performance practice. Soloist Robert Levin has made a name for himself as a specialist of historical performance practice and as a musicologist who has edited a reconstructed a number of works. The performance of Mozart’s Concerto K. 537 took place in Salzburg on 1 Februar 1997 during the “Mozartwoche”.
Mozart, Divertimento No.I and III for two Clarinets and Bassoon in B flat major, K. 439b (Mozartwoche 1997)
“Berlin meets Vienna” in this concert of the Ensemble Wien-Berlin. The wind quintet, which often performs in an expanded setting that includes strings, is formed of members of the Vienna Philharmonic and Berlin Philharmonic Orchestras. The ensemble has been guesting throughout the world since 1983. This concert was recorded at the Salzburg “Mozartwoche” in January 1997.
Mozart, Sonata for Bassoon and Violoncello in B flat major, K. 292 (Mozartwoche 1997)
The ensemble “Berlin trifft Wien” – Berlin Meets Vienna – consists of members of the Vienna Philharmonic and Berlin Philharmonic Orchestras. The ensemble has been touring the entire world since 1983 now. The bassoonist Milan Turkovic is one of the few internationally known bassoon soloists. He was solo bassoonist of the Vienna Symphony until 1984 and has since been devoting himself exclusively to his solo activity. The cellist Gerhard Iberer, born in Graz in 1958, has been a cellist with the Vienna Philharmonic since 1985.
Mozart, Divertimento “Le nozze di Figaro” for two Clarinets and Bassoon (Mozartwoche 1997)
Three pieces were arranged in the Divertimento “Le nozze di Figaro”: the rondo “Al desio di chi t’adora” K. 577, which Mozart wrote as replacement for Susanna’s aria “Deh vieni non tardar”, as well as Cherubino’s arietta “Voi, che sapete” and Figaro’ aria “Non più andrai, farfallone amoroso” ro from “Le nozze di Figaro.”