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Berliner Philharmoniker, Nikolaus Harnoncourt: Schubert – Symphonies 1-8 (24/48 FLAC)

Berliner Philharmoniker, Nikolaus Harnoncourt: Schubert - Symphonies 1-8 (24/48 FLAC)

Berliner Philharmoniker, Nikolaus Harnoncourt: Schubert – Symphonies 1-8 (24/48 FLAC)

Composer: Franz Schubert
Orchestra: Berliner Philharmoniker
Conductor: Nikolaus Harnoncourt
Number of Discs: 4
Format: FLAC (tracks)
Label: Berliner Philharmoniker
Release: 2019
Size: 2.72 GB
Recovery: +3%
Scan: cover

CD 01
Symphony No. 1 in D major, D. 82
01. I. Adagio – Allegro vivace
02. II. Andante
03. III. Menuetto. Allegretto – Trio
04. IV. Allegro vivace

Symphony No. 2 in B-Flat Major, D. 125
05. I. Largo – Allegro vivace
06. II. Andante
07. III. Menuetto. Allegro vivace – Trio
08. IV. Presto vivace

CD 02
Symphony No. 3 in D major, D. 200
01. I. Adagio maestoso – Allegro con brio
02. II. Allegretto
03. III. Menuetto. Vivace – Trio
04. IV. Presto vivace

Symphony No. 4 in C minor, D. 417 “Tragic”
05. I. Adagio molto – Allegro vivace
06. II. Andante
07. III. Menuetto. Allegro vivace – Trio
08. IV. Allegro

CD 03
Symphony No. 5 in B-flat Major, D. 485
01. I. Allegro
02. II. Andante con moto
03. III. Menuetto. Allegro molto – Trio
04. IV. Allegro vivace

Symphony No. 6 in C major, D. 589
05. I. Adagio – Allegro
06. II. Andante
07. III. Scherzo. Presto – Trio. Più lento
08. IV. Allegro moderato

Symphony No. 7 in B minor, D. 759 “Unfinished”
09. I. Allegro moderato
10. II. Andante con moto

CD 04
Symphony No. 8 in C Major, D. 944 “Great”
01. I. Andante – Allegro ma non troppo
02. II. Andante con moto
03. III. Scherzo. Allegro vivace – Trio
04. IV. Finale. Allegro vivace

The works on Viktoria Mullova’s new album devoted to Arvo Pärt’s music for violin stem from the composers study of medieval church music, and are products of what Arvo Pärt himself describes as a ‘tintinnabuli’ style, developed by the composer in the 1970s through studying medieval church music ‘I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements – with one voice, two voices. I build with primitive materials – with the triad, with one specific tonality. The three notes of a triad are like bells and that is why I call it tintinnabulation.’

They have become some of the most iconic pieces in the contemporary repertoire and have reached out way beyond the usual ‘classical’ music world in their popularity. This album was recorded in the presence of the composer.

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