目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Symphony in D major, J-C 16：I. Alla breve | 00:02:13 |
| 2 | Symphony in D major, J-C 16：II. Andante sempre piano | 00:02:55 |
| 3 | Symphony in D major, J-C 16：III. Presto | 00:01:23 |
| 4 | Symphony in E flat major, Op. 4, No. 6：I. Allegro maestoso | 00:03:51 |
| 5 | Symphony in E flat major, Op. 4, No. 6：II. Adagio | 00:06:01 |
| 6 | Symphony No. 22 in E flat major, Hob.I:22, “The Philosopher”：III. Menuetto | 00:03:13 |
| 7 | Symphony No. 22 in E flat major, Hob.I:22, “The Philosopher”：IV. Finale: Presto | 00:03:05 |
| 8 | Symphony No. 35 in D major, K. 385, “Haffner”：IV. Finale: Presto | 00:04:00 |
| 9 | Symphony No. 41 in C major, K. 551, “Jupiter”：II. Andante cantabile | 00:11:24 |
| 10 | Symphony No. 104 in D major, Hob.I:104, “London”：I. Adagio – Allegro | 00:08:22 |
| 11 | Symphony No. 7 in A major, Op. 92：I. Poco sostenuto – Vivace | 00:14:25 |
| 12 | Symphony No. 8 in B minor, D. 759, “Unfinished”：I. Allegro moderato | 00:14:50 |
| 13 | Symphonie fantastique, Op. 14：II. Un Bal: Valse – Allegro non troppo | 00:06:15 |
| 14 | Symphonie fantastique, Op. 14：IV. Marche au supplice: Allegretto non troppo | 00:04:44 |
| 15 | Symphony No. 2 in D major, Op. 73：II. Adagio non troppo | 00:09:45 |
| 16 | Symphony No. 2 in B minor：I. Allegro | 00:06:56 |
| 17 | Symphony No. 10：Adagio (excerpt) | 00:25:45 |
| 18 | Symphony No. 3 in C major, Op. 52：III. Moderato: Allegro (ma non tanto) | 00:08:40 |
| 19 | Symphony No. 2 in E flat major, Op. 63：III. Rondo | 00:08:08 |
| 20 | Symphony No. 10 in E minor, Op. 93：II. Allegro | 00:04:12 |
| 21 | Symphony No. 3：I. Molto moderato | 00:10:41 |
| 22 | Symphony No. 1：IV. Allegro vivace | 00:05:21 |
| 23 | Symphony No. 45 in F sharp minor, Hob.I:45, “Farewell”：IV. Finale: Presto – Adagio (conclusion) | 00:08:05 |
专辑简介
The 2 CDs in this Naxos ‘Discover’ series contain excerpts of 23 representative symphonies (150 minutes of music) of 23 important composers and that in very decent interpretations.
In the accompanying booklet Keith Harrison sketches a brief history of the symphony as a musical form, together with a short introduction of the life of the different composers, a succinct analysis of one of their major works and a historical context.
The origin of the symphony lies in the French and Italian ‘sinfonia’, an instrumental introduction (overture) or interpolation into a more extended work (an opera). In Italy with Alessandro Scarlatti, the overture became an independent instrumental work with three movements: fast, slow, fast.
Joseph Haydn should be considered as the father of the ‘Classical’ symphony, paving the way for such geniuses as Mozart and Beethoven.
Keith Anderson also analyzes technically the general form (movements) and the keys in which a classical symphony is written.
