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Haydn and Mozart in the III Concert of the II Season, 2020

The III Concert of the II Season 2020 will be the next digital delivery. Concert recorded live on Friday, October 2 at the Pumapungo Theater will be broadcast this Saturday, October 10 at 8 PM in the Digital Concert Hall of the Cuenca Symphony Orchestra on YouTube https://www.youtube.com/user / sinfonicacuenca and on Facebook https://www.facebook.com/sinfonicacuenca. It should be noted that the concert was recorded strictly following the "Work Protocol for the Production of Audiovisual and Cinematographic Works during the health crisis caused by COVID-19 in Ecuador" processed by the Ministry of Culture and approved by the National COE.
 
The repertoire includes: Symphony No. 6 The Morning, Le matin by Joseph Haydn and Symphony No. 33 in B Flat Major by Wolfgang Amadeus Mozart.
 
Symphony N ° 6 The morning Le matin. Joseph Haydn. Among the first scores that Joseph Haydn wrote in 1761 for his new patron, Prince Paul Anton Esterhazy, is the symphonic triptych Le Matin (Morning), Le Midi (Noon) and Le Soir (Night).
Programmatic works of this type have been in vogue since the Baroque, and Haydn combines two forms in them: the symphony and the concertante symphony, in which a small group of soloists is intertwined with the tutti, the entire orchestra.
The first movement of the Le Matin Symphony begins with the musical description of the dawn, a precursor to the same effect in his late work The Creation. The flute, the solo violin and the horn are the soloists of the following Allegro. The slow movement is divided into several episodes, dominated by the violin and the cello alone, descriptive music without specific extra-musical content. In the Menuetto Haydn presents the flute, bassoon and double bass as soloists, while in the Final the flute and solo violin dominate, which in Haydn's orchestra was none other than Luigi Tomasini, a virtuoso of European fame.
 
Symphony No. 33 in B Flat Major. Wolfgang Amadeus Mozart. It dates from 1779, still composed in Salzburg. It begins with a fine Allegro assai, with plenty of thematic material. Most surprising is in the development section the appearance of the famous 4-note motif, which will reappear in the finale of his latest symphony, the Jupiter. The serene Andante moderato is characterized by the sonorous theme of the strings. Its form A-B-A reverses the order of the themes in its third section, while the central part has the structure of a fughetto. The Menuetto surprises with its strong, exaggerated entries, while the Trio has the innocent tone of Haydn. The Finale - Allegro assai is very virtuous and of great contrapuntal finesse. As in the first two movements, here too the central section opens with a new motif, one of many elements that guarantee the coherence of the entire work, despite its multifaceted content and novel form.
 
With this delivery there will be 32 digital concerts that the public can enjoy and share from anywhere on the planet at the time and as many times as they wish in the Digital Room of the Cuenca Symphony Orchestra.
         
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