Nikolaus Harnoncourt - The Revolutionary Spirit: Rediscovering the True Sound (2026)
Artist: Nikolaus Harnoncourt, Concentus Musicus Wien
Title: The Revolutionary Spirit: Rediscovering the True Sound
Year Of Release: 2026
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks)
Total Time: 8:32:34
Total Size: 2.41 GB
WebSite: Album Preview
Tracklist:Title: The Revolutionary Spirit: Rediscovering the True Sound
Year Of Release: 2026
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks)
Total Time: 8:32:34
Total Size: 2.41 GB
WebSite: Album Preview
01. Symphony No. 40 in G Minor, K. 550: I. Molto allegro
02. 8 Slavonic Dances, Op. 46, B. 83: No. 5 in A Major
03. 8 Slavonic Dances, Op. 46, B. 83: No. 7 in C Minor
04. Symphony No. 7 in A Major, Op. 92: II. Allegretto
05. Orchestral Suite No. 2 in B Minor, BWV 1067: VI. Menuet
06. Orchestral Suite No. 2 in B Minor, BWV 1067: VII. Badinerie
07. Symphony No. 3 in F Major, Op. 90: III. Poco allegretto
08. Symphony No. 60 in C Major, Hob. I:60 "Il distratto": III. Menuetto - Trio
09. Symphony No. 68 in B-Flat Major, Hob. I:68: IV. Finale. Presto
10. Le nozze di Figaro, K. 492: Sinfonia
11. Le nozze di Figaro, K. 492, Act 1: Aria. "Non più andrai" (Figaro)
12. Symphony No. 33 in B-Flat Major, K. 319: II. Andante moderato
13. Piano Concerto in A Minor, Op. 54: II. Intermezzo. Andantino grazioso
14. Symphony No. 3 in E-Flat Major, Op. 97 "Rhenish": IV. Feierlich
15. Symphony No. 3 in E-Flat Major, Op. 97 "Rhenish": V. Lebhaft
16. Aida, Act 1: Preludio
17. Aida, Act 2: Marcia trionfale
18. Die Entführung aus dem Serail, K. 384: Overture
19. The Four Seasons, Violin Concerto in F Minor, Op. 8 No. 4, RV 297 "Winter": I. Allegro non molto
20. The Four Seasons, Violin Concerto in F Minor, Op. 8 No. 4, RV 297 "Winter": II. Largo
21. The Four Seasons, Violin Concerto in F Minor, Op. 8 No. 4, RV 297 "Winter": III. Allegro
22. Der Tag des Gerichts, TWV 6:8, Pt. 1: No. 1, Introduction
23. Suite de Castor et Pollux: I. Ouverture
24. Stabat Mater: I. Stabat mater dolorosa
25. Dido and Aeneas, Z. 626, Act 1: The Triumphing Dance
26. Messiah, HWV 56, Pt. 1: Sinfonia
27. Messiah, HWV 56, Pt. 2: Chorus. "Hallelujah"
28. Water Music, Suite No. 1 in F Major, HWV 348: I. Overture
29. Water Music, Suite No. 2 in D Major, HWV 349: I. Allegro
30. Water Music, Suite No. 2 in D Major, HWV 349: II. Alla Hornpipe
31. Violin Concerto No. 1 in A Minor, BWV 1041: I. —
32. Violin Concerto No. 1 in A Minor, BWV 1041: II. Andante
33. Violin Concerto No. 1 in A Minor, BWV 1041: III. Allegro assai
34. Mass in B Minor, BWV 232: Gloria in excelsis
35. Orchestral Suite No. 3 in D Major, BWV 1068: II. Air
36. Clarinet Concerto in A Major, K. 622: II. Adagio
37. Don Giovanni, K. 527: Overture
38. Don Giovanni, K. 527, Act 1: "Madamina, il catalogo è questo" (Leporello)
39. Don Giovanni, K. 527, Act 1: "Là ci darem la mano" (Zerlina, Don Giovanni)
40. Symphony No. 6 in F Major, Op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute. Allegro
41. Symphony No. 6 in F Major, Op. 68 "Pastoral": IV. Gewitter. Sturm. Allegro -
42. Symphony No. 6 in F Major, Op. 68 "Pastoral": V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto
43. Symphony No. 5 in B-Flat Major, D. 485: IV. Allegro vivace
44. A Midsummer Night's Dream, Op. 61, MWV M13: No. 1, Scherzo
45. Symphony No. 4 in A Major, Op. 90, MWV N16 "Italian": III. Con modo moderato
46. 8 Slavonic Dances, Op. 72, B. 147: No. 11 in F Major
47. 8 Slavonic Dances, Op. 72, B. 147: No. 13 in B-Flat Minor
48. Symphony No. 2 in D Major, Op. 73: III. Allegretto grazioso. Quasi andantino
49. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": III. Scherzo. Bewegt - Trio. Nicht zu schnell (1886 Version)
50. Symphony No. 7 in D Minor, Op. 70, B. 141: III. Scherzo. Vivace
51. Symphony No. 39 in E-Flat Major, K. 543: III. Menuetto. Allegretto
52. Der Kobold, Op. 226
53. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": II. Adagio un poco mosso
54. Fidelio, Op. 72, Act 1: "O welche Lust" (Chor)
55. Piano Concerto No. 26 in D Major, K. 537 "Coronation": II. Larghetto
56. Ballet Music for Idomeneo, K. 367: No. 4, Gavotte
57. Concerto for Two Pianos No. 10 in E-Flat Major, K. 365: III. Rondeau. Allegro
58. Symphony No. 30 in D Major, K. 202: III. Menuetto
59. Symphony No. 30 in D Major, K. 202: IV. Presto
60. Suite de Castor et Pollux: III. Tambourin
61. Prima la musica e poi le parole: Sinfonia
62. Aida, Act 2: Ballabile
63. Flute Concerto in G Minor, Op. 10 No. 2, RV 439 "La notte": I. Largo
64. Flute Concerto in G Minor, Op. 10 No. 2, RV 439 "La notte": II. Fantasmi. Presto
65. Flute Concerto in G Minor, Op. 10 No. 2, RV 439 "La notte": III. Largo
66. Flute Concerto in G Minor, Op. 10 No. 2, RV 439 "La notte": IV. Allegro
67. Flute Concerto in G Minor, Op. 10 No. 2, RV 439 "La notte": V. Largo. Il sonno
68. Flute Concerto in G Minor, Op. 10 No. 2, RV 439 "La notte": VI. Allegro
69. The Four Seasons, Violin Concerto in F Major, Op. 8 No. 3, RV 293 "Autumn": II. Adagio molto
70. Requiem in D Minor, K. 626: Introitus
71. Requiem in D Minor, K. 626: Kyrie
72. Requiem in D Minor, K. 626: Lacrimosa
73. Armida, Hob. XXVIII:12: Overture. Sinfonia
74. Armida, Hob. XXVIII:12, Act 3: Marcia
75. Symphony No. 95 in C Minor, Hob. I:95: IV. Finale. Vivace
76. Musikalisches Opfer, BWV 1079: Ricercar a 3
77. Musikalisches Opfer, BWV 1079: Canon perpetuus super thema Regium
78. Musikalisches Opfer, BWV 1079: Canon a 2 cancrizans
79. Musikalisches Opfer, BWV 1079: Canon a 2 violini in unisono
80. Musikalisches Opfer, BWV 1079: Canon a 2 per motum contrarium
81. Musikalisches Opfer, BWV 1079: Canon a 2 per augmentationem, contrario motu
82. Musikalisches Opfer, BWV 1079: Canon a 2 per tonos
83. Musikalisches Opfer, BWV 1079: Fuga canonica in epidiapente
84. Weihnachtsoratorium, BWV 248, Pt. 2: No. 10, Sinfonia
85. Mensa sonora, Pars III in A Minor, C. 71: IV. Ciacona
86. Belshazzar, HWV 61: Overture
87. Die Zauberflöte, K. 620, Act 2: "O Isis und Osiris" (Sarastro, Chor)
88. Die Zauberflöte, K. 620, Act 2: "Ein Mädchen oder Weibchen" (Papageno)
89. La finta giardiniera, K. 196: Overture
90. The Fairy Queen, Z. 629: First Music. Prelude - Hornpipe
91. Violin Concerto in B-Flat Major, Op. 8 No. 10, RV 362 "La caccia": I. Allegro
92. Violin Concerto in B-Flat Major, Op. 8 No. 10, RV 362 "La caccia": II. Adagio
93. Violin Concerto in B-Flat Major, Op. 8 No. 10, RV 362 "La caccia": III. Allegro
94. Violin Concerto in G Minor, BWV 1056R: III. Presto
95. Matthäus-Passion, BWV 244, Pt. 1: No. 1, Chor. "Kommt, ihr Töchter helft mir klagen"
96. Matthäus-Passion, BWV 244, Pt. 2: No. 39, Aria. "Erbarme dich"
97. Violin Concerto in D Major, Op. 61: II. Larghetto
98. Symphony No. 9 in D Minor, Op. 125: IV. Presto - Allegro assai - "Ode to Joy" (Excerpt)
99. Piano Concerto No. 2 in B-Flat Major, Op. 83: II. Allegro appassionato
100. Symphony No. 7 in E Major, WAB 107: III. Scherzo. Sehr schnell - Trio. Etwas langsamer
101. 8 Slavonic Dances, Op. 72, B. 147: No. 9 in B Major
102. 8 Slavonic Dances, Op. 72, B. 147: No. 10 in E Minor
103. Fantasy for Two Pianos
104. Der Freischütz, Op. 77, J. 277, Act 1: Overture
105. Symphony No. 8 in B Minor, D. 759 "Unfinished": II. Andante con moto
106. Symphony No. 35 in D Major, K. 385 "Haffner": IV. Finale. Presto
107. Serenade for Winds No. 10 in B-Flat Major, K. 361 "Gran partita": VII. Finale. Molto allegro
108. Mass in C Major, K. 317 "Coronation": Kyrie
109. Symphony No. 41 in C Major, K. 551 "Jupiter": I. Allegro vivace
110. Mass in B-Flat Major, Hob. XXII:13 "Creation Mass": Kyrie I
111. Mass in B-Flat Major, Hob. XXII:13 "Creation Mass": Kyrie II
112. Brandenburg Concerto No. 1 in F Major, BWV 1046: II. Adagio
113. Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: I. —
114. Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: II. Adagio ma non tanto
115. Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: III. Allegro
116. Radetzky March, Op. 228 (Live, 2001)
Perhaps no single musician ever achieved such high accomplishment across such a broad span of repertory as Nikolaus Harnoncourt. His first professional job was as cellist for the Vienna Symphony Orchestra. Almost immediately, however, Harnoncourt sought to specialize in performing music of the past upon historically correct instruments; he was one of the first professional musicians to do so. Over the course of a stunningly influential career, Harnoncourt gradually worked forward into more modern repertories. His many awards include repeated top recording medals from at least six European countries, and a Grammophone Award for Special Achievement in 1990. His decades of recordings on the Teldec label fully encompass seven centuries of music history.
Harnoncourt considered his own life strongly influenced by an adolescence under the shadow of Nazism. He was born Nikolaus de la Fontaine und d'Harnoncourt in Berlin; his aristocratic family moved south to its ancestral mansion in Graz, Austria. After years of hardship under the Nazi regime, the Harnoncourt family fled to Salzburg in 1945. There he found his calling, and began studying the cello under Paul Grummer. No less a figure than Herbert von Karajan accepted Harnoncourt into the Vienna Symphony in 1952. However, his path was destined elsewhere. While in college, Harnoncourt became fascinated by the original Baroque instruments languishing in antique shops, and wondered why professional musicians didn't use these brilliant artifacts to produce the music of their time.
In 1953, Harnoncourt and his wife Alice founded the Concentus Musicus Wien, the first professional Baroque orchestra. They took players from the symphony, trained collaboratively for four years on early instruments, and exploded onto the European scene in 1957. Their first recording project was the Purcell Viol Fantasias, followed by a series of highly acclaimed recordings of the major works of Bach. In the 1970s, Harnoncourt and Gustav Leonhardt collaborated on a massive recording project of all Bach's cantatas. Meanwhile, Harnoncourt and Concentus Musicus romped through much of the Baroque literature, including Monteverdi's operas, Telemann, Rameau, and Fux. Later, he broadened his repertory to include Haydn and Mozart with Concentus Musicus, as well as masterworks from the 19th century operatic and symphonic repertory (including a million-selling cycle of Beethoven symphonies) with the Chamber Orchestra of Europe, the Berlin Philharmonic, and the Concertgebouw Orchestra. He taught as professor of performance practice at the Salzburg Mozarteum (1972-1993), and wrote three full-length books on the subject closest to his heart. He maintained a close relationship guest conducting the Vienna Philharmonic in the years just before his retirement in late 2015 for health reasons. Harnoncourt passed away soon after, leaving behind a legacy as a widely knowledgable, collegial, and well-respected conductor. © Timothy Dickey
Harnoncourt considered his own life strongly influenced by an adolescence under the shadow of Nazism. He was born Nikolaus de la Fontaine und d'Harnoncourt in Berlin; his aristocratic family moved south to its ancestral mansion in Graz, Austria. After years of hardship under the Nazi regime, the Harnoncourt family fled to Salzburg in 1945. There he found his calling, and began studying the cello under Paul Grummer. No less a figure than Herbert von Karajan accepted Harnoncourt into the Vienna Symphony in 1952. However, his path was destined elsewhere. While in college, Harnoncourt became fascinated by the original Baroque instruments languishing in antique shops, and wondered why professional musicians didn't use these brilliant artifacts to produce the music of their time.
In 1953, Harnoncourt and his wife Alice founded the Concentus Musicus Wien, the first professional Baroque orchestra. They took players from the symphony, trained collaboratively for four years on early instruments, and exploded onto the European scene in 1957. Their first recording project was the Purcell Viol Fantasias, followed by a series of highly acclaimed recordings of the major works of Bach. In the 1970s, Harnoncourt and Gustav Leonhardt collaborated on a massive recording project of all Bach's cantatas. Meanwhile, Harnoncourt and Concentus Musicus romped through much of the Baroque literature, including Monteverdi's operas, Telemann, Rameau, and Fux. Later, he broadened his repertory to include Haydn and Mozart with Concentus Musicus, as well as masterworks from the 19th century operatic and symphonic repertory (including a million-selling cycle of Beethoven symphonies) with the Chamber Orchestra of Europe, the Berlin Philharmonic, and the Concertgebouw Orchestra. He taught as professor of performance practice at the Salzburg Mozarteum (1972-1993), and wrote three full-length books on the subject closest to his heart. He maintained a close relationship guest conducting the Vienna Philharmonic in the years just before his retirement in late 2015 for health reasons. Harnoncourt passed away soon after, leaving behind a legacy as a widely knowledgable, collegial, and well-respected conductor. © Timothy Dickey
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