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The courts of Mannheim and Esterházy possessed the best orchestras and instrumental soloists that were available at the end of the 18th century. Paris, however, with its various concert societies and large orchestras had become an important venue for such artists and especially for musicians who belonged to the new style.
Haydn’s symphonies and concertos by virtuosi such as Lebrun also enjoyed considerable success there; what is more, it was in Paris that the works performed here first appeared in print.
Les Agrémens aim at quality in their membership and work, with the participation of top-class instrumentalists from the main European baroque orchestras. By bringing in young Belgian musicians, they also seek to develop the careers of a new generation of artists, by encouraging them to practise early music on period instruments and giving them new opportunities in this field.
Franz Joseph Haydn: Symphony No. 82 in C major, Hob.I:82, "L'ours" (The Bear)
I. Vivace assai
IV. Finale: Vivace
Ludwig August Lebrun: Oboe Concerto No. 3 in C major
III. Rondeau: Allegretto
Franz Joseph Haydn: Symphony No. 86 in D major, Hob.I:86
I. Adagio - Allegro spiritoso
II. Capriccio: Largo
III. Menuetto: Allegretto
IV. Finale: Allegro con spirito
“Even those put off by period-instrument performances may find these superb accounts of Haydn's 'Paris' Symphonies compelling. Indeed, I have never heard better....In short, Waas produces a kind of cleansed Haydn: tonally pure yet attractive in timbre, well detailed and free of the tonal edginess that has stamped many 'authentic' recordings.”
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