Haydn's Haus

[Leo K.]

I return to the London Symphonies this afternoon at work, Symphony no.97 with Bruggen:



I've been hearing so much Haydn that is new to me, that I needed to go back and refresh with an old familiar standby in order to help sort out the new stuff I've been hearing...even with the familiar stuff there is always something new to hear and enjoy, always an amazing phrase or bit of orchestration that lifts the spirit! And now with Haydn's early stuff in context, again, I hear the London symphonies anew 

[Leo K.]

Also, I think I already mentioned this aways back, but I recently heard Haydn's opera "Orlando Paladino" for the first time from Dorati (I have to mention it again it is so good):



AND had a great time with it. I didn't even follow along with the libretto, I just soaked up the music and the voices and took a trip the 18th Century!

[Gurn Blanston]

Also, I think I already mentioned this aways back, but I recently heard Haydn's opera "Orlando Paladino" for the first time from Dorati (I have to mention it again it is so good):



AND had a great time with it. I didn't even follow along with the libretto, I just soaked up the music and the voices and took a trip the 18th Century!

Yes, really like that one. It is rather a strange opera anyway, if you try to follow the plot you might just go nuts! But it doesn't matter, the music and singing are first rate and that's what counts.

I return to the London Symphonies this afternoon at work, Symphony no.97 with Bruggen:



I've been hearing so much Haydn that is new to me, that I needed to go back and refresh with an old familiar standby in order to help sort out the new stuff I've been hearing...even with the familiar stuff there is always something new to hear and enjoy, always an amazing phrase or bit of orchestration that lifts the spirit! And now with Haydn's early stuff in context, again, I hear the London symphonies anew 

Hard to go wrong with those anyway. I do that fairly often, although usually I go to one of my favorite years, like 1787 or 1795 which has some of my longtime standbys in it and get back on plane. Works every time.




----------------
Now playing:
  Haydn Sinfonietta Wien \ Huss - Hob 14_01 Divertimento in Eb for Cembalo, Violin & 2 Horns 1st mvmt - Moderato

[Elgarian]

Oh, I see, you got to it direct. Well, click the little globe icon on my sidebar and it brings you there too. Once there, it works just the same way. Still not the neatest thing (opens up extra tabs), but works good.

Aha!! Got it! Thanks Gurn. Seems like I was doing it all wrong from the start!

[Gurn Blanston]

Part 15

1766

A watershed year for Haydn, and coincidentally, for us also. To start with, his immediate superior, Gregor Werner, passed away. Although Haydn genuinely respected him (he really was a great composer of church music and stile antico), he also was holding Haydn back. True, Haydn had continually built up the orchestra in both quantity and quality, and drilled them constantly until they became one of the finest private orchestras in Europe. But Werner wasn't satisfied, as we saw in 1765 when he wrote the letter to the Prince about Haydn's failure to maintain any discipline, and also his failure to compose sufficient music (!!).

The side benefit for us, when we are looking back to those years, is that Haydn sat down and wrote a list (the Entwurf-Katalog). He wrote it in response to the criticism that "he is not applying himself diligently to composition", but the benefit derives to us. It is a 2-edged sword though, since on the one hand it gives by telling us what he remembers having written up until then. On the other hand, it takes away because it doesn't say "in 1758 I wrote this...", and this has led to the general statement seen so often in these music chronologies "composed before 1766".

However, the biggest change of all for everyone who was a part of the Prince's household is that in 1766 Esterhazy Palace was opened for business! Eisenstadt was, from this point on, a place to spend the winter. Gone with it was the easy access to Vienna that Haydn had enjoyed (not as though he got the chance to take advantage of it very often!). The Prince was absolutely enamored of Esterhazy, and why not? It was one of the most beautiful and fully featured edifices ever constructed, even putting Versailles in the shade. For Haydn, life would never be the same, for better or for worse.

The music of 1766

Hob 01_028 Symphony in A
   Academy of Ancient Music / Hogwood


Hob 10_11 Duet in D for 2 Barytons

Hob 11_013 Trio in A for Baryton, Viola & Cello Book 1   
Hob 11_014 Trio in D for Baryton, Viola & Cello Book 1   
Hob 11_015 Trio in A for Baryton, Viola & Cello Book 1   
Hob 11_016 Trio in A for Baryton, Viola & Cello Book 1   
Hob 11_017 Trio in D for Baryton, Viola & Cello Book 1   
Hob 11_018 Trio in A for Baryton, Viola & Cello Book 1   
Hob 11_019 Trio in A for Baryton, Viola & Cello Book 1   
Hob 11_020 Trio in D for Baryton, Viola & Cello Book 1   
Hob 11_021 Trio in A for Baryton, Viola & Cello Book 1   
Hob 11_022 Trio in A for Baryton, Viola & Cello Book 1   
Hob 11_024 Trio in D for Baryton, Viola & Cello Book 1   

Hob 11_025 Trio in A for Baryton, Viola & Cello Book 2   
Hob 11_026 Trio in G for Baryton, Viola & Cello Book 2   
Hob 11_027 Trio in D for Baryton, Viola & Cello Book 2   
Hob 11_028 Trio in D for Baryton, Viola & Cello Book 2   
Hob 11_029 Trio in A for Baryton, Viola & Cello Book 2   
Hob 11_030 Trio in G for Baryton, Viola & Cello Book 2   

Hob 12_03 & 5 Duet in D for 2 Barytons   

Hob 12_19 12 Cassations for 2 Barytons & Violone   
Esterhazy Ensemble


Hob 14_01 Divertimento in Eb for 2 Horns, 1 Violin, Cembalo & Baßo
   Haydn Sinfonietta Wien / Huss


Hob 16_45 Sonata #29  in Eb for Keyboard
   Christine Schornsheim


Hob 18_03 Concerto in F for Keyboard
   Musica Antiqua Amsterdam / Koopman
Hob 18_03 Concerto in F for Keyboard
   Concerto Copenhagen / Mortensen Brautigam


Hob 28_02 Opera buffa in 2 Acts "La Cantarina"
   Palmer Chamber Orchestra / Palmer with Harris / Garrison / Fortunato / Guyer



OK, so what do we have here, Herr Haydn? 1 symphony?  Yes, well due to the catalog mentioned above, there were originally 20 or so assigned to 1766. Once they were all tracked down, the number shrank substantially.  It is a nice one though, glad to have it. Not frequently recorded as it isn't part of any trend, just  a very nice symphony. This Hogwood recording is, in fact, the only PI one that I have. Of course, there are a few MI ones, I have Fischer for example.

There are a few highlights to point out in the baryton works too. He was still writing things other than trios at that time. Some of them are especially interesting. There are several duets for 2 barytons, probably played by the Prince and Weigl. Here is another fine opportunity to ponder the mystery that was Hoboken. Here we find Hob 10_11, a duet in D major for 2 Barytons. Section 10 ( X ) is indicated to be for "Barytons with various instruments". Section 12 (XII), OTOH, is for Baryton Duets. And we saw some in 1764 and again this year. How this stray wondered off the ranch I can't figure out. 

That said, a nice thing that I like here is Hob 12_19 12 Cassations for 2 Barytons & Violone. They are in a variety of available keys, and can be played from beginning to end as one piece. The violone, for those unfamiliar with the term, was the functional equivalent of a double bass. It is actually a very large bass viol, thus it will have a flat back and usually have frets and anywhere from 4-6 strings. Where it fails in the volume competition with the actual bass (which is a member of the violin family) it makes up in having a beautiful mellow tone that blends in well in chamber ensembles. Haydn used them a lot, so most of the time, especially in the early works, when you see 'Baßo' (basso), he means Violone.

Here also we find the only member of Hob 14 (XIV) that varies from what has been the standard scoring (2 violins, cembalo & Baßo), the #1 Divertimento in Eb for 2 Horns, 1 Violin, Cembalo & Baßo. A very nice little piece, and this being the only recording of it that I have found so far (PI or otherwise). Bless you, St Manfred of Huss....

I put 2 versions of Hob 18_03 because it was originally composed for a harpsichord (cembalo), but even in very early times, by the 1770's, it, along with 18_04 were played on the fortepiano in Vienna and elsewhere. No harm in having both versions here. Koopman's is a peach, and exceptional in being one of the few actually performed on the correct instrument. Brautigam's is precisely what we have come to expect from him, wonderful power, and with great accompaniment from the Copenhageners.

And finally, another opera. "La Cantarina" (The Diva or The Songstress). Well, not really an opera in the strict sense, but an intermezzo. As such, it lacks an overture, but Palmer has chosen here to use Symphony #1, a perfect (and likely authentic) choice for this work. It is about an old man who is a music teacher and a young lady who is his student (aren't they all?). A friend pretends to be her mother and convince the teacher to marry her (and give her all his money, of course). Hilarity ensues. There are 4 arias and 2 quartets (one at the end of each act). Most fortunately, this is a good performance. It would be a really suck situation if it wasn't, because there aren't any others. 

Delighted to hear what y'all think of any of this music. The Stürm und Dräng is nearly upon us, but let's enjoy what we have right now. Some very nice stuff here.

[Leo K.]

Another wonderful entry Gurn, much thanks!

[Gurn Blanston]

Another wonderful entry Gurn, much thanks!

Thanks, Leo. Hope you get an opportunity to explore these works soon. Some nice ones here.



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Now playing:
  L'Estro Armonico; Solomons - Hob 01_058 Symphony in F 2nd mvmt - Andante

[Leo K.]

Thanks, Leo. Hope you get an opportunity to explore these works soon. Some nice ones here.



----------------
Now playing:
  L'Estro Armonico; Solomons - Hob 01_058 Symphony in F 2nd mvmt - Andante

Gurn, I put the Brilliant box of Baryton trios on my Christmas list and my wife just told me, "Maybe so!" 

[Gurn Blanston]

Gurn, I put the Brilliant box of Baryton trios on my Christmas list and my wife just told me, "Maybe so!" 

Proving your excellent taste in ladies.

[chasmaniac]

A chap on the Bach cantatas list has started a Haydn blog to shed some light on our obscure Austrian composer! I've sent him a link to the Haus. I've also tried and, unfortunately, failed to comment on his blog. Maybe that feature isn't turned on yet. You can find it here: http://haydnpages.blogspot.com/view/classic. Courage, braves! We'll get Papa Joe a contract yet!

[Antoine Marchand]

Interested in a summary report, Antoine. The good, the bad and the ugly! 

Well, Gurn, this is the report of a happy camper.

The first volume of this integral has thoroughly been a pleasure. I have listened to many times these three discs what is an indication (these days of musical/CD hyperinflation) of their quality and, of course, the fully enjoyable nature of these early quartet-divertimenti.

Firstly, the Tatrai Quartet: a first-rate ensemble. I think (it's a wild assumption) you have probably listened to some of the recordings that they did later in their cycle; but these recordings of the "Fürnberg" Quartets, the Op. 42 and the Op. 103 are simply exquisite. All tempi are properly chosen; with every movement duly characterized and the interplay among the instruments always sounding both intimate and full of complicity. I have loved those early quartets: fast-minuet-slow-minuet-fast (just excepting two (?) of them), where the slow movement seems the center of the universe.

Second, I have also liked some Italianate character of the early quartets and I can easily explain to myself why they were so quickly popular, including several pirate editions since 1764.

Third, I think now it's an error doesn't include these early quartets (divertimenti) in the integral recordings of Haydn's quartets. I would really love to see the Festetics to record them.       



Highly recommended.

[SonicMan46]

Gurn - thanks for the wonderful 'new' installment!  Looking forward to more - getting more interested in obtaining some PI performances of Joe's earlier symphonies?  Now I do have the Fischer box so have all of them, and a bunch of collections of the later ones from the low 80s and up - did have a few Goodman discs but culled them from my collection - don't want to really buy a BUNCH of singles, so will wait and hold my breath!  Dave

For the morning, comparing two keyboard versions of the Seven Last Words... - Brautigam on fortepiano (last disc in his Haydn box) & Hakkinen on clavichord, just received and first listen - kind of preferring Ronald over Aapo at the moment, but will certainly need to give that clavichord version some more attention (and I do like that instrument) - 

 

[Gurn Blanston]

A chap on the Bach cantatas list has started a Haydn blog to shed some light on our obscure Austrian composer! I've sent him a link to the Haus. I've also tried and, unfortunately, failed to comment on his blog. Maybe that feature isn't turned on yet. You can find it here: Haydn Blog. Courage, braves! We'll get Papa Joe a contract yet!

Interesting. I need to get over there and check it out. Sounds like Antoine's sort of guy; Bach and Haydn. Bizarre combination in my book.



----------------
Now playing:

  NYPO/Bernstein \ Martina Arroyo \ Regina Sarfaty \ Nicholas di Virgilio \ Norman Scott - Op 125 Symphony #9 in d 4th mvmt pt 2 - Presto - Rezitativo - "O Freunde, nicht diese Töne!" - Allegro assai

[Gurn Blanston]

Well, Gurn, this is the report of a happy camper.

The first volume of this integral has thoroughly been a pleasure. I have listened to many times these three discs what is an indication (these days of musical/CD hyperinflation) of their quality and, of course, the fully enjoyable nature of these early quartet-divertimenti.

Firstly, the Tatrai Quartet: a first-rate ensemble. I think (it's a wild assumption) you have probably listened to some of the recordings that they did later in their cycle; but these recordings of the "Fürnberg" Quartets, the Op. 42 and the Op. 103 are simply exquisite. All tempi are properly chosen; with every movement duly characterized and the interplay among the instruments always sounding both intimate and full of complicity. I have loved those early quartets: fast-minuet-slow-minuet-fast (just excepting two (?) of them), where the slow movement seems the center of the universe.

Second, I have also liked some Italianate character of the early quartets and I can easily explain to myself why they were so quickly popular, including several pirate editions since 1764.

Third, I think now it's an error doesn't include these early quartets (divertimenti) in the integral recordings of Haydn's quartets. I would really love to see the Festetics to record them.       



Highly recommended.

Excellent, Antoine. This will be an interesting journey for you then. Off to a great start. Not sure if I am surprised or not. Certainly I am not surprised that you like the music. Actually, it is considered to be very learned for the pre-classical times in which it was created. It is thought that he must be writing them for definitely more than amateur musicians, and probably the first violin part for himself. I have mentioned several times here how much I like this music, by far the best of all his early works. No, if I am surprised at all, it is that you are enjoying the performances. I have listened to some, and the are later (Op 50 & 76). I agree that the playing itself is excellent, it is only that the tempi chosen, particularly for Op 76, are much slower than I like them to be. Not to say they suck though, I have certainly heard worse!

I also agree that it is a travesty for PI groups to have always ignored these works. What possible sense can it be? To say that they really are not string quartets in the classic sense brings only from me a big "so what?".  If they must be performed totally authentically, then get a violone. Also, consider the possibility (it is an even chance) that Haydn did intend a cello. What then of the argument against? If the Tatrai and even the Kodaly can play them, then the Festetics or the Mosaiques could do the same. 




----------------
Now playing:
  L'Estro Armonico; Solomons - Hob 01_035 Symphony in Bb 2nd mvmt - Andante

[Gurn Blanston]

Gurn - thanks for the wonderful 'new' installment!  Looking forward to more - getting more interested in obtaining some PI performances of Joe's earlier symphonies?  Now I do have the Fischer box so have all of them, and a bunch of collections of the later ones from the low 80s and up - did have a few Goodman discs but culled them from my collection - don't want to really buy a BUNCH of singles, so will wait and hold my breath!  Dave

For the morning, comparing two keyboard versions of the Seven Last Words... - Brautigam on fortepiano (last disc in his Haydn box) & Hakkinen on clavichord, just received and first listen - kind of preferring Ronald over Aapo at the moment, but will certainly need to give that clavichord version some more attention (and I do like that instrument) - 

 

Hey, Dave.
Wow, your Hakkinen came already? I haven't seen mine yet.   Probably tomorrow then.   

Well, it's going to be a totally different experience from the fortepiano versions I'm used to. I do have some clavichord Haydn that is even later than this, like the Variations Hob 17:6. So I have done some legitimate comparisons with fortepiano already. And learned that one has to judge strictly on the merits of the instrument rather than as a comparison. Yup, do look forward to it.

[Elgarian]

I feel like the raw recruit who is marching out of step with the rest of the regiment, but anyway - this arrived yesterday:



Just 2 CDs into the box so far, and well, what a delight. These trios are absolute charmers and no mistake, and (insofar as I can judge, which isn't very far) wonderfully played with both delicacy and vigour. The only cause for concern is that, as when I was listening to the Goodman symphonies, I'm just slurping them in like lollipops. I reassure myself by observing that on a walk by the river I don't need to stop and closely examine every flower I pass; often the subconscious awareness of their presence is itself very satisfying. And one can always return ....

[Gurn Blanston]

I feel like the raw recruit who is marching out of step with the rest of the regiment, but anyway - this arrived yesterday:



Just 2 CDs into the box so far, and well, what a delight. These trios are absolute charmers and no mistake, and (insofar as I can judge, which isn't very far) wonderfully played with both delicacy and vigour. The only cause for concern is that, as when I was listening to the Goodman symphonies, I'm just slurping them in like lollipops. I reassure myself by observing that on a walk by the river I don't need to stop and closely examine every flower I pass; often the subconscious awareness of their presence is itself very satisfying. And one can always return ....

Oh no, not t all, Alan. That's a splendid acquisition, indispensable, really. I think one sees a whole different composer in that genre as in the symphonic or string quartet media. Without letting the crazy numbering scheme drive you nuts, see if you can check out the middle ones. They would be those with Hoboken numbers from 5 to 17, all composed in the 1780's. They have, in my opinion, some of his finest melodic efforts.

[Elgarian]

see if you can check out the middle ones. They would be those with Hoboken numbers from 5 to 17, all composed in the 1780's. They have, in my opinion, some of his finest melodic efforts

Thanks. I shall pursue them!

[Antoine Marchand]

Sounds like Antoine's sort of guy; Bach and Haydn. Bizarre combination in my book.

Honestly, I think the weirdest couple of favorite composers belongs to Marc: Bach and Mahler. Bach and Mahler, man!!! 

Yesterday, I read this quote of Bach in Bach: The Learned Musician by Christoph Wolff (well, really the quote is taken from Forkel):

what I have achieved by industry and practice, anyone else with tolerable natural gift and ability can also achieve.

It has some Haydn air, isn't it? 

[chasmaniac]

Sounds like Antoine's sort of guy; Bach and Haydn. Bizarre combination in my book.

Those would be my 2 faves as well. Seems sensible enough to me!