Haydn's Haus

[Florestan]

# 88 for me, anytime, anywhere.

[Gurn Blanston]

I hate that they have names, but what can you do? My favorites are 88, 100 & 39. I know, 100 has a name, but I didn't give it....

[Sergeant Rock]

99 is one of my favorites. I don't understand though why it hasn't acquired the nickname Die Katze (the Cat). The second subject first movement sounds like a meow to me   80 in D minor is another favorite. Some of those written around the time of the Horn Signal have tremendous music for horns too, which I love. I just can't remember which ones! Damn Papa for composing too many to remember 

Sarge

[Gurn Blanston]

99 is one of my favorites. I don't understand though why it hasn't acquired the nickname Die Katze (the Cat). The second subject first movement sounds like a meow to me   80 in D minor is another favorite. Some of those written around the time of the Horn Signal have tremendous music for horns too, which I love. I just can't remember which ones! Damn Papa for composing too many to remember 

Sarge

72 is one of them, Sarge. It was composed the year before 31. Yes, #80 is another fine one.

[mc ukrneal]

I like every one of those that has been named so far!!

[Sergeant Rock]

72 is one of them, Sarge.

Ah yes. In fact you mentioned that elsewhere recently and it wound up in my player. I wonder if I'll remember this conversation tomorrow. Sigh...if I only had a brain 

Sarge

[Gurn Blanston]

Why, Gurn, why have the Festetics 4s not been set in a fat, cheap box for me to add to my bulging collection? It isn't fair!

I have thought that too, for a long time. What I finally did to be able to get them all was to set my sights on one box at a time until I managed it. Since there are 9 of them, it took a while, but I ended up getting pretty good deal on all of them off eBay, and occasionally of AMP. I box would be fabulous, although Arcana is not noted for doing customer-centric things like that...

[Sergeant Rock]

I like every one of those that has been named so far!!

The problem with Haydn symphonies: it's impossible not to like every one of them.

Sarge

[Gurn Blanston]

Ah yes. In fact you mentioned that elsewhere recently and it wound up in my player. I wonder if I'll remember this conversation tomorrow. Sigh...if I only had a brain 

Sarge

I'm glad I still actually have mine, but keeping in touch with it has become increasingly difficult.

[TheGSMoeller]

Great responses!

#51 in B Flat also has some great horn writing, especially the very beginning of the Adagio. But the entire piece is wonderful.

[jlaurson]

99 is one of my favorites. I don't understand though why it hasn't acquired the nickname Die Katze (the Cat).

Consider it done!

SYMPHONIE NR.99 'DIE KATZE' IN ES-DUR
SYMPHONY No.99 'THE CAT' IN E-flat Major


Who says we can't create new nicknames. I will force my colleagues to use it, too! Bruce: You, too! New S&H standard.

[Sergeant Rock]

Consider it done!

SYMPHONIE NR.99 'DIE KATZE' IN ES-DUR
SYMPHONY No.99 'THE CAT' IN E-flat Major


Who says we can't create new nicknames. I will force my colleagues to use it, too! Bruce: You, too! New S&H standard.

Cool 

[Karl Henning]

He digs Haydn:

[TheGSMoeller]

.
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Very curious about this set, with the exception of #94's "surprise" I've enjoyed what I've heard from samples, powerful and intense, possibly a bit too intense, but I think the "Londons" can handle it quite well, and the interpretations are intriguing. Any comments on this set?

[jlaurson]

Consider it done!

SYMPHONIE NR.99 'DIE KATZE' IN ES-DUR
SYMPHONY No.99 'THE CAT' IN E-flat Major


Who says we can't create new nicknames. I will force my colleagues to use it, too! Bruce: You, too! New S&H standard.

Very curious about this set, with the exception of #94's "surprise" I've enjoyed what I've heard from samples, powerful and intense, possibly a bit too intense, but I think the "Londons" can handle it quite well, and the interpretations are intriguing. Any comments on this set?
[/quote]

Does it include "The Cat"?

(see: http://www.seenandheard-international.com/2011/10/08/haydn_symphony99_thecat_barber_beethoven_tonhalle_zinman_batiashvili/, also
http://www.seenandheard-international.com/2011/05/27/nielsen_beethoven_haydn_symphony99_thecat_lso_uchida_davis/,
also http://en.wikipedia.org/wiki/Symphony_No._99_(Haydn), also http://en.wikipedia.org/wiki/List_of_symphonies_by_Joseph_Haydn#The_symphonies, also http://en.wikipedia.org/wiki/List_of_symphonies_with_names#Numbered_symphonies_with_a_nickname.

but seriously folks: I love that set. Terrific from alpha to omega.

[Leon]

I have thought that too, for a long time. What I finally did to be able to get them all was to set my sights on one box at a time until I managed it. Since there are 9 of them, it took a while, but I ended up getting pretty good deal on all of them off eBay, and occasionally of AMP. I box would be fabulous, although Arcana is not noted for doing customer-centric things like that...

Now that I have finally gotten all of the available Goodman symphonies, I can focus on the Festetics quartets.  All I have right now are Op. 33 & 42 and a single disc sampler of 17/4; 50/4 and 76/4.

A-hunting I shall go!

[Gurn Blanston]

Now that I have finally gotten all of the available Goodman symphonies, I can focus on the Festetics quartets.  All I have right now are Op. 33 & 42 and a single disc sampler of 17/4; 50/4 and 76/4.

A-hunting I shall go!

There you go! If you just focus on 1 at a time, it seems easier. Did to me anyway. Op 64 is a low hanging fruit. 3 or 4 months ago it was very generally available new at  <$20. A good start.

[jlaurson]

Now that I have finally gotten all of the available Goodman symphonies, I can focus on the Festetics quartets.  All I have right now are Op. 33 & 42 and a single disc sampler of 17/4; 50/4 and 76/4.

A-hunting I shall go!

I've always found MDT to have the best deal on ARCANA CDs, incl. the Festetics Haydn.

[Gurn Blanston]

Part 18

1769

In terms of life in general, not a lot of big events in 1769. Of course, life wasn't dull at Esterházy anyway, the Prince felt it was imperative to keep the boys in the band busy at all times. The Prince began his custom of engaging the dramatic troupe of Carl Wahr to present plays and dramas to balance out the operas that he was beginning to show a strong interest in. It is believed that Haydn wrote incidental music for the Shakespearean plays that were performed, although the scores no longer exist. They would have likely been destroyed in the Great Fire of the late 1770's which took so much music.

But we also saw the return, for the first time in 10 years, of the string quartet. In the autumn of that year he started putting Op 9 on paper. This was a landmark in music history, since it codified the structure of a string quartet from that point on. Of course there were variations and still are, but IMO, the fact that anything other than 4 movements, with a sonata-form first movement and the other recognizable standards, are considered to be variations does no more than prove the rule.

The Stürm und Dräng "Romantic Crisis" was now in full sway, with elements being recognizable in clavier sonatas and string quartets as well as symphonies. This "Third Period" so-called was one of the most interesting phases of his career, on a par in some people's estimation with the final period of complete mastery that came to its peak in London in the 1790's.

The music of 1769:
Hob 01_048 Symphony in C
   Brüggen, OAE
Hob 01_065 Symphony in A
   Pinnock, Trevor/English Concert
Hob 01_106 Le Pescatrici: Sinfonia in D
   Manfred Huss / Haydn Sinfonietta Wien


Hob 03_19 Quartet in C for Strings Op. 9 #1
Hob 03_21 Quartet in G for Strings Op. 9 #3   
Hob 03_22 Quartet in d for Strings Op. 9 #4
   Quatuor Festetics


Hob 11_073 Trio in G for Baryton, Viola & Cello Book 4
Hob 11_074 Trio in D for Baryton, Viola & Cello Book 4
Hob 11_075 Trio in A for Baryton, Viola & Cello Book 4
Hob 11_076 Trio in C for Baryton, Viola & Cello Book 4
Hob 11_077 Trio in G for Baryton, Viola & Cello Book 4
Hob 11_078 Trio in D for Baryton, Viola & Cello Book 4
Hob 11_079 Trio in D for Baryton, Viola & Cello Book 4
Hob 11_080 Trio in G for Baryton, Viola & Cello Book 4
Hob 12_18 Divertimento in A for Baryton Solo
   Esterhazy Ensemble


Hob 17a_01 Sonata in F for Keyboard 4 hands "Maestro e Scolare"
Hob 17a_02 Sonata  in F for 2 Keyboards
   Christine Schornsheim / Andreas Staier


Hob 18_04 Concerto in G for Keyboard
   Musica Antiqua Amsterdam / Koopman
Hob 18_04 Concerto in G for Keyboard
   Concerto Copenhagen / Mortensen Brautigam 


Hob 28_04 Dramma giocoso in 3 Acts 'Le Pescatrici'   The Orchestra & Choir of the Lithuanian Opera / Olga Géczy


A relatively light year, in terms of volume, but some nice pieces, and the beginnings of some trends that would last.

An interesting item is the one called Hob I:106. It was thought for many years to be a sinfonia, thus it got the name Symphony 106 when it was discovered. But down the road, when the fragments of the score of Le Pescatrici (The Fisher Girls) turned up, it was realized to be the overture for same. Of course, one can't change a number, the public won't stand for it!  

The first 3 quartets of Op 9 (the remainder to follow in 1770) also showed up, led off by the wonderful d minor #4 (but first in order of composition). I find it interesting that these early quartets, which Haydn still called 'divertimento', were specifically named by him years later as the first of his true string quartets, and so they are thought of today. All of the characteristics are there, so if you are among the crowd who doesn't like to get into early works on the premise (false, of course) that they will disappoint in relation to the later works, then you need have no fear here. Dig in!

As opera gains popularity with the Prince, it seems (if one goes by volume) that baryton works are finally losing their ascendancy. With #80 in the books this year, we are more than 2/3 of the way through the entire trio oeuvre. The best is yet to come in a few years though, with the grand finale adios to the baryton via the octets. Not yet though, still some great trios in the offing.

We have 2 versions of the #4 keyboard concerto here. The original cembalo version in a nicely played rendition by Koopman, and then a rollicking fortepiano one by Brautigam. This concerto is a tough one to nail down the original instrument for. As early as the very beginning of the 1770's, it was being played in Vienna on the fortepiano, released in score as such. And even in Haydn's own original, there are dynamic markings that really aren't intended for the harpsichord. But even those of us in the camp that places fortepianos in Esterházy as early as 1773 are hard pressed to go back as far as 1769 with them. I personally like it both ways.

And an opera. "Le Pescatrici" is based on a libretto by Goldoni, the undisputed king of opera buffa and 'dramma giocoso'. It is a blend of those 2 styles, and the surviving parts are very lovely indeed. Much of the recitative is original, but a lot of it was composed by Robbins-Landon in an effort (largely successful, IMO) to make the opera performable. This recording pictured is the only one there is. I have hopes that Huss & company will do it over, as they did with 'Acide'. Meanwhile, this one is good enough to be way better than no version at all!

As always, I invite your feedback, input, clarifications, questions, answers, smartass remarks... 

[TheGSMoeller]

Thanks, and a great job as usual, Gurn.

This may have been brought up before on this thread, I might have missed it. But why were pieces such as Symphony #48 and #65 written in the same year, but numbered so far apart?