Haydn's Haus

[TheGSMoeller]

1771 was a difficult year to write about. I like to provide context rather than analysis, and despite having a (by now) huge library, there simply was little to provide for these works. They made me work for it, but I think you will like the result. Please feel free to check it out.

Know me by my symphony

Thanks for reading,

I'm a little behind in the blog readings, just got to this one. 

52 is a great piece, always been a joy to listen to for me, perhaps because it does contain elements that are too different. For me the minuet/trio is a unique bridge from the Andante to the Presto finale, a bit enigmatic in that it doesn't necessarily follow the lyricism of the second mvt. or share the sharp wit of the finale, but rather wandering in search of its next step. In a way it reminds me a lot of the Minuet of No. 45 and of No. 95 (which I love the way that Minkowski treats 95's minuet, very legato with an air of tragedy, deep stuff) both sort of a understated and atmospherically altered bridge, rather than a fully realized dance-like movement like that of No. 69 or even No. 98.

Thanks for the posting, Gurn. More to read...

[Gurn Blanston]

I'm a little behind in the blog readings, just got to this one. 

52 is a great piece, always been a joy to listen to for me, perhaps because it does contain elements that are too different. For me the minuet/trio is a unique bridge from the Andante to the Presto finale, a bit enigmatic in that it doesn't necessarily follow the lyricism of the second mvt. or share the sharp wit of the finale, but rather wandering in search of its next step. In a way it reminds me a lot of the Minuet of No. 45 and of No. 95 (which I love the way that Minkowski treats 95's minuet, very legato with an air of tragedy, deep stuff) both sort of a understated and atmospherically altered bridge, rather than a fully realized dance-like movement like that of No. 69 or even No. 98.

Thanks for the posting, Gurn. More to read...

Thanks, Greg, glad you enjoyed it. I agree, it is the contrasts between movements which make it more interesting, rather than less, as is implied by Landon or Brown. The German critics of the time were incensed by the constant changes of mood demonstrated in Haydn's works, they (and their descendents?) seem out of touch with the fact that Joe Listener finds this appealing rather than distressing. After all, there are rules for this!! 

[Mandryka]

Like this:

[asin]B000027EOM[/asin]

I fine disk, BTW.

That's the disc I played.

[Gurn Blanston]

Hardly a more appropriate day for this one; I used to listen to the CD version which I've had for several years, but the DVD is even better! This has been generally available for a pittance these last couple of years, at BRO among others. Great addition to your Haydn collection.

[snyprrr]

Hardly a more appropriate day for this one; I used to listen to the CD version which I've had for several years, but the DVD is even better! This has been generally available for a pittance these last couple of years, at BRO among others. Great addition to your Haydn collection.

Yer all by yerseff on Page1 oldboy!! We gotcha serrounded!!

[Gurn Blanston]

Yer all by yerseff on Page1 oldboy!! We gotcha serrounded!!

No problem for me, I'm quite used to it. James and I seem to be in the same (or similar, more like) watercraft on that front.

[Pat B]

Hardly a more appropriate day for this one; I used to listen to the CD version which I've had for several years, but the DVD is even better! This has been generally available for a pittance these last couple of years, at BRO among others. Great addition to your Haydn collection.

I got the DVD from Berkshire recently. It's the sort of recording that is so good that I have no desire to explore others (of the orchestral version, that is). I can see why some people don't like the spoken-word interludes but the rest of it is so very good that I let that slide.

[Gurn Blanston]

I got the DVD from Berkshire recently. It's the sort of recording that is so good that I have no desire to explore others (of the orchestral version, that is). I can see why some people don't like the spoken-word interludes but the rest of it is so very good that I let that slide.

Yes, I know what you mean. I worked around it by ripping the CD to flac and only playing the flacs, not the disk, without the interludes. The DVD is a different kettle of fish for me; I view it as an historical reenactment and the 'stage business' is vital to the plot, so to speak. I don't interfere with that. It's just once a year for the DVD for me, so no harm done.

[Mandryka]

Aapo Häkkinen plays the seven last words. Hakkinen's one of my favourite keyboard players, in Byrd, Bach and Frescobaldi, so I was curious about what he makes of later music. 

I wonder about the choice of clavichord rather than piano, maybe the music needs more percussive bass sounds. The earthquake sounds sounds puny. Wasn't it a piano that Haydn had in mind? Anyway, there are one or two nice  moments, like in the second sonata, where the gossamer light treble sounds float over an agitated bass - heart stopping.

This is the first time I've heard the keyboard version. I've never liked the music, and Hakkinen doesn't change that. This is on spotify (where it's wrongly tagged Vernon Handley)

[Karl Henning]

Hardly a more appropriate day for this one; I used to listen to the CD version which I've had for several years, but the DVD is even better! This has been generally available for a pittance these last couple of years, at BRO among others. Great addition to your Haydn collection.

Thanks for the reminder, O Gurn!  (I listened to the Quatuor Mosaïques recording last night.)  Thanks to your reminder, I've at last gone back to BRO, and pulled the trigger on this.  (And found another item I've long meant to fetch in, incidentally: Shostakovich & Weinberg playing the two-piano version of the Shostakovich Tenth Symphony.)

[Gurn Blanston]

Aapo Häkkinen plays the seven last words. Hakkinen's one of my favourite keyboard players, in Byrd, Bach and Frescobaldi, so I was curious about what he makes of later music. 

I wonder about the choice of clavichord rather than piano, maybe the music needs more percussive bass sounds. The earthquake sounds sounds puny. Wasn't it a piano that Haydn had in mind? Anyway, there are one or two nice  moments, like in the second sonata, where the gossamer light treble sounds float over an agitated bass - heart stopping.

This is the first time I've heard the keyboard version. I've never liked the music, and Hakkinen doesn't change that. This is on spotify (where it's wrongly tagged Vernon Handley)

I have this disk, of course. I've only listened to it 3 or 4 times myself, so my experience of it is only slightly greater than yours.

To put things properly, Haydn didn't do this piano reduction. Artaria hired someone (Anonymous) to do it, then sent Haydn the manuscript to review and approve or correct. Haydn, in a letter to Artaria, said he felt the arranger had done a good job.

Yes, by 1786 it was certainly intended for fortepiano. You can justify some of the later works being on clavichord, such as Hob 17:6, the Piccolo Divertimento, because Haydn undoubtedly composed it on a clavichord and then wrote it into a piano score. The same justification can scarcely be used here. As you point out, the Terremoto simply loses its effect on such an instrument, although to be fair to Häkkinen, he certainly gives it his best effort. However, many of the quiet Adagio and Largo parts are wonderful on this instrument, as you noted, and so it is a mixed bag. I'm glad I have it, but it isn't my main disk. That would be Brautigam, of course, since 'Brautigam' and 'earthquake' are synonyms.

[Gurn Blanston]

Thanks for the reminder, O Gurn!  (I listened to the Quatuor Mosaïques recording last night.)  Thanks to your reminder, I've at last gone back to BRO, and pulled the trigger on this.  (And found another item I've long meant to fetch in, incidentally: Shostakovich & Weinberg playing the two-piano version of the Shostakovich Tenth Symphony.)

Of all the PI versions in all orchestration which I have of this work, this is always my favorite. QM ain't bad either, when I'm going for the 'earthquake lite' orchestration.   That other sounds pretty interesting too, I must say.

[Gurn Blanston]

1772 was such a major year for music development, it took me a week just to summarize some of it. And stuff happened too. If you would like, check out my latest essay, it's all the news that was news.

Farewell to Stürm und Dräng

As always, delighted to discuss.

[Gurn Blanston]

1772 was such a major year for music development, it took me a week just to summarize some of it. And stuff happened too. If you would like, check out my latest essay, it's all the news that was news.

Farewell to Stürm und Dräng

As always, delighted to discuss.

Hopefully my blog provider has things straightened out now, I apologize for any inconvenience caused by them going down right after I posted until just a few minutes ago. I hate when that happens!   

[Old Listener]

1772 was such a major year for music development, it took me a week just to summarize some of it.

As always, delighted to discuss.

A very informative article with all sorts of details.  It read very naturally.  High quality story-telling.

[Gurn Blanston]

A very informative article with all sorts of details.  It read very naturally.  High quality story-telling.

Thanks, that's just my aim! I try to find things you haven't read in liner notes.

[Pat B]

Yes, by 1786 it was certainly intended for fortepiano. You can justify some of the later works being on clavichord, such as Hob 17:6, the Piccolo Divertimento, because Haydn undoubtedly composed it on a clavichord and then wrote it into a piano score. The same justification can scarcely be used here. As you point out, the Terremoto simply loses its effect on such an instrument, although to be fair to Häkkinen, he certainly gives it his best effort. However, many of the quiet Adagio and Largo parts are wonderful on this instrument, as you noted, and so it is a mixed bag. I'm glad I have it, but it isn't my main disk. That would be Brautigam, of course, since 'Brautigam' and 'earthquake' are synonyms.

I recently sampled both of these, Immerseel, and the new Lubimov. I really wanted to like Häkkinen, but ultimately I came to the same conclusion. Lubimov's tangent piano also sounds on the small side. I am curious why both of them chose this work for their recording projects on those instruments. I ended up choosing Brautigam, partly based on samples, partly because it is the apparent GMG favorite, and partly because it was the cheapest option at the time.

USPS delivered it today. I guess I should go ahead and listen to it.

[Gurn Blanston]

I recently sampled both of these, Immerseel, and the new Lubimov. I really wanted to like Häkkinen, but ultimately I came to the same conclusion. Lubimov's tangent piano also sounds on the small side. I am curious why both of them chose this work for their recording projects on those instruments. I ended up choosing Brautigam, partly based on samples, partly because it is the apparent GMG favorite, and partly because it was the cheapest option at the time.

USPS delivered it today. I guess I should go ahead and listen to it.

Immerseel is one I would like to try. I am a big Lubimov fan AND  a big Tangentenflügel fan, but I am inclined to believe you are correct in your assessment. The quiet and intimate parts are well suited for both of those instruments, but dammit, you have to play the climax too, and how does one manage that?

If I could reasonably accept Haydn's entire keyboard oeuvre played on a fortepiano, Brautigam would be my man. On the works where it IS the instrument of choice, he's tops. Or maybe Staier... no, Bilson. Bilson or Cooper, with some Oort thrown in. That's it.

[Pat B]

To partially answer my own question, I found this interview with Aapo Häkkinen, where he explained that he primarily plays harpsichord and clavichord. Then I sheepishly realized that I was confusing him with Tuija Hakkila.

[Gurn Blanston]

To partially answer my own question, I found this interview with Aapo Häkkinen, where he explained that he primarily plays harpsichord and clavichord. Then I sheepishly realized that I was confusing him with Tuija Hakkila.

Ah, but they're both great, right to the Finnish