Haydn's Haus

[Jo498]

It can be a bit of the problem in this particular piece (although I like it a lot), there is even a strong similarity of the themes of the first two movements, part of the problem is also that menuets are often played too slowly but it seems hard to deny that Haydn intended more unity than contrast in op.64/1. It does not apply to the other quartets in the opus, though. 
And while I have not heard their recording of op. 64 I also found the Kodalys generally tending towards the dull side.

[Madiel]

The Kodalys undoubtedly tend towards the more refined/demure style of playing, but personally I'm perfectly happy with most of their performances (I have opp.64, 71, 74 and 76). A couple of their opuses have weaker reviews but so far I've stuck with the ones that are generally viewed favourably.

I did see one review somewhere that said they seemed to get better as they went through op.64, so perhaps op.64/1 is a relatively low point for them.

[SurprisedByBeauty]

The Kodalys undoubtedly tend towards the more refined/demure style of playing, but personally I'm perfectly happy with most of their performances (I have opp.64, 71, 74 and 76). A couple of their opuses have weaker reviews but so far I've stuck with the ones that are generally viewed favourably.

I did see one review somewhere that said they seemed to get better as they went through op.64, so perhaps op.64/1 is a relatively low point for them.

The Kodaly's performances are charming - almost always - but their thick, warm, fuzzy sound (recorded and interpretatively) makes them lose a lot of detail and there's no sprightliness though plenty of quasi-symphonic pleasantry. I never dislike them when I listen, but they almost never fare well in direct comparison. The nearest to them, except in better sound and a little cleaner, is the Auryn Quartet, I find.

[Jo498]

The dark horse for op.64 is the pseudonymous "Caspar da Salo" quartet on Pilz and other cheapo labels. They don't offer much tempo contrast between the first movements of #1 either but overall they are very good and by skipping most repeats in the 3rd movement this one gets a nice intermezzo/scherzo character. Which it is, it does not work well as "slow" movement.

Interestingly, it would be possible to play the first three movements roughly at the same tempo:
quarter = quarter = eighth = ca. MM 140.
(The Caspar da Salo goes from ca. 130 in the first to 144 in the menuet and 152 (or rather 76 for the quarter) in the 3rd; the Festetics/Arcana is fastest in the first (ca. 144) and slower in the others (ca. 132).
I'd like someone to try half note (1) = dotted half (menuet), that is a rather leisurely first movement and the menuetto being/feeling the fastest of the first 3.

[Karl Henning]

I am perfectly happy with the Quatuor Mosaïques in the Op.64 (in all that I have heard them play, really).

[Gurn Blanston]

I am perfectly happy with the Quatuor Mosaïques in the Op.64 (in all that I have heard them play, really).

Mosaïques & Festetics are both quite fine; this is one of Festetics best efforts in the series. It's true, the Kodaly's are somewhat subdued in Op 64, but the original complaint, that Op 64 #1 suffers from sameness, has never been an issue for me. Elsewhere, I have called this the perfect opus; I stand by that! 

[SonicMan46]

Mosaïques & Festetics are both quite fine; this is one of Festetics best efforts in the series. It's true, the Kodaly's are somewhat subdued in Op 64, but the original complaint, that Op 64 #1 suffers from sameness, has never been an issue for me. Elsewhere, I have called this the perfect opus; I stand by that! 

Gurn & Karl - own both the above in bold for Op. 64 - I've also been collecting the London Haydn Quartet as Hyperion releases their Haydn SQ output - just added Op. 50, and looks like Op. 54/55 will be out in January - Op. 64 may be up next?  I'm enjoying their performances - any other fans?  Dave

[Jo498]

I thought I had one disc of the Mosaiques op.64-recording but I cannot find it...
I have the more recent Festetics, there was also an older one by them on Quintana, sound not as good but in some pieces more lively. I think that the Festetics often tends to lack a little vigor and esprit but it's been a while I listened to their op.64. The discographical "problem" is that the "lark" op.64/5 is available in dozens of recordings, often by famous ensembles whereas the remainder of op.64 tends to get recorded mostly in "complete" projects.

[Gurn Blanston]

I thought I had one disc of the Mosaiques op.64-recording but I cannot find it...
I have the more recent Festetics, there was also an older one by them on Quintana, sound not as good but in some pieces more lively. I think that the Festetics often tends to lack a little vigor and esprit but it's been a while I listened to their op.64. The discographical "problem" is that the "lark" op.64/5 is available in dozens of recordings, often by famous ensembles whereas the remainder of op.64 tends to get recorded mostly in "complete" projects.

I've got their older Op 33 on Quintana, it is not as neatly played as the later one, that is so. I had to laugh a little bit though, because previous criticisms I have read of Festetics is that they are TOO vigorous and spirited!  For me, and of course it is just a personal preference, they are just right, down to the little imperfections one hears from time to time. Mosaiques, OTOH, and almost too perfect! Well, one man's sauce is another man's gravy.

BTW, I also quite enjoy the 'Caspar da Salo' disks, even though they are the epitome of post-Romanticism. For 99 cents each, they have lasted far longer with me than some others.

[Gurn Blanston]

Gurn & Karl - own both the above in bold for Op. 64 - I've also been collecting the London Haydn Quartet as Hyperion releases their Haydn SQ output - just added Op. 50, and looks like Op. 54/55 will be out in January - Op. 64 may be up next?  I'm enjoying their performances - any other fans?  Dave

Hey, Dave! Nice to see you again, you have been sort of laying low lately. I have all the LHQ disks to date, and have had some enjoyable exchanges with the first violin and the viola on Twitter. I thought their OP 9 & 17 disks were just a bit tight, so to speak, rather more like a recital than the sort of easy-going parlor music they were written to be. That is where the Festetics excel, IMO. But by Op 20 and beyond, they have hit it on the nose every time. I'm really looking forward to seeing them complete the series. I encourage everyone to buy these disks; Hyperion have shown us, with Salomon Quartet and Hanover Band, that they aren't afraid to pull the plug even on series which are well on the way to completion.

[SonicMan46]

Hey, Dave! Nice to see you again, you have been sort of laying low lately. I have all the LHQ disks to date, and have had some enjoyable exchanges with the first violin and the viola on Twitter. I thought their OP 9 & 17 disks were just a bit tight, so to speak, rather more like a recital than the sort of easy-going parlor music they were written to be. That is where the Festetics excel, IMO. But by Op 20 and beyond, they have hit it on the nose every time. I'm really looking forward to seeing them complete the series. I encourage everyone to buy these disks; Hyperion have shown us, with Salomon Quartet and Hanover Band, that they aren't afraid to pull the plug even on series which are well on the way to completion.

Thanks Gurn - nice to have a plethora of excellent recordings of these works.  I've not been buying much in the way of classical CDs lately - maybe I have enough?    And have been frequenting my 'computer forums' more - but I'll come around again - Dave

[Mandryka]

Depends on your interests. He is a very competent pianist, but these are the most often recorded sonatas, so nothing new there, lots of competition. I like it because he plays on an original 1795 Broadwood pianoforte with quite its own sound. If you don't already have 18 versions of these works (I do), this is as nice as any of them so it would make a nice 'keeper' for you.

I think you're underestimating the interest of the playing in this Ludger Remy recording, I was really impressed  by the combination of power and playfulness in the outer movements of 60.

[Karl Henning]

Time spent this week with the Tafelmusik symphonies mini-box has been a great occasion to focus in on a few of the symphonies (something I always mean to do, but manage only infrequently).  The c minor symphony #52 is laser-sharp hot (as he freely mixed metaphors).  So many of the textures are sparely linear, phrases traded off.  The wind writing in the trio to the menuet (and the mildly-jokey repetitions), perfectly charming. The nervous hocket of the last movement . . . all the apparent effortlessness of the music, it's a musical Ferrari 

[Gurn Blanston]

Time spent this week with the Tafelmusik symphonies mini-box has been a great occasion to focus in on a few of the symphonies (something I always mean to do, but manage only infrequently).  The c minor symphony #52 is laser-sharp hot (as he freely mixed metaphors).  So many of the textures are sparely linear, phrases traded off.  The wind writing in the trio to the menuet (and the mildly-jokey repetitions), perfectly charming. The nervous hocket of the last movement . . . all the apparent effortlessness of the music, it's a musical Ferrari 

Indeed, I really like #52, it's all you say. Throughout his career, but most especially in that time, his minuet trios are fabulously unique, for me they are the high point of many of the symphonies, not least because they can be damned funny.  Learning that was one of the benefits I derived from writing about them.



PS - That Tafelmusik box is the cat's ass! 

[Gurn Blanston]

The almost unknown side of Haydn (or any composer) is the time spent out of the spotlight. Haydn spent the last half of 1794 gratifying peoples' curiosity about him, and his own about everything! See what I mean...

Talking my way across England!

Thanks,

[Florestan]

The almost unknown side of Haydn (or any composer) is the time spent out of the spotlight. Haydn spent the last half of 1794 gratifying peoples' curiosity about him, and his own about everything! See what I mean...

Talking my way across England!

Splendid! Thank you!

Browsing my Haydn library it turned out I have two recordings of the Abingdon Trios, which I never listened to. 



The second one replaces one of the flutes with the violin but the line up is impressive.

[Karl Henning]

I'm on a one-a-day symphony disc tour of the Hogwood box.

[Gurn Blanston]

Splendid! Thank you!

Browsing my Haydn library it turned out I have two recordings of the Abingdon Trios, which I never listened to. 



The second one replaces one of the flutes with the violin but the line up is impressive.

You're welcome. Glad you enjoyed.

I have both of those disks, the old guys were my first version. As you say, nicely played even though they changed the instruments. I doubt Haydn would have objected, really. The Camerata Köln is my first PI version, and still hard to beat. That's a group that can really toot a flute!!

[Gurn Blanston]

I'm on a one-a-day symphony disc tour of the Hogwood box.

A nice, measured pace, I like it, Karl. Where might you be now?

[Karl Henning]

A nice, measured pace, I like it, Karl. Where might you be now?

disc 12:  nos. 30 in C, Alleluja, 31 in D, Hornsignal, and 34 in D

Love this stuff!