Haydn's Haus

[Gurn Blanston]

Very nice!  (Will expand on that anon.)

Thanks, Karl. And for your expansion, too.

[Karl Henning]

Probably I've already mentioned that the Trumpet Concerto was my first Haydn experience, as we played a band transcription when I was in high school.  The soloist, Steve Falker, was in the class one year ahead of mine, and was then (certainly — possibly is still, if we could put the question to the test) the best trumpet-player I knew/have known.  (Our band director, the late Ray Heller, was a trumpeter himself, and had been an army bandsman.)  So the combination of playing with a wonderfully superior musician, and the exquisite music, made an indelible impression. Which is why (as I posted above) I must recuse myself from any pretense of impartiality about the piece.

The additional holistic angle is, a week-ish ago I wrote to Steve to tell him about a piece I am presently working on, a jazzy adaptation of the JS Bach Wachet auf! Chorale Prelude for brass quintet, and he wrote back that he does play in a quintet which will be glad to read it, and likely perform it.

So, all the good feelings in the orbit of this famous Concerto, you see.

Related to your own note in your blog post, at that tender age, I didn't know from Theory (no really good reason why it had dropped out of the high school curriculum at that day), and it was just the poetry and the ebullience of the music that seeped right into me.  And if (as consensus considers) the delay between composition and first performance was a result of Weidinger needing to tame the beast in order to serve the piece, there is no doubt that the superb beauties of the piece were a motivation to see to the taming;  and it seems ot have cemented rather than tried the friendship between the trumpeter and the composer.

[Gurn Blanston]

Probably I've already mentioned that the Trumpet Concerto was my first Haydn experience, as we played a band transcription when I was in high school.  The soloist, Steve Falker, was in the class one year ahead of mine, and was then (certainly — possibly is still, if we could put the question to the test) the best trumpet-player I knew/have known.  (Our band director, the late Ray Heller, was a trumpeter himself, and had been an army bandsman.)  So the combination of playing with a wonderfully superior musician, and the exquisite music, made an indelible impression. Which is why (as I posted above) I must recuse myself from any pretense of impartiality about the piece.

The additional holistic angle is, a week-ish ago I wrote to Steve to tell him about a piece I am presently working on, a jazzy adaptation of the JS Bach Wachet auf! Chorale Prelude for brass quintet, and he wrote back that he does play in a quintet which will be glad to read it, and likely perform it.

So, all the good feelings in the orbit of this famous Concerto, you see.

Related to your own note in your blog post, at that tender age, I didn't know from Theory (no really good reason why it had dropped out of the high school curriculum at that day), and it was just the poetry and the ebullience of the music that seeped right into me.  And if (as consensus considers) the delay between composition and first performance was a result of Weidinger needing to tame the beast in order to serve the piece, there is no doubt that the superb beauties of the piece were a motivation to see to the taming;  and it seems to have cemented rather than tried the friendship between the trumpeter and the composer.

Poetry and ebullience, for sure. Back in my pre-Classic days I was a jazz listener with a side of Classics, which was what led me to give Marsalis' version a try. While I don't listen to that disk much today (frightfully damned inauthentic ) at the time it was revelatory, and one of the things which drove me back to Classical at the advanced age of 40, after a 25 year hiatus. Glad I did that now. Actually, I have been delaying in writing that essay because, as with certain other famous works, I felt overwhelmed to tackle it. I can imagine how a trumpeter must feel, I'm just a writer!

[SonicMan46]

Haydn's Trumpet Concerto on a modern instrument - suggested recordings?  Cross-posting again - just left the response below to a post by Sarge - as stated, my only 'modern' recording of this work is w/ Marsalis from years ago - comments and favorites, please - thanks.  Dave

Haydn Trumpet Concerto played by Tine Thing Helseth and the Norwegian Chamber Orchestra

   

Hi Sarge - I have just one CD of Haydn's Trumpet Concerto on a modern instrument; plus, the 2 recordings added above were a 'keyed trumpet' is used - my only modern trumpet recording is w/ Marsalis, bought years ago when released - must obtain another 'modern' version - hope that some recommendations are made; of course, an important consideration is what the 'other' works are on the discs under consideration.  Thanks all for any comments - Dave

[Gurn Blanston]

Haydn's Trumpet Concerto on a modern instrument - suggested recordings?  Cross-posting again - just left the response below to a post by Sarge - as stated, my only 'modern' recording of this work is w/ Marsalis from years ago - comments and favorites, please - thanks.  Dave

Hi Sarge - I have just one CD of Haydn's Trumpet Concerto on a modern instrument; plus, the 2 recordings added above were a 'keyed trumpet' is used - my only modern trumpet recording is w/ Marsalis, bought years ago when released - must obtain another 'modern' version - hope that some recommendations are made; of course, an important consideration is what the 'other' works are on the discs under consideration.  Thanks all for any comments - Dave

I don't have the Helseth, but I watched it a couple of times on Youtube and found it very enjoyable. Same with Alison Balsam. If I was compelled to have a modern instrument recording in addition to the Marsalis I have had for years, either of those would be very acceptable. Of the four which I pictured in my essay, I do like the Steele-Perkins with King's Consort the best, although I enjoy the true effort that they all have invested in playing such a difficult instrument. Immer on the Hogwood disk is especially hardworking. He pulls it off, but you can hear him working for it. As it should be. If it was easy, everyone would be doing it.

[Jo498]

Reinhold Friedrich did one recording on an historical instrument (with Haselböck) and another one on a modern one (with Marriner, coupled with Hummel, M. Haydn and L. Mozart). I bought the latter several years ago believing it was the former. So I had to get both...

[Gurn Blanston]

Reinhold Friedrich did one recording on an historical instrument (with Haselböck) and another one on a modern one (with Marriner, coupled with Hummel, M. Haydn and L. Mozart). I bought the latter several years ago believing it was the former. So I had to get both...

How was it? Haselböck has one of my favorite bands. I like everything I have heard so far by them, including my 3 Haydn symphony disks.

I read somewhere that Friedrich was also the very first person to ever play Brandenburg #2 on an actual natural trumpet with no vent holes or any 'cheats'. That's pretty damned impressive.

[SonicMan46]

I don't have the Helseth, but I watched it a couple of times on Youtube and found it very enjoyable. Same with Alison Balsam. If I was compelled to have a modern instrument recording in addition to the Marsalis I have had for years, either of those would be very acceptable. Of the four which I pictured in my essay, I do like the Steele-Perkins with King's Consort the best, although I enjoy the true effort that they all have invested in playing such a difficult instrument. Immer on the Hogwood disk is especially hardworking. He pulls it off, but you can hear him working for it. As it should be. If it was easy, everyone would be doing it.

Reinhold Friedrich did one recording on an historical instrument (with Haselböck) and another one on a modern one (with Marriner, coupled with Hummel, M. Haydn and L. Mozart). I bought the latter several years ago believing it was the former. So I had to get both...

Hi Guys - thanks for the comments; I own the 'keyed trumpet' CDs added to Sarge's post above, and just re-listened to the Reinhold Friedrich performance on the instrument - have always enjoyed (the attachment includes a less flattering opinion of the disc for those interested); plan to check Spotify to see which of the 'modern trumpet' recordings may be available for a listen?  Also found the Telarc CD shown below on Amazon, apparently a Grammy winner from a while ago (review also in the attachment).  Dave
.

[Gurn Blanston]

To judge by the number of views this series of posts gets, I would say they are perhaps the mainstay of my blog!  Well, the 1790's presented their own challenge in compiling a list for, but I've done the first half, conveniently demarcated by the time in London. Hope you find it helpful. Once it has done duty as a post, I shall move it to its own page, like the other references are.

Now that's a lot of music!

Thanks,

[SonicMan46]

Well, cross-posting again (below just left in the listening thread) - apropos to my previous post here, I decided to purchase the trumpet concerto CD on Telarc w/ Rolf Smedvig - the recording was nominated for a 1990 Grammy, but did not win.  In the running were the two ladies (recommended on follow-up posts to my request for suggestions) - for a 'new' disc, the Telarc CD was my least expensive option - about to listen to my two 'keyed trumpet' versions, which I'll probably prefer?  Dave

Trumpet Concertos w/ Rolf Smedvig on a modern instrument - mainly purchased to add another 'modern instrument' performance of the Haydn Concerto (only other one in my collection is w/ Marsalis from the '80s) - great Telarc sound from 1989; unfortunately, Smedvig died suddenly a few years ago at the age of 62 years (cardiac event); my other considerations were the two lady trumpeters below in the middle - both receiving great reviews, BUT Smedvig was the 'cheapest' available from 'across the pond.'

Now, I also own two versions of the concerto on a 'keyed trumpet' (added at the bottom), which are coming up next for a listen.  Dave

P.S. Rolf Smedvig is a founding member of the Empire Brass (CD below in my collection).

   

 

 

[Gurn Blanston]

Well, cross-posting again (below just left in the listening thread) - apropos to my previous post here, I decided to purchase the trumpet concerto CD on Telarc w/ Rolf Smedvig - the recording was nominated for a 1990 Grammy, but did not win.  In the running were the two ladies (recommended on follow-up posts to my request for suggestions) - for a 'new' disc, the Telarc CD was my least expensive option - about to listen to my two 'keyed trumpet' versions, which I'll probably prefer?  Dave

Well, they are all good, no doubt of that. Of those, I think Bennett, then Helseth (for one of each). I like Pinnock's backup a lot, they do a good job helping Bennett through the tough spots.   Balsom is a hell of a trumpeter though, I have to say that in fairness. Not sure if you 'previewed' any of these on Youtube first, but I would. There just might be something that appeals or repels you that someone else isn't likely to tell you about.

[SonicMan46]

Well, they are all good, no doubt of that. Of those, I think Bennett, then Helseth (for one of each). I like Pinnock's backup a lot, they do a good job helping Bennett through the tough spots.   Balsom is a hell of a trumpeter though, I have to say that in fairness. Not sure if you 'previewed' any of these on Youtube first, but I would. There just might be something that appeals or repels you that someone else isn't likely to tell you about.

Hi Gurn - thanks for your comments; Smedvig is quite satisfactory in these trumpet works (have not compared him w/ Marsalis but maybe later) - I just finished my two 'keyed trumpet' discs and must say that I enjoy Reinhold Friedrich the most, so probably no need for me to add yet another (and 5th) version of this concerto to my collection; BUT, I'll take a look on Spotify to see if the two gals are available - I can stream from the Spotify app on my iPad to some BT speakers w/ decent sound.  Dave

ADDENDUM:  Well, I did listen to Helseth on Spotify - impressed, and as good if not better than Smedvig, but a $24 Amazon USA purchase ($9 for MP3); also, re-listened to Marsalis and enjoyed as much as back in the 1980s when bought - Balsom was available on Spotify too, and impressive - NOW, I've to re-listen to my recent 'male' purchase - women can blow those horns quite well -

[Gurn Blanston]

No new essays for a while, life has been happening. However, I finally did get wound up and took a look at the last 4 Keyboard Trios, some of my very favorite of Haydn's chamber music. I learned some things, hope you do too.

Not too many amateurs playing THESE!

[Florestan]

As usual, a great, deeply informative and illuminating essay. Thank you.

And believe it or not, the very first time I heard the Allegretto of Hob XV:28 my reaction was: boy, this is as eerie as a Bartok night music. To be 150 years ahead of his time, not bad at all for a composer who hoped to be remembered for at most 40 years after his death. 

EDIT: ...and who would probably not make it into a GMG Top 10 Greatest / Favorite Piano Trios Poll. 

[Gurn Blanston]

As usual, a great, deeply informative and illuminating essay. Thank you.

And believe it or not, the very first time I heard the Allegretto of Hob XV:28 my reaction was: boy, this is as eerie as a Bartok night music. To be 150 years ahead of his time, not bad at all for a composer who hoped to be remembered for at most 40 years after his death. 

EDIT: ...and who would probably not make it into a GMG Top 10 Greatest / Favorite Piano Trios Poll. 

Thanks!  And I sure agree with that. I have to say it felt to me like Beethoven's 'Ghost Trio' in many ways. Whenever I hear something very unusual like that, I always try and put myself in the place of the first players and audiences (as they might have been) and imagine how they reacted, having no points or reference to things which happened later, like we have. It must have really made an impression.

[Mandryka]

Thanks!  And I sure agree with that. I have to say it felt to me like Beethoven's 'Ghost Trio' in many ways. Whenever I hear something very unusual like that, I always try and put myself in the place of the first players and audiences (as they might have been) and imagine how they reacted, having no points or reference to things which happened later, like we have. It must have really made an impression.

It always makes me think of baroque pieces like, I dunno, the slow movements from the Bach trio sonatas or indeed air on a G string.

[Gurn Blanston]

It always makes me think of baroque pieces like, I dunno, the slow movements from the Bach trio sonatas or indeed air on a G string.

Or even some of the Phantasticus pieces from the early 17th century. And if, indeed, Haydn consciously or unconsciously took those as a model, one wonders where in hell he heard it. Because they certainly weren't playing that sort of music during his lifetime!  I would love to be able to trace the genesis of some things like this. (I'm a history guy, after all).

[Jo498]

I think someone compared that allegretto to a baroque ostinato piece. I doubt that Haydn knew 17th century Stylus Phantasticus but he probably knew a little 18th century Bach, Fux, Handel etc. (Recall the fugues in the op.20 quartets or the canons in some symphonies (menuet in 44, andante in 70.) And he had also enough creativity to come up with such a strange piece on his own

[Gurn Blanston]

I think someone compared that allegretto to a baroque ostinato piece. I doubt that Haydn knew 17th century Stylus Phantasticus but he probably knew a little 18th century Bach, Fux, Handel etc. (Recall the fugues in the op.20 quartets or the canons in some symphonies (menuet in 44, andante in 70.) And he had also enough creativity to come up with such a strange piece on his own

He probably knew Fux better than anyone but Fux, since his own copy of 'Gradus ad Parnassum' was fully annotated (much in Latin) and corrected in his hand. It is probably quite likely that he came up with the eeriness ex nihilo, since there don't appear to be current models, nor that he had access to any ancient ones. It is an interesting effect though.

[kishnevi]

He probably knew Fux better than anyone but Fux, since his own copy of 'Gradus ad Parnassum' was fully annotated (much in Latin) and corrected in his hand. It is probably quite likely that he came up with the eeriness ex nihilo, since there don't appear to be current models, nor that he had access to any ancient ones. It is an interesting effect though.

What might he have found in the musical archives at Morzin and Esterhaza?

And although he would have not yet received any formal training he may gave heard music by eg Biber or Schmelzer during his St. Stephen's days.