Haydn's Haus

[Gurn Blanston]

We should be grateful to him, indeed. I can't help but note the he died in Haydn's Year.


P.S.: I was very certain that you would have known about this, but this post never turned up in a search for "landon."

I am guessing that there was no announcement made for a couple of days, since the 20th was Friday, and I only heard it on Monday or Tuesday.

I am sure that the irony was not lost on him at the last...



----------------
Listening to:
Biondi, Fabio/Europa Galante - Corelli - Concerto Grosso in D Op6/7: III Adagio

[snyprrr]

Auryn SQ/ Op.76:

ooo...

I could hardly wait. I had to know how the first 10secs. of the Fifths was going to go. And,... and,... hmmm, very nice. It's just straighforward, with a seamless tonal spectrum at the end of the phrase, when it gets a bit thick. The first thing I notice is that, once again, the Auryn have a smooth, ABQ-like marble polish, with not much "wood" sound (see: Tatrai). Of course, rgus is not so much a criticism, as an observation. Some more wood would have been nice, but that's the spectrum of interpretation that one can have different "styles", just like HIP and Modern. In the Modern camp, you can have marble, or wood, or both. You know what I mean?

Anyhow, wood vs. marble notwithstanding, the Auryn's ensemble sounds a lot like the ABQ's Teldec Mozart. They're right in the pocket on every front: not too much, not too little, just right, all the time.

My only recollective compare is the Amadeus set. As with op.71, the Amadeus are more red blooded in places like the witch's minuet, and so forth, but the Auryn benefit from a wider palette of moods, though, once again, a little more wood in the tone would have been nice.

I'M NOT COMPLAINING!!! SERIOUSLY

I would have expected nothing more from the ABQ, which was my first choice before this one came along at a bargain price (I'd still like to compare with ABQ though; I do have the Emperor on the Teldec Box...).

Standouts include certain passages where the cellist really digs in (finale No.6), and dominates the scene (yes, with wood!), and the violin's almost cinematically beautiful tone (in the good way, not Kodaly). I was afraid the Auryn might be a bit cool, but no, they are quite alive inside every bar.

I was going to say I might have preferred a bit more speed in certain places (also in Op.71), as if I could have everything I want, but no, the Auryn's tempos are all just right Goldilocks.

Judging by what's available, I would have to think that this has just shot up into the Top3 interpretations/recordings of these works. Can I get a witness?

[snyprrr]

Auryn vs. ABQ

Emperor Quartet
I've switched the cds back and forth, so I can't see, ha, and I can't tell the difference! Both groups sound almost identical in the first mvmt. I detect just a touch more wood in the Auryn's tone (which, ain't much as it is, but hey), but hey, who's counting? Given the 30 year recording difference, the total lack of difference in the sound says much. Of course, the Tacit recording is in another league, but the Teldec engineers sure knew what they were doing.

The slow mvmt. sounds equally nice in both versions.

ah, remember the "timings" thing? Well, here is one of those times when it does tell some tales. The ABQ take 4:16, and sound just right in their spring and point and quickness. The Auryn, at 4:50, start the mvmt. off seeming just a little too polite, by contrast. By the time of the "jokey" sounding upward and downward part, things seem to have ironed themselves out. Once again, something out of context sounds fine until compared to something else (by the same token, however, some may think the ABQ a touch too quick).

Ah, and the big minor key finale! And the winner is...!!!...... well, ha, once again they start off sounding almost exact. Here the Auryn give just a little more "dig" in the slashing chords, but, then the ABQ's cellist takes him in the fast cello runs. Well, they're pretty equal, really.

Well, I think the point is, that there are different camps of playing, and the Auryn and the ABQ both belong to that "sound of Vienna" school that makes violins sound like aural sculture. Both groups sound almost equal in every single respect, so total is either group's dedication, it appears. Apparently, when you get this good, haha,...excuse me, sir, but "good" sounds like "this"! Both groups could perhaps use a little more wood in their diet, but then again, neither group is "that" kind of group, that lets it all hang out, and takes lots of chances. When you get to the level of the Auryn and the ABQ, refinement is the name of the game. You've got the chops and the personality,... now,... let that which is written speak.

[Brahmsian]

Snyprrr....you are a man possessed!    Happy listening to those incredible Op.76ers.

[Gurn Blanston]

Bunch of new Haydn arrived this week; haven't even had a chance to listen to all of it yet. Working at it though! These 7 disks all made it in the last 3 days:



By and large, this is some very rarely recorded music, and I am at the point now of filling in all the spaces of things that aren't going to be included in the Big Box (next week, for sure!!), or else is a particularly nice version beyond what the Big Box will give me.

The first one is Book 1 of the German Lieder which he wrote in the early 1780's. This disk also includes his 1790 cantata "Arianna a Naxos". Since we have been discussing his new "Virtual Haydn" DVD here lately, I will just point out that it is Tom Beghin on the fortepiano. The soprano, Andrea Folan, is reputed to have a superb voice. I am looking forward to spinning this one, since the Lieder are new to me, and the cantata I only have in a modern version. These works are in the Big Box, performed by Elly Ameling and Jörg Demus. I wanted a more modern version, plus I didn't want all the vocal works by the same artists. So this was a natural choice. More when I have it.

The 9 vocal quartets are not in the Big Box, for reasons that i don't understand at all. They are late works, and very well spoken of. This disk, on Arabesque, also includes Mozart's notturnos, a lovely set of songs that he wrote for performance among his friends. Some good performers on this disk, I can't wait until it comes up in the queue. Perhaps some of you have a different recording of these works. I'm interested to hear about it, since they are apparently thin on the ground

Then the Derek Adlam clavichord disk, which I mentioned when I purchased it, has finally arrived. This is a very nice disk, highly recommendable. If you have other clavichord disks and know what they usually sound like, you will be pleasantly surprised with this one. The "muffled" (I call it that in lieu of a proper adjective) sound is minimized, it sounds rather more like a quiet harpsichord in most places. Adlam is really a good player and he has found that intimacy that these pieces require. I noticed (after paying full price myself) that this disk is also available at BRO at a good price.

Acide was Haydn's first opera, written in 1762. There are some chunks missing out of it, which I presume to be the reason for it not showing up at either the Big Box, or even in the Dorati "Complete Operas" box. AFAIK, this is the only recording. It couldn't have been better served though, with the Haydn Sinfonietta Wein / Manfred Huss and that great BIS sound. One run through turned up a couple of very nice arias and some good music.

"Philemon et Baucis" is a marionette opera from 1772, the first I've heard. I was surprised to discover that it is more like a Singspeil than an opera; the dialog is all spoken rather than sung. This is also a fragmentary work, but pretty big fragments they are. With the same performers as Acide, it is done well. I have to listen more than once to make good sense of it though...

Now we come to the works for Flötenuhr (Flute/Clock). This is the only modern recording floating around with all 32 works on it from Hob XIX. I would be delighted to give a more complete history of these pieces in another post, if asked, but suffice to say that Haydn combined original pieces with adaptations of some of his other works to make these pieces. Purists will say that only the original pieces should be counted, so they come up with a dozen or so. BUt I say "let 'em crash", I like the whole bunch. They are adapted for play on an organ since recreating the original instrument would be prohibitive. Some of them are in the Big Box, but I think not the entire group. BTW, there is some nice Beethoven on here too.

Finally, a disk of works that we have discussed before, but under different circumstances. That is the 6 duos of Hob VI. I have the version that was adapted for violin and cello, played by Duo Ongarese on Hungaroton. There, they have a certain somber air about them, and I really do like them. But I always wanted the original version for violin and viola, and figured to get it in the Big Box, since there are few versions running loose. Well, Brilliant leased a version, and wouldn't you know, it was the one I already have!  So when there was a discussion recently on the merits of Anton Steck's fiddling (in which he came out on top), and I discovered that he had recorded these works with the violist from Concentus Musicus Wien/Concerto Köln/Musica Antiqua Köln etc., it was a no brainer to shop for it. Well, I have to say, it sounds like 6 entirely different works! The viola is so much lighter than the cello, and the playing by both of these fellows is so light and wonderfully intimate that this is a can't miss enjoyment. Strongly recommend, even if you already have the other. Especially if you already have the other.





----------------
Listening to:
Anton Steck (Violon) Christian Goosses  (Alto) - Hob 06 04 Duo in D for Violin & Viola 3rd mvmt - Tempo di Menuet

[SonicMan46]

Gurn - thanks for the Papa Joe recommendations; the instrumental works interest me the most at the moment, especially the Clavichord Sonatas etc. & the String Duos; the BRO price for the former disc is certainly attractive; the ACCENT label seems to be 'expensive' at the moment on Amazon at least (much cheaper 'across the pond'!) - Dave 

[Gurn Blanston]

Gurn - thanks for the Papa Joe recommendations; the instrumental works interest me the most at the moment, especially the Clavichord Sonatas etc. & the String Duos; the BRO price for the former disc is certainly attractive; the ACCENT label seems to be 'expensive' at the moment on Amazon at least (much cheaper 'across the pond'!) - Dave 

Dave,
Yeah, I bought the Steck from Import CDs (new) for $17. Apparently it was the last copy they had, because the next lowest price was $26 and it floated to the top. All I can say is that it is worthwhile to shop around for it. I doubt highly that $26 is suggested retail price, so a sane price should show up sooner or later.



----------------
Listening to:
Anthony Halstead, Hanover Band - Hob 01 031 Symphony in D 1st mvmt - Allegro

[snyprrr]

Haha,...

Op.76


What do you think of this list?:

(Aeolian)
Amadeus
Tokyo

Tatrai
Panocha
Prazak

Kodaly
Angeles

Auryn
ABQ
Carmina
Alberni

...and, then for HIP:

Buchberger
Mosaiques
Festetics
Kuijken



Elysee??? with, of all things, Webern's 6 Bagatelles




And, then for individual works (not complete):

Suk (2)
Delme (3)
Caspar da Salo (3)
Manfred (1,3,4)
New Zurich (4,6)
Carmina (1)
Concord (2-3)
Rosamunde (3)
Orlando (4,6)*** (very fine No.4, as I recall)
New Amsterdam (1)HIP
ProArte (3-4)
Eder (2-4)
Cleveland (5)
Minetti (5)HIP?
Jerusalem (2)HIP?
Vienna Musikverein (3-5; Platz)
Gewandhaus (2-4)
Italiano (2-3)
Alcan (3?)



Now, talk amoungst yourselves.

[Antoine Marchand]

Haydn - 8 Concerti for Harpsichord, Piano and Organ
Christine Schornsheim
Neue Düsseldorfer Hofmusik
Mary Utiger, direction
Capriccio
2 CD-set
Recording: Leverkusen, Erholungshaus, 06.30-07.06.08

Excellent recording.

IMO, Schornsheim's performances are beyond good and evil here; even her tempi are always convincing (an issue for me in some sonatas by her). The small ensemble [concertmistress; 2 oboes; fagot; 2 horns; kettledrum; 2 first violins; 2 second violins; 2 violas; violoncello; double-bass] sounds and it has a HIP gesture, but I don't know exactly what kind of instruments are playing its members because that information is not provided in the Spartan booklet. Anyway, Schornsheim uses (copies of) period instruments. Good sound quality.

Hoboken included eleven keyboard concertos under the number XVIII of his catalogue. But currently a complete recording of these pieces should include just eight of them, as it is done here, because Hob. XVIII is really a concerto for violin & organ/harpsichord; Hob. XVIII.7 is just an arrangement of Haydn's trio for harpsichord, violin & cello N°6, Hob. XV.40 (without proofs about his authorship); and, finally, Hob. XVIII.9 is apocryphal.

Another thing is the choice of the instruments, apparently a doubtful matter even for Haydn himself during his life. Anyway, it seems acceptable to divide these concertos into two groups:

- organ/harpsichord: 1, 2, 5, 8 & 10
- harpsichord/pianoforte: 3, 4 & 11

In this recording Schornsheim plays:
- on organ: 1, 10 & 8
- on harpsichord: 2, 5 & 3
- on fortepiano: 4 & 11 

At a bargain price -US $12 on CD Universe, for example- it is a no-brainer.

Here an example:

http://www.divshare.com/flash/playlist?myId=9528383-f72

[Gabriel]

We should be grateful to him, indeed. I can't help but note the he died in Haydn's Year.

I thought almost exactly the same (my precise thought was that he was able to experience the exact bicentennial day of May 31st 2009).

I think he is now talking to Haydn in Heaven and knowing many details of Haydn's compositions and life he wasn't able to know on Earth. My thanks to this great musicologist who struggled for (and achieved) a better understanding of the classical style.

[Herman]

What do you think of this list?:

It's a list.

[Gurn Blanston]

Thanks for that info, Antoine. Of course, it is hard for a Haydnphile to not already have all of these works, but I like her concept of using appropriate instruments in her sonata set, and I think I will like it in here too. Looks like I have to do it, although I am just a sucker for no-brainers (they are just too easy!).



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Listening to:
Anthony Halstead, Hanover Band - Hob 01 031 Symphony in D 1st mvmt - Allegro

[DarkAngel]

Antione
I have had that CD in my wish list for some time now, I was very pleasantly surprised how good the complete Schornshein Haydn sonata set was so am now becoming a Schornsheim fan

I am assuming she uses a very small organ for the sonatas, does it sound strange or out of context in conjunction with harpsicord & forte piano?

[Gurn Blanston]

Antione
I have had that CD in my wish list for some time now, I was very pleasantly surprised how good the complete Schornshein Haydn sonata set was so am now becoming a Schornsheim fan

I am assuming she uses a very small organ for the sonatas, does it sound strange or out of context in conjunction with harpsicord & forte piano?

DA,
Well, I just ordered that disk at CDUniverse, so I will find out for myself soon enough. The organ should not sound out of scale (I assume that's what you mean) especially if it IS a rather small one. These were composed for himself to play at a little church down the road, and the organ was small indeed. They are some of his earliest works, BTW, dating from the mid-1750's.



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Listening to:
Camerata Berolinensis - Hob 05 11 Trio in Eb for Strings 1st mvmt - Moderato

[Antoine Marchand]

I am assuming she uses a very small organ for the sonatas, does it sound strange or out of context in conjunction with harpsicord & forte piano?

Hi, DA.

Unfortunately the booklet doesn't offer detailed information on the instruments used by the soloist. It just indicates: "Orgel/organ: Klop (Bj. 2008)", which is apparently a reference to the organ builder HENK KLOP, who builds small sized pipe organs. The instrument used here is a small one, totally suitable to the dimensions of the ensemble and historic conditions referred by Gurn.

BTW, currently you can listen to large excerpts of the Capriccio's catalogue –including this disc - on the Naxos site.

 

[SonicMan46]

Antoine et al - I've had the Haydn Keyboard Concertos on my 'wish list' for a while; currently, I just own the Brautigam single disc on fortepiano (Hob. XVIII 2,3,4,11), but remain 'unclear' as to how many of these types of works Joe wrote (and of course for what instruments?).

In the list shown below, it seems that 2-3 discs would be needed to include all of these works for H. XVIII; now for a number of months I've been looking at the 4-disc set below w/ Massimo Palumbo; the listings include both H. 18 & H. 14 works, so somewhat confused as to 'how many' discs will encompass Haydn's keyboard concertos?

Would appreciate further comments & recommendations - the Christine Schornsheim set certainly appeals to me (I do have her PS box set) - 




For harpsichord, organ or piano

    * Keyboard Concerto No. 1 in C, Hob. XVIII/1 (1756)
    * Keyboard Concerto No. 2 in D, Hob. XVIII/2 (1767)
    * Keyboard Concerto No. 3 in F with French horns and strings, Hob. XVIII/3 (1771)
    * Keyboard Concerto No. 4 in G, Hob. XVIII/4 (1770)
    * Keyboard Concerto No. 5 in C with strings, Hob. XVIII/5 (1763)
    * Keyboard Concerto No. 6 in F with violin and strings (Double Concerto), Hob. XVIII/6 (1766)
    * Keyboard Concerto No. 7 in F, Hob. XVIII/7 (exists with a different slow movement as the piano trio Hob. XV/40)
    * Keyboard Concerto No. 8 in C, Hob. XVIII/8 (1766)
    * Keyboard Concerto No. 9 in G, Hob. XVIII/9 (1767)
    * Keyboard Concerto No. 10 in C, Hob. XVIII/10 (1771)
    * Keyboard Concerto in F, Hob. XVIII/F2
    * Keyboard Concerto No. 11 in D, Hob. XVIII/11 (1779-80)

[Antoine Marchand]

... the listings include both H. 18 & H. 14 works, so somewhat confused as to 'how many' discs will encompass Haydn's keyboard concertos?

Hi, Dave. Two discs are enough. Just the eight concertos mentioned in my previous post are currently considered true keyboard concertos by Haydn.  It is also authentic the Hob. XVIII.F2, but it is a concertino (harpsichord, two violins & bass), not a concerto. 

[DarkAngel]

Antoine
I am not a member at Naxos site but listened again to Amazon short samples, will buy the Schornsheim 2CD concerto set, also found some other secret Schornsheim goodies to put in basket.......this would have been a buy if price were not astronomical, listening to Amazon samples now 

[Gurn Blanston]

Dave (et al),
If you want the complete keyboard concerti (all PI), you will find that 4 disks does it nicely if you combine this disk with the Schornsheim:



Koopman has all of the Hob 14 concertini also. The reason I would plug in the Schornsheim for the Hob 18 things is the more proper instruments, since Koopman is harpsichord all the way, and leaves out some of the organ concerti too. I think you would have the equivalent of 3 to 3.5 disks, thus equaling the Palumbo in duration. As for his box, I enjoyed the playing on it, but of course, the instrument...   



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Listening to:
Christine Schornsheim -  Hob 16 45 Sonata #29  in Eb for Keyboard 1st mvmt - Moderato

[Antoine Marchand]

Just to complete the information, I have another two sets dedicated to these concertos:

Helmut Müller-Brühl & the Cologne Chamber Orchestra (modern instruments) have recorded on Naxos the complete keyboard concertos (2 CDs) with three different soloists: Harald Hoeren [fortepiano: 2, organ: 1, 8 & 10]; Ketil Haugsand [harpsichord: 5 & 7] and Sebastian Knauer [piano: 3, 11, 4 & 9]. These recordings include some material currently considered spurious; a half of the concertos are played on modern piano and it is included the double concerto in F major for violin and keyboard played on fortepiano by Hoeren. As you can see, quite a mixed bag.

Anton Holzapfel (organ) & the ensemble Dolce Risonanza recorded on Brilliant the complete organ concertos (2 Cds), adding some pieces for flötenuhr, the double concerto and the arrangement of the trio Hob. XV:40. Good performances on period instruments, although IMO a little bit lethargic, lacking energy. This 2 CD-set is also included in the big Brilliant box.