Haydn's Haus

[Gurn Blanston]

Well, what an abundance of responses to the Staier review on MusicWeb - thanks all!   

Having been a subscriber to Fanfare & American Record Guide the last few years, I've just found that sometimes CDs are sent to reviewers who obviously may not like the music and/or the instrumentation, and if I sense this ambivalence, trying to read 'between the lines' is not always easy; and trying to decide if such a review is 'positive', 'negative', or 'well, not sure' can be frustrating, esp. in deciding on a purchase - I just did not think that Cookson's review left the reader (particularly one not too familiar w/ a fortepiano) w/ enough of a definite opinion on trying to decide to buy the recording - Dave 

Thanks for posting it, Dave. I see what you are saying about the reviewers, but maybe they should simply decline the offer when that happens. I don't know, it is one thing to approach that sort of challenge as a means of broadening one's horizons, but I think that it does a disservice to the reader if your motivations aren't clear. Or worse yet, when they are clearly antipathic. Don was right on the money when he said that if you are an experienced and avid listener a review of that kind is a waste of time. Pity really...




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Listening to:
Orchestra of the 18th Century / Brüggen - LvB Op 068 Symphony #6 in F 1st mvmt - Allegro ma non troppo

[Antoine Marchand]

Joseph HAYDN - 6 Sonatas for Violin and Viola
Anton Steck (violin)
Christian Goosses (viola)
Recorded September 26th-28th, 2008, Siemensvilla, Berlin,
TT: 70:54
Accent

Sei Solo per il Violino Hob. VI, 1-6

Research has suggested that Joseph Haydn may have written the here recorded sonatas primarily for tuition purposes. This can hardly have been the case. On the contrary: the sonatas' structure marks them out as challenging, concertante repertoire for solo violin. This is confirmed by Haydn's terminology: he entered the works in his "draft catalogue" under the heading "Solo per il Violino", which he later expanded to "6 Violin Solo mit Begleitung einer Viola". The "Solo per il Violino" designation is perfectly justified because in these sonatas the violin is treated as a concertante instrument with the viola in a mainly accompanying role. The sonatas therefore exemplify the accompanied solo, a direct development from the Baroque sonata for solo instrument and basso continuo. These six, stylistically homogeneous works were written together and form a self-contained series. The "draft catalogue" entry also shows them to be a set. Even external characteristics reveal conspicuous similarities between the movements.

Anton Steck is internationally renowned as a violinist devoted to music composed before 1840. The hallmarks of his career have been his far reaching new discoveries in violin and quartet repertoire and his tonal redefinition of familiar masterpieces. For years he was leader of the three Deutsche Grammophon orchestras: Musica Antiqua Köln, Les Musiciens du Louvre and Concerto Köln. In 1996 he founded the Schuppanzigh Quartet, and ensemble with which he regularly performs concerts and makes CD recordings, most recently on the ACCENT Label.

Excellent performances and recorded sound, but I think that these sonatas (Sei Solo per il Violino) should be tried by the violin solo, like Bach's Sei Solo a Violino senza Basso accompagnato. It would be more challenging for the violinist and it would be avoided the slightly distracting continuo role of the viola.

[Antoine Marchand]

Joseph HAYDN - 6 Sonatas for Violin and Viola
Anton Steck (violin)
Christian Goosses (viola)
Recorded September 26th-28th, 2008, Siemensvilla, Berlin,
TT: 70:54
Accent

Apparently, the only alternative version for these sonatas would be this one:



Joseph HAYDN - Six Sonatas for Violin and Viola
Kazuo Okumura (violin), Hans Dusoswa (viola)
Etcetera , ADD, 81

The Haydn Edition (CD 135) includes a version licensed from Hungarton and performed by the Duo Ongarese, but on violin and cello.

Finally, it is rather curious that Accent doesn't indicate details on the instruments used in that recording.   

[Gurn Blanston]

Apparently, the only alternative version for these sonatas would be this one:



Joseph HAYDN - Six Sonatas for Violin and Viola
Kazuo Okumura (violin), Hans Dusoswa (viola)
Etcetera , ADD, 81

The Haydn Edition (CD 135) includes a version licensed from Hungarton and performed by the Duo Ongarese, but on violin and cello.

Finally, it is rather curious that Accent doesn't indicate details on the instruments used in that recording.   

Yes, that's the only alternative I've ever seen, and often not available except for a big price tag. I have had the Duo Ongarese disk for many years, and always enjoyed it greatly. Then when I got the Steck/Goosses disk, the combination of the viola and the gut strings threw the music into an entirely different perspective for me. This IS the original Haydn version; the cello version was most likely a simple re-score by the publisher. I've been giving some thought to your solo violin proposal. Not sure yet what I think of that. But one of the original published scores called it "6 Sonatas for Violin Solo with Basso continuo", so the basic concept of these being solo violin pieces doesn't violate any norms, with or without BC...

[Antoine Marchand]

These days I have been listening to my versions of Haydn's cello concertos. Today, this one:



Joseph Haydn - Cello Concertos/Sinfonia Concertante
Hidemi Suzuki (violoncello)
La Petite Bande
Recording: February 1998, Doopsgezindekerk Haarlem (NL)
Sigiswald Kuijken
DHM

It's impressive to hear how the ideas pointed out by Sigiswald Kuijken in the liner notes are musically expressed in these performances:

"All this results in a quite different effect from what we have been used to up to now in these concertos: the 19th (and 20th) century concerto tradition with its (nearly) always inherent aspect of 'heroism' (the individual artist against the background of a mighty orchestra, a kind of David and Goliath principle) is abandoned altogether here, and we are confronted with a much more gentle and intimate 'conversation' between the soloist and his colleagues - or with a discretely and efficiently supported 'monologue' spoken by the main actor. I am convinced that this solution is far more in keeping with the spirit of Haydn's music and indeed with the musical practice of his time as a whole".

... and the more interesting thing is that you can hear this, even when you compare this version with other HIP performances like Queyras/Freiburger Barockorchester. 

[Gurn Blanston]

These days I have been listening to my versions of Haydn's cello concertos. Today, this one:



Joseph Haydn - Cello Concertos/Sinfonia Concertante
Hidemi Suzuki (violoncello)
La Petite Bande
Recording: February 1998, Doopsgezindekerk Haarlem (NL)
Sigiswald Kuijken
DHM

It's impressive to hear how the ideas pointed out by Sigiswald Kuijken in the liner notes are musically expressed in these performances:

"All this results in a quite different effect from what we have been used to up to now in these concertos: the 19th (and 20th) century concerto tradition with its (nearly) always inherent aspect of 'heroism' (the individual artist against the background of a mighty orchestra, a kind of David and Goliath principle) is abandoned altogether here, and we are confronted with a much more gentle and intimate 'conversation' between the soloist and his colleagues - or with a discretely and efficiently supported 'monologue' spoken by the main actor. I am convinced that this solution is far more in keeping with the spirit of Haydn's music and indeed with the musical practice of his time as a whole".

... and the more interesting thing is that you can hear this, even when you compare this version with other HIP performances like Queyras/Freiburger Barockorchester. 

Antoine,
Yes that is not only a very nice disk, but I thought the liner notes were highly illuminating vis-a-vis the musical aspects of these works.

I like my picture better though: ( )


Now I have the classic dilemma of having to choose between this one and my previous favorite, Tafelmusik/Bylsma. Guess I'll just have to listen to them a bunch more to help me think about it...  0:)




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Now playing:
Academy of Ancient Music / Hogwood - Hob 01 007 Symphony in C 4th mvmt - Finale: Allegro

[Antoine Marchand]

Antoine,
Yes that is not only a very nice disk, but I thought the liner notes were highly illuminating vis-a-vis the musical aspects of these works.

I totally agree, Gurn. And probably not just about these specific works, but about the general pre-Romantic notions of 'concerto' and 'soloist'.

I like my picture better though: ( )

My cover is exactly the same, but the original jewel-case is put into a cardboard sleeve, which is the usual style in this DHM "Splendeurs" collection.

Now I have the classic dilemma of having to choose between this one and my previous favorite, Tafelmusik/Bylsma. Guess I'll just have to listen to them a bunch more to help me think about it...  0:)

I would like to have that Bylsma recording; I have several of his discs, but not that one. My other HIP recordings are by Wispelwey/Florilegium and Queyras/Freiburg, and the No. 1 by Le Cercle de l'Harmonie. On modern instruments: Dupré/LSO/ECO and that recording included in the Brilliant Haydn Edition.   

[Antoine Marchand]

What I found today on the Naïve website:

NAÏVE

[Gurn Blanston]

What I found today on the Naïve website:

NAÏVE

Well, that certainly looks interesting. This is a conductor who I have been wanting to check out, maybe this is the ideal opportunity. Thanks for that, Antoine.



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Now playing:
Academy of Ancient Music / Hogwood - Hob 01 014 Symphony in A 1st mvmt - Allegro molto

[DavidRoss]

What I found today on the Naïve website:  NAÏVE

Thanks, Antoine--this may be just what I'm looking for.  Love Minkowski's Mozart, and judging from the samples on the site you linked, I'll enjoy his London symphonies just as much.

Shows only as MP3 downloads on Amazon US, but Amazon Fr list the 4 CD set for ~€30.

[Antoine Marchand]

Thanks, Antoine--this may be just what I'm looking for.  Love Minkowski's Mozart, and judging from the samples on the site you linked, I'll enjoy his London symphonies just as much.

Shows only as MP3 downloads on Amazon US, but Amazon Fr list the 4 CD set for ~€30.

... based on my experience shipping and handling costs from Amazon France are quite reasonable. Unfortunately, not the same case with JPC, although they frequently use the same mail service: DHL Germany. 

[DarkAngel]

What I found today on the Naïve website:

NAÏVE

OHHHHHHHHHHH I want that Minkowski set!

But I will wait for it to appear on Amazon sellers USA, the samples passed my test especially the crucial menuet movements.......which is usually the downfall some sets, need lifted dance rythms not slow andante like crawl

Naive sound quality has always been very good to me 

[Que]

Also, it seems that Bruno Weil is continuing recording more symphonies:



Q

[Lethevich]

I wonder what else red they can find to put on the next cover - a traffic cone, perhaps?

I am interested in how his recent recordings compare to the old Sony ones, which didn't make as big an impact with me as I had hoped...

[Gurn Blanston]

Ordered this disk today, courtesy of a rec by Antoine (who finds all the cool stuff!):


Haydn Sonatas: Galanterien to Sturm und Drang
Ulrika Davidsson (fortepiano, clavichord)

This will complement nicely the other clavichord disks I have gotten over the last 6 months or so. A 5th one, not shown here, is 1 disk in the complete cycle by Schornsheim. Note that the disk by Davidsson as well as the one by Cerasi have only 1 or 2 works on clavichord, the rest on fortepiano. That's OK though, since the repertoire on these disks span much of his career, they are not all "early" or "late"works. If you like to be a bit adventurous on the keyboard side, I recommend any or all of these disks, I am delighted with what I have so far and continue to look for more.

[Josquin des Prez]

I was wondering. Does anybody have any information regarding the supposed quality issue with the Tatrai set? The opus76 was recorded in 1964, when the ensemble was still in top form. I assume the rest of the set was recorded at a later date, but it seems strange to me that ALL of the set would be recorded years after the opus76. Surely, it must have been a gradual process of deterioration, which means those opuses which were recorded closer to the opus76 shouldn't be that far off in terms of quality, right? Inquiring minds want to know.

[DavidW]

I've heard their recordings of Haydn String Quartets, and had no problem with the sound at the time.  It seemed fairly detailed, clean with spacious soundstage.

[Josquin des Prez]

I was talking about the quality of the performance, not the sound, heh. From what i understand, their later recordings are relatively lukewarm and are riddled with intonation problems. I was just curious to know which recording i should buy, and which i should avoid.

[DavidW]

Oh woops!  Well there are many ardent fans, but I only care for their Op 76.  I just prefer performances of those string quartets to be more fluid and dynamic.  Haven't found an optimal set yet.  I don't know if it's Tatrai's fault, I'm just picky.

[Gurn Blanston]

I was talking about the quality of the performance, not the sound, heh. From what i understand, their later recordings are relatively lukewarm and are riddled with intonation problems. I was just curious to know which recording i should buy, and which i should avoid.

I am unable to help you here, their Op 76 is the only one I've tried and their style didn't suit my taste at all. I know there are some folks that are inordinately fond of this group, hope they will check by here and share their thoughts. Meanwhile, if you haven't considered the Q. Mosaiques, listen to some clips. I doubt you'll find any performance issues there, although their style may not be to your taste...