Haydn's Haus

[Gurn Blanston]

I emailed Hogwood's folks some time back....they thought the completion would never happen.  However, they were nice enough to send me an autographed photo of Chris.  Not an autograph kind of guy....prefer a handshake, but still kind of cool to have.

Yeah, have to agree. He's one of that generation of HIPsters who wasn't adamant enough to put off the likes of Superhorn. And yet still made a far better impression than most. 

[Gurn Blanston]

If he did, you know he went HvK on it!

Yeah, gotta figure. Anyway, now I'm gonna have nightmares and it'll all be your fault. 

[Bogey]

Yeah, gotta figure. Anyway, now I'm gonna have nightmares and it'll all be your fault. 

Well, I could start a Solti v. HvK Haydn thread....might be kind of interesting now that I actually consider it.  I actually enjoy the Solti Haydn I have.  It may be connected to the fact that this was my first exposure to Haydn.  Sometimes I get that duck "imprinting effect"  with music and no matter what, I can't shake it.

[Gurn Blanston]

Well, I could start a Solti v. HvK Haydn thread....might be kind of interesting now that I actually consider it.  I actually enjoy the Solti Haydn I have.  It may be connected to the fact that this was my first exposure to Haydn.  Sometimes I get that duck "imprinting effect"  with music and no matter what, I can't shake it.

Like me with my VPO/Bernstein 88 & 92. That's a damned fine disk, I don't care who you are. But it's like fine cigars and whole bean coffee; once you head down that road it's hard to go back. I'm listening to Hanover/Goodman right now, playing the lovely #48, "Maria Theresia" and have no problem at all with less than 20 people playing. They're knocking the bottom out of it.

[TheGSMoeller]

I'm listening to Hanover/Goodman right now, playing the lovely #48, "Maria Theresia" and have no problem at all with less than 20 people playing. They're knocking the bottom out of it.

I've been really enjoying my Hanover/Goodman recordings more and more, only have two at the moment (6-8, 90-92), but would like to purchase more.

[Gurn Blanston]

I've been really enjoying my Hanover/Goodman recordings more and more, only have two at the moment (6-8, 90-92), but would like to purchase more.

They have 13 of them right now at BRO, $4.99/ea brand new. Of my 17, I got 15 of them there. Can't beat the price.

[chasmaniac]

They have 13 of them right now at BRO, $4.99/ea brand new. Of my 17, I got 15 of them there. Can't beat the price.

And I picked up 16/17 there. These discs are still available new from Helios as well.

[chasmaniac]

What do the Haydnistas think of this little number?

[Gurn Blanston]

What do the Haydnistas think of this little number?

I like it, more for the English Canzonettas than for the German Lieder. Also has some less commonly recorded songs on it. I think for the price it is an invaluable little box. (I got it as part of the Big Box). 

[Gurn Blanston]

I know it's rude of me not to publish in "Purchases Today" but really, only Haydnites will be interested anyway.



The surprise so far has been Ensemble Trazom. Of course, we know the gimmicky derivation of the name, but not a lot else about this group. Well, they kick butt! My only lament, as usual these days, is that they chose the most played part of the repertoire to record. It's a pity really, as, for example, I now have 8, count 'em 8, recordings of Hob 15:27 on period instruments alone!   And 7 of 15:28. Compare to only 2 each of Hob 15:5, 6, 7 & 8 which are simply wonderful! Of course, Hoboken didn't help things by not having an apparent clue of the chronology when he numbered these. Those 4 are from 1784-85, hardly early works!   

You would expect the Trio Mosaiques (well, not really, but I will call them (Hobarth, Coin and Cohen) that) to be excellent, and of course you won't be disappointed. I am simply delighted to see them go back as far as Hob 15:18-23 for this double disk, which is a Harmonia Mundi re-release to celebrate the 2009 Haydn Year. Not the entire series is PI, but there has been a treasure trove that IS PI, including this, which were the 2 hardest disks to find of the original releases (I didn't have either of them!).  Check out BRO, I got it there for a Lied.

Speaking of which, I still have a disk of Lieder to get into here. Vermeulen is a known quantity to me, as I greatly enjoy both his new and old cycles of Schubert. I haven't heard him in Classical Era works yet, I have my fingers crossed that his 1st rate pianism isn't tinged with incurable Romanticism. Also Anna Cambier is new to me, so tomorrow evening I will spend with these 2 folks, enjoying what is actually a cross-section of Haydn's earlier German Lieder and his late English Canzonettas.

Finally, the lovely and talented Robert Hill. One of my favorite Bach cembalists, I look forward to hearing what he can do with Haydn. He promises to maximize my enjoyment by not being so ultra-conservative as many moderns who have adopted a backlash against the early 20th century harpsichordist who were OTT with audio effects because they had no role models. But Hill writes quite convincingly in the liner notes that the great majority of extant period harpsichords are equipped with all sorts of effects that are rarely used by modern players, and he feels that Haydn's music will work well with it. Since he is a professor of harpsichordism and I am merely an enthusiastic Haydnite, I owe him an open mind.   

We shall see.

[Bogey]

What do the Haydnistas think of this little number?

Wow.  I do not think I have ever given these a listen and I have them in my Complete Brilliant set.  In fact, I have about 15 more discs of Scottish and Welsh songs from Papa that I need to turn to.....excellent post and want to hear more from all about what they know about these songs and which they enjoy the most!

[Gurn Blanston]

Wow.  I do not think I have ever given these a listen and I have them in my Complete Brilliant set.  In fact, I have about 15 more discs of Scottish and Welsh songs from Papa that I need to turn to.....excellent post and want to hear more from all about what they know about these songs and which they enjoy the most!

Well, "all I know" is probably too much to write!  However, of the 24 German Lieder on that set, the first 12, from 1781 is the better half of the bracket. I like German Lieder, and so I tend to go for these. The other day in WAYLT? I posted a super little disk of those 12 in particular, along with a very nice Arianna & Naxos. It is this one here;



I think it is the best I have heard so far. Ameling is very good though.

If you want to get into Haydn's songs, and you have a good ear for a lyric (I don't, my damaged hearing precludes understanding the words sometimes ), then I recommend the 12 "Original English Canzonettas" which are settings of 12 poems by his friend in London, Anne Hunter. Some of them are really excellent, all of them are very good. He wrote them probably actually in Vienna between voyages and after trip 2, not actually while in England. Anyway, I recommend you go for those, and particularly with Ameling, who, being of the English persuasion, has her way with these.

They aren't Schubert, but no one else is either. I like them, Haydn was very good with vocal music, and in his later years he mourned not writing more of it.

[TheGSMoeller]

The Creation may contain the greatest opening of a piece, always in awe of this music. Here is my recording of choice ATM...

[asin]B0007XHKZI[/asin]

Anyway, looking for further recommendations for The Creation, I'm actually interested to hear the English language version, other than Shaw.
Also, I don't see much discussion on Haydn's No.31 "Hornsignal" here on GMG. It has to be one of my favorite of Haydn's symphonies, (possibly a top-5 if you like lists  ) I absolutely adore the solo violin throughout the Adagio, and the "variation" finale. Just curious if any other GMG'rs share my thoughts on No.31, and if so what performance do you prefer.

Thanks in advance, love visiting Haydn's Haus!

[Bogey]

He wrote them probably actually in Vienna between voyages

How stinking cool is that!?

They aren't Schubert, but no one else is either.

No Haydn, no Mozart Beethoven Schubert.   

and you have a good ear for a lyric (I don't, my damaged hearing precludes understanding the words sometimes

Yup....Ted Nugent did mine in whe I was a young lad. 

[Gurn Blanston]

The Creation may contain the greatest opening of a piece, always in awe of this music. Here is my recording of choice ATM...

[asin]B0007XHKZI[/asin]

Anyway, looking for further recommendations for The Creation, I'm actually interested to hear the English language version, other than Shaw.
Also, I don't see much discussion on Haydn's No.31 "Hornsignal" here on GMG. It has to be one of my favorite of Haydn's symphonies, (possibly a top-5 if you like lists  ) I absolutely adore the solo violin throughout the Adagio, and the "variation" finale. Just curious if any other GMG'rs share my thoughts on No.31, and if so what performance do you prefer.

Thanks in advance, love visiting Haydn's Haus!

Always delighted to have you, Greg.  

I am very keen on The Creation also. I have (and really enjoy!) your Spering version, and also Gardiner. His Monteverdi Choir is so special in this sort of thing. For an English version I have (and really like) this one:



which brings into play the other great(er) English soprano, Emma Kirkby. The other PI English version is Macreesh, and I would like to give it a go, just haven't got to it yet, no urgency with already having Hogwood on the shelf.

Hornsignal is among my favorites too, although not as much for the violin as for, well, the hornsignal! Haydn was blessed at the time of composition to have the 4 best hornists in Europe all playing in his little band. He took full advantage, and you will find some killer horn writing in the works of the mid to late 1760's. Not just in orchestral either, but there are a few nice little chamber works on that line too.

[Gurn Blanston]

Oh, just a quick note I wanted to add about German v English Creation's. Many people think that the German is authentic and the English came along later just as a convenience. Not true! Haydn actually made the publisher of the German version wait until teh English one was ready to go so they could be published simultaneously. He knew he was emulating Handel, and he felt he owed a debt to the Brits for turning him on to Handel when he was in London, so he made sure their version was just as authentic as Die Schöpfung.

[Gurn Blanston]

How stinking cool is that!?

I like it. A tribute to a friend left behind.

No Haydn, no Mozart Beethoven Schubert.   

  Anyone who would argue against that would be going against history. 0:)

Yup....Ted Nugent did mine in whe I was a young lad. 

Pink Floyd for me, but there you have it.

[TheGSMoeller]

Oh, just a quick note I wanted to add about German v English Creation's. Many people think that the German is authentic and the English came along later just as a convenience. Not true! Haydn actually made the publisher of the German version wait until teh English one was ready to go so they could be published simultaneously. He knew he was emulating Handel, and he felt he owed a debt to the Brits for turning him on to Handel when he was in London, so he made sure their version was just as authentic as Die Schöpfung.

The horns in Harnoncourt's No.31 are great! Guaranteed to wake up my family early in the morning.
Read that about The Creation's text not too long ago which is why I've become interested in the English version. And I love Kirkby, so you've sold me on the Hogwood disc.

Thanks for the great info, Gurn.

[kishnevi]

Wait! Wait! Before you guys pull the trigger on those--
first off, for the Creation, I hae the McCreesh.  I don't have the Hogwood because, simply put, I'm in the reverse of Gurn's situation: the McCreesh is so awesomely good I'm in no hurry to get another version.
As for the Ameling CD, besides the Brilliant issue it's also available from Pentatone, in what I have read (probably right here on this thread, if we looked it up) is apparently a better remastering.

[TheGSMoeller]

Wait! Wait! Before you guys pull the trigger on those--
first off, for the Creation, I hae the McCreesh.  I don't have the Hogwood because, simply put, I'm in the reverse of Gurn's situation: the McCreesh is so awesomely good I'm in no hurry to get another version.

Thanks, Jeffrey. 
I have McCreesh/Gabrieli Players discs of Victoria's Requiem and Morales's Requiem and they sound great, so I'll keep this in mind for another Creation option.