Haydn's Haus

[Opus106]

Spinning the first disc of the BAT set. Very surprising to find such an early working starting from somewhere "in the middle" (I. Adagio) and in a slightly sombre mood. Is it something like a sonata da chiesa or influenced by it, perhaps?

[Gurn Blanston]

Spinning the first disc of the BAT set. Very surprising to find such an early working starting from somewhere "in the middle" (I. Adagio) and in a slightly sombre mood. Is it something like a sonata da chiesa or influenced by it, perhaps?

I think that some of his early works DO show an sonata da chiesa influence. Although without knowing which one you are listening to, the Hob. numbers are such a jumble with the trios that early and late are impossible to distinguish without a scorecard.

[Opus106]

I think that some of his early works DO show an sonata da chiesa influence. Although without knowing which one you are listening to, the Hob. numbers are such a jumble with the trios that early and late are impossible to distinguish without a scorecard.

Just as trio No. 2 (C1) started, I noticed No. 1 has just three movements. Oh, and I was referring to the one (Hob XV: 37) in F major (I just realised I had the disc number and not the trio number in my earlier post ).

[Gurn Blanston]

Just as trio No. 2 (C1) started, I noticed No. 1 has just three movements. Oh, and I was referring to the one (Hob XV: 37) in F major (I just realised I had the disc number and not the trio number in my earlier post ).

Ah, Hob 37 in F is called "Trio #1" by Landon, who dates it to 1757. So, the first one! Yeah, that's early.

[Leo K.]

What an interesting and fascinating disk!



I just listened to the first work on this disk, with an instrument hitherto unknown to me, the "Lire Organizzate"...an interesting commission that came to Haydn in the late 1780s from Naples...fascinating sound!



I imagine discussion on Haydn's Lira works have been already discussed, but here is what it looks like (in case not):

[Gurn Blanston]

Leo,
Yeah, isn't that cool? We have discussed it a bit (though nowhere near as much as I've listened to it). Some much less-heard music there too, and notice that there is a notturno that uses the lira (#32) and another that uses the London version of a couple years later (#27). Nice chance to contrast the 2 versions. I think this is a well-conceived and executed concept disk.

[SonicMan46]

What an interesting and fascinating disk!



I just listened to the first work on this disk, with an instrument hitherto unknown to me, the "Lire Organizzate"...an interesting commission that came to Haydn in the late 1780s from Naples...fascinating sound!

I imagine discussion on Haydn's Lira works have been already discussed, but here is what it looks like (in case not):

Leo - not sure if you have explored the 'Old Musical Instruments' thread yet - but please Check HERE (start at the bottom of the page & go to the next) - plenty of previous discussion on this instrument and these works - Dave

[Gurn Blanston]

As many of you have noticed, I have taken a shine to Haydn's songs & Lieder lately. One thing that all my performances have in common is female voice. Seems as though men just don't sing Haydn, this despite the fact that he himself had a well-above average singing voice, which was how he got into music to start with, and he often performed to his own keyboard accompaniment.

Today I finally got an exceptional disk that breaks that mold;



James Griffett has a lovely tenor, a bit deeper and richer than some, and is truly a fine singer. Bradford Tracey is a very supportive accompanist, and he is playing a very nice sounding 1798 Broadwood, which can scarcely be more appropriate for these tunes, written as they were in the mid-'90's for a London audience. The songs include all 12 'Original Canzonettas' along with 2 others (in English) that were also influenced by Anne Hunter, 'The Spirit's Song' and 'O Tuneful Voice'. Very satisfactory performances.

If you want to hear a different sort of take on these classics, I highly recommend this disk. It will stand proudly along with the great number of soprano versions as one man's own POV.

[Leo K.]

Thanks for the review Gurn! Me want!

[Gurn Blanston]

Thanks for the review Gurn! Me want!

Got it brand new on AMP (Classical Music Superstore, my current fave vendor) for $4. Only a couple months ago you had to get it as an import and it was around $20, so something has changed!

[Leo K.]

Got it brand new on AMP (Classical Music Superstore, my current fave vendor) for $4. Only a couple months ago you had to get it as an import and it was around $20, so something has changed!

Great price! That store is my fave vender too

[TheGSMoeller]

Just purchased this on Amazon MP for fairly cheap...



Anner Bylsma (Cello),
Vera Beths (Violin),
Robert Levin (Fortepiano)

It was recommended on ArkivMusic, this will be my first collection of Trios, any other recommendations on trios or other chamber pieces? Excluding SQs and Piano Sonatas for I have many of them and want to venture away from them for a bit.

[Gurn Blanston]

Just purchased this on Amazon MP for fairly cheap...



Anner Bylsma (Cello),
Vera Beths (Violin),
Robert Levin (Fortepiano)

It was recommended on ArkivMusic, this will be my first collection of Trios, any other recommendations on trios or other chamber pieces? Excluding SQs and Piano Sonatas for I have many of them and want to venture away from them for a bit.

That disk rocks, Greg. It was my first PI version of these works, opened my eyes to the possibilities.

[springrite]

That disk rocks, Greg. It was my first PI version of these works, opened my eyes to the possibilities.

I assume PI means Period Instrument and not Politically Incorrect. 

I have that one and the BAT one. Both are good in their own ways. Yes, the possibilities.

[TheGSMoeller]

That disk rocks, Greg. It was my first PI version of these works, opened my eyes to the possibilities.

I assume PI means Period Instrument and not Politically Incorrect. 

I have that one and the BAT one. Both are good in their own ways. Yes, the possibilities.

Great! I love getting approval from the Haydn Haus-mates! 

[kishnevi]

(Classical Music Superstore, my current fave vendor)

Side note--CMS is, if not Arkivmusic, tied into Arkivmusic.   I've ordered one thing from them, and on the day I received it also received some CDs I ordered from Arkivmusic.  Both packages had the same return address in Franklin, TN--all the way down to the same suite number.

And very oddly,  shipment of the CMS order was delayed a whole week for no apparent reason and no explanation offered (actually, they lied about the ship date, which I found about when I saw the postmark, a whole week after the date they claimed to have shipped it)--very unlike Arkiv itself,  which is usually the fastest vendor of any in getting stuff to me (unless they ship from Canada).

[Gurn Blanston]

Side note--CMS is, if not Arkivmusic, tied into Arkivmusic.   I've ordered one thing from them, and on the day I received it also received some CDs I ordered from Arkivmusic.  Both packages had the same return address in Franklin, TN--all the way down to the same suite number.

And very oddly,  shipment of the CMS order was delayed a whole week for no apparent reason and no explanation offered (actually, they lied about the ship date, which I found about when I saw the postmark, a whole week after the date they claimed to have shipped it)--very unlike Arkiv itself,  which is usually the fastest vendor of any in getting stuff to me (unless they ship from Canada).

I have always had head-spinningly fast service from both those vendors. I am going to make public my speculation finally, that all have been awaiting for years; I believe that Arkiv is an consortium of many vendors, CMS included, who fulfill an order however it takes to get it done. As opposed to being a standalone company, that is. I also believe that CMS is the retail front of Naxos USA. Well, enough rambling, that's just what I think.

[Leon]

I discovered that Spotify has the Dorati big box of Haydn operas (listening right now), with one track from Armida missing, but other than that, all disks complete.  Which is a nice way to listen to these works before spending on that cube.

I also join the applause for this disk

A good one.

[Antoine Marchand]

I'm not so sure that you are completely correct in your assessment. Intellectually, one can very much appreciate the music, and also even contextualize it without necessarily sharing in the beliefs that it is in support of. IOW, I don't have to be a Catholic to understand that and appreciate the value of music in a liturgical setting. Nor a Lutheran either. I concede it may help though, if the value comes solely from the inner relationship which a believer develops with the liturgy, so to say.

Hi, Gurn. I see I expressed very badly my point of view. I thought I had said something quite simple, but apparently it looks as if I had said exactly the opposite of what I think.

Well, I will see if I get something better this time:

1.- To be a believer is not necessary in order to know what a specific religion says about a specific issue. It's not necessary to be a believer to know something about a particular religious belief. A few steps further my seat I have several volumes about history of religions and religious beliefs written by Mircea Eliade. Mircea Eliade was a man interested in religious beliefs, but I don't know if he practiced any religion at all. I mean it's possible knowing and writing on religion without doing apology of religion. I can distinguish between a belief and the knowledge about that belief.   

2.- If Haydn was a practicing Catholic and Bach a devout Lutheran, I think those facts shouldn't be ignored to interpret (particularly) their sacred works. Their religious ideas are "religious", but still a part of their concept of the world and probably not the least important part.

3.- You don't need to be a Catholic or a Lutheran to learn important things about the probable ideas and beliefs of a particular composer when he wrote a particular work for a particular religious festivity (Haydn's Seven Last Words, for instance?). I'm not Lutheran, but the knowledge of the Lutheran Liturgical calendar has been extremely useful to me, as would be great to know the reading of a particular Sunday to understand the sense of the cantata intended for that Sunday.

4.- It's perfectly possible to enjoy music without this kind of knowledge, but sometimes this kind of knowledge enlarges our enjoyment, for instance, when a particular theological knowledge is important to illuminate a musical decision what, for instance, it's usual in Bach's sacred music.

5.- Absolute music doesn't exist. We, men, are always tied to something, particularly our ideas and beliefs (and not just religious ideas, of course).

[Antoine Marchand]

Gurn, did you get/receive those cheap Seasons conducted by Kuijken, offered at the AMP? I'm curious.