Haydn's Haus

[Leo K.]

Let me take you down, 'cause I'm goin' to, Esterházy fields

LOL love your signature Bogey 

[Leo K.]

I tried buying the Hakkenin recording on Classics Online but my download never showed up, and costumer service is so slow  yikes I hope they respond some time, 10 bucks is worth two Happy Meals!

Anyways, at least I have Brautigan's account to tide me over until I can hear the clavichord version

[Leon]

I tried buying the Hakkenin recording on Classics Online but my download never showed up, and costumer service is so slow  yikes I hope they respond some time, 10 bucks is worth two Happy Meals!

Anyways, at least I have Brautigan's account to tide me over until I can hear the clavichord version

I started to listen to it on Naxos Music Library but did not find it very good.  Too much music for that instrument, imo.

[Gurn Blanston]

I started to listen to it on Naxos Music Library but did not find it very good.  Too much music for that instrument, imo.

Not having heard it yet, I can't comment, but I will say that this is what I fear. Reviewers say otherwise, but as I said to Antoine, that earthquake should be a real handful on the clavier!!

[Gurn Blanston]

Purchases Today (transplanted  )

Just received these 2 in today's post. Listening to the symphonies now;



I had seen reviews of these here and there, enough to pique my curiosity. The Arion Baroque, led here by harpsichordist Gary Cooper, are indeed a 'real size' ensemble, in this case employing 17 musicians, which is very likely to be the precise number in the Esterhazy band at the time these works were composed (1768-71). Despite Mr. Hogwood's protestations, Cooper plays a harpsichord continuo. The justification for using a 3rd viola comes from Haydn's famous written instructions for the performance of the cantata "Applausus" from 1767, in which he urges the use of an extra viola to support the inner (instrumental) voices which frequently need it more than the upper and lower ones. In addition, since trumpets and timpani were only added on at the time of publication and didn't exist in the original autograph score of #41, they aren't used here in it either. The result is rather stunning actually. Whereas in every version (many!) that I've heard, one must struggle to pick out the amazing C maj Alto horns from the trumpets, here they stand out in a stark beauty that must be heard to be appreciated. I must admit, I am absolutely delighted so far (though still only in #44, another winner!). This is very HIP, unless you already really like PI and all it can do, you may be brought up short when you first hear it, esp. #41.

The baryton trio disk (well, I needed another one ) promises, by all I've read, to also be a winner. The barytonist, Balestracci, is reputed to be an actual virtuoso on the instrument. How rare is that?  We'll see shortly. The liner notes were highly interesting with a brief discussion of actually playing the instrument. I can't remember any baryton disk that went that direction before. Hope it lives up to my expectations, I'll let you know tomorrow.



----------------
Now playing:
  Arion Baroque Orchestra \ Gary Cooper - Hob 01_044 Symphony in e 3rd mvmt - Adagio

[Leo K.]

Not having heard it yet, I can't comment, but I will say that this is what I fear. Reviewers say otherwise, but as I said to Antoine, that earthquake should be a real handful on the clavier!!

I heard samples of it, and it sounds great, but I'll need to hear the complete recording to comment too 

[Gurn Blanston]

I heard samples of it, and it sounds great, but I'll need to hear the complete recording to comment too 

I can visualize the poor lad crippling up in the terremoto section.   Well, soon enough I'll/we'll know.

[Leon]

I have them on this, which I like a lot:

[asin]B0007XSVR4[/asin]

I would like to have them playing some Haydn.

[Gurn Blanston]

I have them on this, which I like a lot:

[asin]B0007XSVR4[/asin]

I would like to have them playing some Haydn.

Strongly recommended, Arnold. I am now listening to the beautiful extended Adagio opening movement of #49 in f and it is truly special.   0:)

[asin]B001OBT3LG[/asin]



----------------
Now playing:
   Arion Baroque Orchestra \ Gary Cooper - Hob 01_049 Symphony in f 1st mvmt - Adagio

[Bogey]

Not having heard it yet, I can't comment, but I will say that this is what I fear. Reviewers say otherwise, but as I said to Antoine, that earthquake should be a real handful on the clavier!!

I usually enjoy the clavier, pianoforte, and especially the harpsichord when they are the seasoning in the stew.  When they become the meat I am usually not pleased. 

[Gurn Blanston]

I usually enjoy the clavier, pianoforte, and especially the harpsichord when they are the seasoning in the stew.  When they become the meat I am usually not pleased.

It's an acquired taste for most people, I think. I was fortunate enough to be born with it though thousands aren't. Still there are limitations on everything. We can only wait and see, in my case since I don't stream online music.

[Antoine Marchand]

Just landed from Amazon.it (although the package is marked Amazon.uk):



Original releases in jewel cases. 

Now playing Vol. 1, CD2: String Quartet in E flat major Op. 1 No. "0" Hob. II:6. 

[Sergeant Rock]

I usually enjoy the clavier, pianoforte, and especially the harpsichord when they are the seasoning in the stew.  When they become the meat I am usually not pleased.

My taste exactly.

I was fortunate enough to be born with it though thousands aren't.

Sadly, I am one who was born without the harpsichord gene. A pity that.

Sarge

[Gurn Blanston]

My taste exactly.

Sadly, I am one who was born without the harpsichord gene. A pity that.

Sarge

When I was an early teenager, which is to say, back in the mid-1960's, my aunt and uncle purchased an actual, real harpsichord. Looking back now, I see how rare that must have been, but at the time I just thought it was absolutely cool! I piddled with keyboards somewhat back then (we had an electronic, 2 manual organ at home) and I was totally enraptured by the sounds that came out of that thing. Possibly this is where my enjoyment arose. Anyway, I can fairly say that I have always liked the harpsichord.

[Bogey]

Just landed from Amazon.it (although the package is marked Amazon.uk):



Original releases in jewel cases. 

Now playing Vol. 1, CD2: String Quartet in E flat major Op. 1 No. "0" Hob. II:6. 

[Sergeant Rock]

Interesting cover there, Sarge.  Report on the Haydn thread when you have a review so I do not miss it.

Taken from the listening thread:

Excellent performance of the Haydn as one would expect from Brüggen (hard to imagine a more powerful earthquake)--but, unfortunately, marred by the inclusion of short, dissonant intermezzi between movements composed by Ron Ford; music inexplicably commissioned by Brüggen to fill in for spoken words. It's about as far from HIP as can be imagined. The intermezzi are not tracked separately and can't be avoided. I'm deeply puzzled by this messing about with the work. Brüggen's reasoning makes no sense. The booklet quotes him as saying, "The intermezzi are meant to be a worthy musical substitute for no music."  Huh?

Sarge

[Antoine Marchand]

[Opus106]

When I was an early teenager, which is to say, back in the mid-1960's, my aunt and uncle purchased an actual, real harpsichord. Looking back now, I see how rare that must have been, but at the time I just thought it was absolutely cool! I piddled with keyboards somewhat back then (we had an electronic, 2 manual organ at home) and I was totally enraptured by the sounds that came out of that thing. Possibly this is where my enjoyment arose. Anyway, I can fairly say that I have always liked the harpsichord.

We form that rare strain which is resistant to Beechamisms.

[Gurn Blanston]

Just landed from Amazon.it (although the package is marked Amazon.uk):



Original releases in jewel cases. 

Now playing Vol. 1, CD2: String Quartet in E flat major Op. 1 No. "0" Hob. II:6. 

Interested in a summary report, Antoine. The good, the bad and the ugly! 

[Gurn Blanston]

We form that rare strain which is resistant to Beechamisms.

Although we can safely laugh at him.   Tin roofs be damned!