Haydn's Haus

[Gurn Blanston]

I absolutely fell in love with this movement. It's on repeat, again and again. 

http://www.youtube.com/v/YvLeuLrdhog&feature=plcp&context=C3ac4388UDOEgsToPDskJQxWjDnQelj3eig_8649lf

Is there a more archetypical Late 18th Century sound than that? Other than Boccherini's "Famous Minuet", of course.

[Florestan]

Is there a more archetypical Late 18th Century sound than that? Other than Boccherini's "Famous Minuet", of course.

Yes, there is.

http://www.youtube.com/v/lH71dxtzNEo&feature=related

The middle section, with its hurdy-gurdy rythm and feeling is absolutely ravishing.

If all other concertos for lira organizzata are like this then I must have the whole set asap no matter the costs.   

[Gurn Blanston]

Yes, there is.

http://www.youtube.com/v/lH71dxtzNEo&feature=related

The middle section, with its hurdy-gurdy rythm and feeling is absolutely ravishing.

If all other concertos for lira organizzata are like this then I must have the whole set asap no matter the costs.   

One of them even has the Andante from the Military Symphony (minus Turkish Percussion, of course). It is very difficult to find performances that actually use the liras though. That one I rec, that comes from the Big Box, is the only complete set that I am aware of. Ensemble Limoges only does 1 of them...

[SonicMan46]

If all other concertos for lira organizzata are like this then I must have the whole set asap no matter the costs.   

Interesting that the instrument above should become a topic of discussion -   I was just listening to the disc below yesterday and this morning - only own an MP3 download which I 'burned' to a CD-R.  For those interested, there is a LOT of discussion w/ pics in the 'Old Musical Instrument' Thread HERE - also w/ the help of Tony, I was able to get the liner notes from an LP that he owned - links are available to those interested!   

[Leon]

Interesting that the instrument above should become a topic of discussion -   I was just listening to the disc below yesterday and this morning - only own an MP3 download which I 'burned' to a CD-R.  For those interested, there is a LOT of discussion w/ pics in the 'Old Musical Instrument' Thread HERE - also w/ the help of Tony, I was able to get the liner notes from an LP that he owned - links are available to those interested!   

Besides the above referenced wonderful recording, I also have this one:

[asin]B000P46Q86[/asin]

Which, unfortunately is showing up unavailable as of today, but is available as a download.  This one I find a bit more pleasing; at least according to my tastes, and it has a nice variety of works.

[Gurn Blanston]

Besides the above referenced wonderful recording, I also have this one:

[asin]B000P46Q86[/asin]

Which, unfortunately is showing up unavailable as of today, but is available as a download.  This one I find a bit more pleasing; at least according to my tastes, and it has a nice variety of works.

I have been touting the Hugo Ruf disk in my essays (1786 & 87, IIRC). It is only available (short of as a million dollar collector's item) as part of the Big Box, since Brilliant licensed it, but only released it there.

The Ensemble Limoges disk is excellent, but it only has one concerto played on lira, which is the one that Florestan posted the Youtube of. They built 2 lira for that disk, if they would only use them to record a complete traversal of both the concerti and the notturni, then it would be worth what it must have cost. They sound lovely!

[Leon]

I have been touting the Hugo Ruf disk in my essays (1786 & 87, IIRC). It is only available (short of as a million dollar collector's item) as part of the Big Box, since Brilliant licensed it, but only released it there.

The Ensemble Limoges disk is excellent, but it only has one concerto played on lira, which is the one that Florestan posted the Youtube of. They built 2 lira for that disk, if they would only use them to record a complete traversal of both the concerti and the notturni, then it would be worth what it must have cost. They sound lovely!

Ah, I had not played the Youtube clip nor read carefully enough your comments about Ensemble Limoges in response to his posting ... But you are absolutely correct that the Ensemble Limoges only do the one concerto - but I like the other works so much that I do not mind not having more of the concerti - especially since I have the Ruf recording.

[SonicMan46]

The Ensemble Limoges disk is excellent, but it only has one concerto played on lira, which is the one that Florestan posted the Youtube of. They built 2 lira for that disk, if they would only use them to record a complete traversal of both the concerti and the notturni, then it would be worth what it must have cost. They sound lovely!

AGREE!  I'll put that disc on next, and Gurn's suggestion makes sense to me!      Dave

[Gurn Blanston]

Part 38

1789
Not many works this year, but nonetheless an interesting year anyway. The last year in servitude. The winter in Vienna with Mozart and Marianne Genzinger (no, hey, we're just friends!) And all the while, fame growing.

This year we see the final symphony before the London ones. Certainly the last that Nicolaus the Magnificent would have heard (if he heard it at all). And it is one of my all time favorites, Hob 92 "The Oxford". Eventually, Haydn carried it with him to London, and offered it to be played as a new symphony (which it was to them) because his first London ones weren't ready yet. Then he took it to Oxford with him and offered it to them as his doctoral thesis, and it was performed there also.

Last year's return to the keyboard trio continues this year. The set of 4 composed across this span solidify Haydn's newfound interest in the genre and set a solid basis for the great group to come in the 1790's. Once again, I urge you all to move beyond the London Trios to really hear what Haydn was doing at this time. He was a mature master craftsman with ideas that went well beyond what any of his peers (save Mozart) had going on. For me, this is the beauty of the chronological approach to listening. Most especially if you include other composers in the mix. If you do so, it isn't hard to hear who is working on last year's ideas and who is molding next year's!

There are two especially nice solo keyboard works this year. The sonata #58 (Hob 48) in C major, like all of his standalone keyboard works it is a little bit more special. And the Fantasy in C, the second of 3 non-sonatas that were groundbreaking in one way or another. The wide-ranging tonal contrasts and rondo-like structures in this work are especially lovely.

The music of 1789;

Hob 01_092 Symphony #92 in G
   Freiburger Barockorchester / Jacobs



Hob 15_13 Trio in c for Piano & Strings
Hob 15_14 Trio in Ab for Piano & Strings
   Trio 1790


Hob 16_48 Sonata #58 in C for Fortepiano
   Carole Cerasi
Hob 17_04 Fantasia in C for Keyboard
   Tom Beghin (Copy of 1791 Walter Fortepiano w/ Prell action)


Hob 24b_14 Aria for Tenor "Se tu mi sprezzi, ingrata" for Il Cavaliere (Ten) in "I finti eredi" by Sarti
   Manfred Huss / Haydn Sinfonietta Wien - Bernard Richter


Well, there is no shortage of recorded performances of the 'Oxford' symphony, PI or MI! I have gone totally out of control here and chosen the Freiburg Baroque / Jacobs performance, not only because they play it well, but I savor the idea of using a HIP performance that actually fits the anti-HIP stereotype!    Yes, it is pretty darned fast in the finale (but the players have no problem with it). It ain't your father's 'Oxford'. But if you want one that you and he would both love, as a backup, and for the MI's out there, I strongly recommend this one;


IMO, there is no better MI version out there.

I don't see me swaying from my initial choice of the Trio 1790 for these works. There are plenty of good versions out there though, so don't you be swayed either; stick with what you like. If you are still in the shopping phase though, the recently released 9 disk box set of this groups complete traversal was on offer this morning for less than $50.US. That's a gift! 

For my solo keyboard choices, I decided on Carole Cerasi, whose superb disk has  a mix of performances on both a clavichord and a very nice original 1795 Schantz fortepiano which she really plays well. I find Brautigam to be a little too forceful in this piece, although Kojima on the Brilliant set and especially Staier on DHM also play it nicely. Cerasi's is a nice disk to have though.

In the Fantasia, I went with Beghin. I really like the sound of his Walter reproduction, and the Prell action seems to help him to avoid the legato which is not what this work is asking for. As a second choice, I love Schornsheim in this one too, it was hard to make a choice as I think she may have the playing of it perfected while his instrument totally intrigues me. Brautigam takes it at 90 mph, but Oort has it nice tempo too. His Variations & Klavierstücke will graciously repay your investment here, too.

And finally, the invaluable Manfred Huss saves this lovely aria for us, one of the very last that Haydn composed for Esterháza Opera. Sarti was a major name of the day, and I can't help but feel that this insertion aria could only enhance that reputation.

So there is 1789. The Fin de l'Age is upon us. And England will never be the same.

[TheGSMoeller]

I know there aren't too many iTunes fan here, but I did find this available there for $7.99.

[DavidW]

I know there aren't too many iTunes fan here, but I did find this available there for $7.99.

Well I'm one thanks for posting Greg.

[TheGSMoeller]

Well I'm one thanks for posting Greg.

Your welcome, David. 

[Karl Henning]

Just a style quibble — "nonetheless an interesting year anyway" feels burdened with some degree of redundancy, yes?

[Gurn Blanston]

Just a style quibble — "nonetheless an interesting year anyway" feels burdened with some degree of redundancy, yes?

At least you know I didn't cut and paste it out of Wikipedia.   The real question is not the style of writing, it is whether the content is sensible. I submit that it is. 

[nesf]

I made the mistake of getting some of Haydn's string quartets. Now I want that damned Brilliant Classics box set.

[Gurn Blanston]

I made the mistake of getting some of Haydn's string quartets. Now I want that damned Brilliant Classics box set.

Yes, there you have it. As our nomad friends say "You let the camel get his nose under the edge of your tent, and pretty soon he is sleeping under your rug..."

[SonicMan46]

 


I know there aren't too many iTunes fan here, but I did find this available there for $7.99.

Well, believe that my MP3 purchase came from Amazon - if not already done check out the links I posted not too long back in this thread - quite interesting -

But this recording stimulated my interested in others by Haydn either using unusual instruments no longer played or some non-expected instruments in transcriptions - now listening to the disc inserted above (right):

Basset Horn Trios w/ Le Trio di Bassetto - about a half dozen of the baryton trios transcribed for 3 basset horns; musical glasses (plucked) are used to simulate the sympathetic strings of the baryton - unusually pleasant - REALLY! 

[Gurn Blanston]

Part 39

1790
What a year! First, life in the Empire was disrupted in February by the death of Emperor Joseph II. Love him or hate him, he was the single most important force in molding the lifestyle of his times. Five days later, while the country was in mourning, Nicolaus's wife died also. Depression seized the Prince, and Haydn spent the next several months trying to cheer him up with various musical entertainments, but to no avail. On September 28 Nicolaus also died. Change was coming, and fast.

Early in the year, Haydn left Vienna for the country. He had been communing with the Genzinger's and Mozart, the latter for several reasons, not least that he was preparing Le nozze di Figaro for production at Esterháza. One of his most famous letters, written to Marianne upon his arrival home, showed for the first time the depth of his dissatisfaction stemming from being so isolated for 10-11 months a year. Once one cuts through the element of feeling sorry for himself, the remainder is a sad testament to staying too long in one place, occasioned by his sense of duty to the Prince.

"Here I sit in my wilderness – forsaken – like a poor waif – almost without human society – sad – full of the memories of past glorious days – yes! past, alas! – and who knows if those days will return again? Those wonderful parties? – where the whole circle is one heart, one soul – all the beautiful musical evenings? ... For three days I didn't know if I was Kapellmeister or Kapell-servant. Nothing could console me, my whole house was in confusion, my pianoforte, which I usually love, was perverse and disobedient ... I could sleep only a little, even my dreams persecuted me; and then, just when I was happily dreaming that I was listening to "Le nozze di Figaro", the horrible North wind woke me and almost blew my nightcap off my head ... Alas! alas! I thought to myself as I was eating here, instead of that delicious slice of beef, a chunk of a 50-year-old cow ... Here in Eszterháza no one asks me: 'Would you like some chocolate, with milk or without? ... What may I offer you, my dear Haydn, would you like a vanilla or a strawberry ice?'"

Of course, such an irrepressible spirit couldn't end on that note;

"I am gradually getting used again to country life, and yesterday I composed [studierte] for the first time, and felt indeed quite Haydnish"

But that was in early February. The next few months put that all in the shade.

Immediately upon Nicolaus' death, his son and heir Anton, no lover of music, dissolved the orchestra and operatic troupe and sent everyone on their way, with the exception of Haydn, Tomasini and the Harmonie (wind band). For his part, Haydn wasted not a moment in heading off to Vienna where he shared an apartment with an old friend.

Other wheels were in motion within days of the news of Nicolaus' death. Johan Peter Salomon, a Bonn-born violinist and big-time London concert producer, was traveling in Europe at the time on business. He immediately headed out to Vienna, and within days was knocking on Haydn's door, with the famous phrase "I'm Salomon, and I've come to take you to London". It seems that Haydn paused for as long as 30 seconds before saying "OK, let's off then" and so it went.

There were happy and sad goodbye's in the next few weeks, the one with Mozart being the most poignant ("I fear I shall never see you again, Papa") but on December 15, the pair hit the road, and on Jan. 1, 1791 (isn't the symbolism wonderful?), Haydn stepped off the Channel packet boat and into a new life.

The music of 1790;

Hob 03_63 Quartet in D for Strings Op. 64 #5   
Hob 03_64 Quartet in Eb for Strings Op. 64 #6   
Hob 03_65 Quartet in C for Strings Op. 64 #1   
Hob 03_66 Quartet in G for Strings Op. 64 #4   
Hob 03_67 Quartet in Bb for Strings Op. 64 #3   
Hob 03_68 Quartet in b for Strings Op. 64 #2
   Quatuor Festetics



Hob 15_15 Trio in G for Flute, Cello & Fortepiano
Hob 15_16 Trio in D for Flute, Cello & Fortepiano
Hob 15_17 Trio in F for Flute, Cello & Fortepiano
   La Gaia Scienza / Marco Brolli (Traverso)



Hob 16_49 Sonata #59 in Eb for Fortepiano
   Joanna Leach
Hob 17_05 Theme & Variations in C for Keyboard
   Jan Vermeulen



Hob 24b_15 Aria for Soprano  "Infelice sventurata" for Beatrice (Sop) - "I due supposti conti" by Cimarosa
   L'Orfeo Baroque Orchestra / Gaigg   Nuria Rial
Hob 24b_17  Aria for Mezzosoprano "Il meglio mio carattere" for Merlina (Sop) - "L'impressario in angustie" by Cimarosa
   L'Orfeo Baroque Orchestra / Gaigg  Margot Oitzinger
Hob 24b_18 Aria for Mezzosoprano  "La moglie quando è buona" for Giannina (Sop) - "Giannina e Bernadone" by Cimarosa
   L'Orfeo Baroque Orchestra / Gaigg  Margot Oitzinger
Hob 24b_19 Aria for Soprano   "La mia pace, Oh Dio" for Costanza (Sop) - "L'amore artigiano" by Gassman
   L'Orfeo Baroque Orchestra / Gaigg   Nuria Rial
Hob 24b_23 Aria for Mezzosoprano  "Via siate bonino" for Soprano - Opera unknown
   L'Orfeo Baroque Orchestra / Gaigg  Margot Oitzinger
Hob 24b_16 Aria for Tenor "Da che penso a maritarmi"  for Titta (Ten) - "L'amore artigiano" by Gassman
   Manfred Huss / Haydn Sinfonietta Wien - Bernard Richter
Hob 24b_22 Aria for Tenor "Tornate pur mia bella"  for Tenor - Opera unknown
   Manfred Huss / Haydn Sinfonietta Wien - Bernard Richter



Hob 26a_39 Lied with Keyboard - 'Trachten will ich nicht auf Erden'  ('I do not want to dress the earth')
   Elly Ameling / Jorg Demus



Hob 26b_02 Cantata for Soprano and Fortepiano "Arianna a Naxos"
   Andrea Folan / Tom Beghin


We will start off this year with string quartets, since unusually enough, there are no symphonies to discuss. Probably more from a lack of occasion than a lack of inspiration or demand. The Opus 64 quartets, performed in this instance by Quatuor Festetics for my listening pleasure, are among the most entertaining sets extant. Among my own personal favorites are #5, called "The Lark", but in all likelihood also the quartet that John Bland brought home to London that should be "The Razor". In any case, little features like the opening movement in which the second violin, viola & cello start out with a perfectly full featured military march-like theme, which is suddenly overtaken octaves higher by the soaring first violin, which not only led to the name, "The Lark", but also prominently displayed the mastery involved in making a foreground turn seamlessly into a background. By this point in his career, little things like this were everyday occurrences for Haydn, and yet still beyond most other composers.  I think you will like the Festetics version, but not to overlook the very eloquently stated Mosaiques here, either.

This year's set of trios, composed on commission from the above-mentioned Bland of London, features a flauto traverso in place of the violin. Probably for commercial reasons since the flute was very popular in England at the time. In any case, these are especially good works which provide plenty of entertainment for both the players and the listener. There are many good PI versions out there, but my favorite by far is featured here. La Gaia Scienza are quite simply a first-rate ensemble, and the recording engineers at Winter & Winter are up to the task of putting the sound on media in a way that makes you feel you were there. Camerata Köln on cpo is a nice alternative choice since you will want it anyway for the Hob 4:1-4 pieces that come up soon. Just sayin'...

The sonata Hob 49 (Landon #59) in Eb is the big sonata that Haydn spent a lot of time on for Marianne Genzinger. The second movement Adagio is richly beautiful and the entire is clearly inspired by the dedicatee. I decided on Joanna Leach for this because I wanted a lady playing it (as Haydn did) and I love the sound of her square piano, it seems to represent Genzinger at the keyboard particularly well. But then, that's just me...

I also like these little Theme & Variations of Hob 17:5. There are many nice versions available, even Brautigam takes it at a reasonable pace (not knocking him, he's among my favorites, but sometimes he takes off running!). The choice of Vermeulen was not difficult, he is a wonderful pianist, and this disk, primarily of Lieder, also contains a couple of solo piano pieces, of which this is one. I think if you have access to it you will agree with me. Otherwise, Schornsheim, Oort, Beghin or Brautigam all do a nice job with it.

Whoa! A nice half-dozen of insertion arias to finish off the genre for us. Not hard to see that right to the end of Esterháza time, Haydn was busy with operas. These two disks featured have paid us handsome dividends over the last decade. Rial's mezzo partner, Margot Oitzinger, does a lovely job on these few remaining works. As does tenor Richter performing with Huss.

We return to Ameling & Demus for an unusual standalone Lied with keyboard, 'Trachten will ich nicht auf Erden'. I hope one of our German speaking friends will give us some ideas about that... Be it as it will, this is a very nice song and performed as nicely as you would expect by Ameling & Demus.

Finally, we come to one of Haydn's most famous vocal works, the cantata for Soprano & Keyboard Arianna on Naxos. Probably actually completed in 1789, but not performed or published until 1790. Here, Haydn follows the typical form of Italian cantatas of the day, writing four movements; Recitative, slow aria (but ending Presto), recitative, faster aria (a vocal rondo). The story is very well known at that time, although this particular text is by Anonymous. Also unlike opera at the time, which wasn't allowed to end on a sad note, a cantata wasn't restricted by that convention. So we are OK that it ends with Arianna throwing herself over a cliff onto the rocks below, yes?    I like, as in everything else they touch, Folan & Beghin in this work. They feel to me to hit it just right. However, it is frequently enough recorded that you can likely find a version which is perfect for you. This is a nice piece worth looking for.

So, there is 1790. From this point on, for the next 15 years or so, Haydn is the center of the cultural universe so to speak. For now, let's enjoy one, last provincial year of great music. If one wanted only to have a representative year to listen to, the lack of symphonies is the only thing that keeps this one from being tops.

[Karl Henning]

I made the mistake of getting some of Haydn's string quartets. Now I want that damned Brilliant Classics box set.

Gurn put it well with his camel tale.  Those string quartets were nigh unto a rabbit-hole for me . . . .

[Bogey]

I made the mistake of getting some of Haydn's string quartets. Now I want that damned Brilliant Classics box set.

Nice set to have....however, I would promote seeking out individual recordings from various ensembles and conductors.  Haydn's strength lies in the performances.....more so than others for me.  His music lends itself cleanly to interpretations of those who find him and play him.  Where performances for others such as Beethoven and Mozart can vary greatly and still hold you with either prong, Haydn performances, at least for me, can have chasms found in the subtle differences between performances.  His music is "clean" and you will find that the recs here may lead you down this centering path.  At least they have for me.