Haydn's Haus

[Karl Henning]

Such an amazing trio of symphonies. No.6 is one of my favorites, I find Haydn's music so desirable when he features solo instruments and No.6 has remarkable solo parts, especially the violin at the opening of the 2nd movement Adagio-Andante-Adagio.

Not (too) surprisingly, this troika of symphonies come in for specific mention on-site at Eisenstadt in the film.

[Gurn Blanston]

It was Norrington's doing in highlighting various soli in the Londons, wasn't it? That is, these weren't written into the score, correct? (Just curious. I like them somewhat.)

There are actually some solos written into the scores of some of the London's. They aren't as extensive as in the early symphonies, which have their roots closer to the Italian concerto grosso, but IIRC #95 has a nice cello solo part, and #98 has a violin part (and not to mention the obligatto keyboard at the end). Some others too. It seems like Haydn was getting back to his roots there....

[Opus106]

There are actually some solos written into the scores of some of the London's. They aren't as extensive as in the early symphonies, which have their roots closer to the Italian concerto grosso, but IIRC #95 has a nice cello solo part, and #98 has a violin part (and not to mention the obligatto keyboard at the end). Some others too. It seems like Haydn was getting back to his roots there....

Thanks, Gurn. I came back to these symphonies recently after a 5-year break and with a pair of ears ever-so-slightly better in picking out various things happening in the music, so when I listened to Norrington's Stuttgart work, I was pleasantly surprised by the solo passages for various instruments and, given that it was his conducting, thought that he had taken a little freedom in emphasising the colours available in Haydn's music.

[TheGSMoeller]

There are actually some solos written into the scores of some of the London's. They aren't as extensive as in the early symphonies, which have their roots closer to the Italian concerto grosso, but IIRC #95 has a nice cello solo part, and #98 has a violin part (and not to mention the obligatto keyboard at the end). Some others too. It seems like Haydn was getting back to his roots there....

Interesting, with #98 I always wondered why half of the performances I own have the violin section playing with the at the end-keyboard and other performancs have a solo violin. I prefer the solo because it seems to mirror the solo from the middle of the movement.

Another interesting note, the Solti version has the harpsichord playing continuo thought the entire final movement, whereas every other version only uses it at the end, which I find more effective.

[Gurn Blanston]

Interesting, with #98 I always wondered why half of the performances I own have the violin section playing with the at the end-keyboard and other performancs have a solo violin. I prefer the solo because it seems to mirror the solo from the middle of the movement.

Another interesting note, the Solti version has the harpsichord playing continuo thought the entire final movement, whereas every other version only uses it at the end, which I find more effective.

Particularly interesting that he uses a harpsichord at all. Many sources outside the newspaper reviews confirm that the reviewer was only being customary when he wrote 'harpsichord', and it was, in fact, a fortepiano that Haydn played. But outside of that, it is particularly effective as just a little rockin' solo at the end.

Thanks, Gurn. I came back to these symphonies recently after a 5-year break and with a pair of ears ever-so-slightly better in picking out various things happening in the music, so when I listened to Norrington's Stuttgart work, I was pleasantly surprised by the solo passages for various instruments and, given that it was his conducting, thought that he had taken a little freedom in emphasising the colours available in Haydn's music.

Navneeth,
Yeah, he can be wayward like that, but this time he's right on. If you are giving those a re-listen, you might also check out the very nice oboe solo work in the minuet of #96.... 

[Opus106]

Navneeth,
Yeah, he can be wayward like that, but this time he's right on. If you are giving those a re-listen, you might also check out the very nice oboe solo work in the minuet of #96.... 

It's on now.

[Gurn Blanston]

It's on now.

Brilliant!

[Opus106]

Re: the 96, there comes a sequence (around 7:15 and again around 10:00 in this particular recording) which seems like a precursor to a similar one in the fourth movement of the Op. 125.

[Karl Henning]

. . . in the fourth movement of the Op. 125.

But, Nav: there are only three movements in the Prokofiev Symphony-Concerto for Cello and Orchestra . . . .

[Gurn Blanston]

But, Nav: there are only three movements in the Prokofiev Symphony-Concerto for Cello and Orchestra . . . .

Actually, the number should have been retired, like a football Hall-of-Famer's jersey number. Op 125 should be suspended from the rafters of the concert hall, untouchable.... 0:)

[Opus106]

But, Nav: there are only three movements in the Prokofiev Symphony-Concerto for Cello and Orchestra . . . .

Please refrain from dissin' da Haus favourites, sir; the 'tron is watching. You've been fairly warned. 

[Karl Henning]

Actually, the number should have been retired, like a football Hall-of-Famer's jersey number. Op 125 should be suspended from the rafters of the concert hall, untouchable.... 0:)

If Music were like Major League Baseball . . . .

[Opus106]

If Music were like Major League Baseball . . . .

...I'd have avoided it.

[Karl Henning]

Aye, there is that!

[Gurn Blanston]

If Music were like Major League Baseball . . . .

...I'd have avoided it.

Some traditions are worth maintaining, despite the dissolution of their progenitors. 0:)

[jlaurson]

If Music were like Major League Baseball . . . .

...I'd have avoided it.

Oh... but Baseball is the soul of all that is good about America(na)! It's a peek into pre-Football america.

When errors were errors, not penalties.
Fields fields, not gridirons.
Where the active team is "at bat", not "on offense"
Where you hit balls out of the park, not a 'bomb' into the end-zone.

Where there are no tackles and sacks and blitzes and bounties

Not that I'm dissin' pro-football as such (go Vikings!)... just sayin' -- it represents generally and in vernacular a newer, different America.

[Sergeant Rock]

I was pleasantly surprised by the solo passages for various instruments...

I've been listening to #81 today, the first time I've ever heard this fascinating symphony (if I'd heard it blind, I wouldn't have guessed a Haydn composition. It sounds almost Mozartian). Anyway, there's a really lovely solo violin passage in the Andante.

Does anyone else think that Haydn was trying to imitate the hurdy-gurdy in the rustic sounding Trio of the Minuetto? It sounds so much like one, I had to google to check the orchestration 

Sarge

[Karl Henning]

Well, he was a country boy.

[Opus106]

I've been listening to #81 today, the first time I've ever heard this fascinating symphony (if I'd heard it blind, I wouldn't have guessed a Haydn composition. It sounds almost Mozartian). Anyway, there's a really lovely solo violin passage in the Andante.

Thanks, Sarge. I'll come around to it soon.

[Sergeant Rock]

Well, he was a country boy.

He was...and I'm fairly certain John Denver's song was a homage to Haydn 

Live a good life and play the fiddle with pride
And thank God you're a country boy.

Sarge