Haydn's Haus

[Gurn Blanston]

Three Trios for Traverso, Cello & Fortepiano by Joseph Haydn

Hob 15:15 in G
Allegro
Andante
Allegro moderato

Hob 15:16 in D
Allegro
Andantino pìu tosto allegretto
Vivace assai

Hob 15:17 in F
Allegro
Finale: Tempo di Menuetto

Standing out among Haydn's "Piano Trios", for reasons other than choice of keyboard, are these three gems. All Haydnistas know the (probably exaggerated) tale of the Razor Quartet, wherein London music publisher John Bland visited Haydn in Vienna in November, 1789, and happened upon him one morning as he was shaving. The upshot being that he traded a pair of fine English razors to Haydn for the manuscript of a fine new quartet, alleged to be Op 55 #2, still called "The Razor Quartet", but which was really one of the Op 64 set, freshly written and published by Bland shortly thereafter.

But Bland didn't go to visit Haydn in order to give him some razors, he went with the twofold purpose of convincing him to come to London to play with Salomon. And that happened 14 months later, after the Prince died. And secondly, he came to commission some music. One of the things he asked for was a set of three keyboard trios. Likely he offered a good price, because Haydn had 2 of them completed by the following March, and the third shortly after, so Bland was able to publish by June, 1790. They were an instant hit with London's musical amateurs since they weren't overly technically demanding, yet they were distinctly Haydnish.

The first two are clearly twins. They are written in G & D, which are the two best keys for the transverse flute (like D with the violin). They share a great many features beyond the three movement layout. Both have a fast opening movement in sonata form, an A-B-A second movement and a lively rondo-like finale. Both are typically late-Haydn with amusing thematic development and many, sometimes surprising, modulations. Another feature, and an important one, is that Haydn has given the flute a lot more to do than to double the right hand of the keyboardist. Much of the time the flute presents the thematic material and the keyboard follows suit. Ultimately, these works are galant, which they must be for their purpose, but they are not old-fashioned in any way, they are cutting edge, the new galant if you will.   The third trio, in F, is a two movement form and really is a more conservative sort of work than the first two which are very forward looking. #3 is also the only one that is marked "For Flute or Violin".  It is very entertaining to listen to, but lacks some of the modern features which make the first two such standouts.

As I dug through my music library, I was surprised by how many PI versions I have. I was easily able to put my hands on 6, although I hope I'm not overlooking any. The problem comes in when I sit and listen to them and they are all really good! I hate when that happens.

Well, here are the six I have.



The version I chose during my survey for the essay of 1790 was La Gaia Scienza. The playing is superb (as in all of these), but ultimately the sound quality seemed the best on my equipment. That, and the fact that there is a nice coupling here with the Piano/Flute Quartet version of the Symphony #94 both fell on the plus side. On the minus side, the liner notes were relatively uninformative, spending their time dwelling on Haydn's business practices a lot and mentioning the music only a little. And the title, "Haydn in London"; well, Haydn wasn't in London for these, but the music was, I guess...

Camerata Köln were my choice before I got the La Gaia disk, and really they still easily could be. That CPO disk contains an excellent coupling with the 'London Trios' for 2 flutes and cello, Hob 04:1 – 4. Also, they have the most informative liner notes booklet of the group. Again, the playing is excellent and it is hard to find a minus to put on this disk. The Hob 04 pieces are my choice for those anyway, so it is a multi-winning disk to have.

The Finnish group of Hakkila, Helasvuo and Kartunen rock quite nicely in this music. Hakkila & Kartunen are represented in my collection by a superb rendering of Beethoven's Cello Sonatas. They are equally interesting in Haydn, falling in easily with the new galant conception of the works. In the release that I have, liner notes are Scandinavian-ishly minimalist, and there are no other works on the disk. I present that only for those to whom it is a deciding factor; the playing outweighs the frills. 

Now, a classic version. Hans Martin-Linde, a pioneering traverso player, along with Rolf Junghanns and Michael Jappe. This disk on German Indie FSM/Adagio is all around good. Did I mention earlier that the playing on all of these disks is about equal? Just sayin'. Linde really plays the heck out of the flute, no doubt about it. I don't know how long he has been around, but by 1989 when this disk was recorded, he hadn't waned in intensity in any appreciable way. As with the Finnish disk, liner notes are minimal and there is no other music coupled in. One downside is that FSM can be a hard label to find. I have 3 or 4 of their disks, all excellent, but only found them in a random sort of way. Possibly there is someplace that one can just scoop them up by the handful...

The Gamerith Consort was apparently engaged by Musical Heritage Society to record the complete keyboard trios of Haydn. Not being a member, I haven't any further knowledge of that, but if the remainder are as nicely done as this eBay winning that I got last year, then I need to hunt the set. Of the three players here, Maria Rose on fortepiano is the only one that I am already familiar with. I have her playing Hummel's Pianoforte Sonatas, which is among my favorite disks of his works. Linde Brunmayr was a pupil of Hans Martin-Linde. She went on to become Professor of Traverso at the Institute of Early Music in Germany. Mordej on cello, sadly, has little opportunity to show off his no doubt finely honed skills, since these works rely less on cello than do many other of Haydn's late chamber works. The liner notes here are succinct but informative, and there is no other music on the disk.

Finally, The Van Sweiten Trio. To be honest, it's hard top be fair to this one because I hadn't listened to it before yesterday, despite having it for over 2 years now. Of course, I didn't buy the Big Box just for the Flute Trios...   But I did rectify that situation last night, and am pleased to report that, just like the rest of that cycle, the flute works are first rate. Oort seems to scarcely ever put a foot wrong in Haydn, whether it's solo sonatas, dances or trios. And so it is here. I can't comment on the liner notes since the Big Box is sadly bereft and I would hate to say that the Trios Box is also without when possibly it has a great huge book even with scores and everything. Although I rather doubt it. Anyway, if you are relying on your Brilliant version for these, fear not, there is little you are missing musically.

There works are Haydn's best works for flute. He hit everything right, and got the most out of what was a very popular instrument in England at the time. And in Germany and France too, although not so much in Austria. The are without a doubt among his best examples of "social music", which is to say, not for public performance but for the private salon. As such, they had to be a combination of musically interesting,
charming, modernly intriguing and yet playable by (usually) competent but amateur musicians. It is a hard combination to hit just right, but in this case, he did it.

[Antoine Marchand]

Thanks, Gurn, that was very informative. For some reason, probably influenced by the Beaux Arts set, I thought that all of these flute trios were alternatively marked as piano trios with violin. But apparently I was wrong.

Do you have this version, Gurn?

[Gurn Blanston]

Thanks, Gurn, that was very informative. For some reason, probably influenced by the Beaux Arts set, I thought that all of these flute trios were alternatively marked as piano trios. But apparently I was wrong.

Do you have this version, Gurn?

Antoine,
Unless I'm mistaken, the BAT are the only existing recordings played on violin instead of flute. But no, 15 & 16 are definitely marked just 'For Flute' on the original Bland edition. Artaria published them also, latrer the same year, and it is possible (I simply don't know) that they marked all 3 as 'For Flute or Violin'.

No, I would love to have that disk, but I shopped for it rather late after it went OOP, and single used copies were approaching $100 each, so I gave it a miss. I keep my eyes open though, and if it comes reasonable, it shall be mine. How is it relative to any of the ones I reviewed?




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Now playing:


Malcolm Bilson (Fortepiano - 1785 Walter copy) - Hob 16_52 Sonata in Eb for Keyboard 2nd mvmt - Adagio

[Antoine Marchand]

Antoine,
Unless I'm mistaken, the BAT are the only existing recordings played on violin instead of flute. But no, 15 & 16 are definitely marked just 'For Flute' on the original Bland edition. Artaria published them also, latrer the same year, and it is possible (I simply don't know) that they marked all 3 as 'For Flute or Violin'.

No, I would love to have that disk, but I shopped for it rather late after it went OOP, and single used copies were approaching $100 each, so I gave it a miss. I keep my eyes open though, and if it comes reasonable, it shall be mine. How is it relative to any of the ones I reviewed?

I see, it's great to know.

Regarding Cohen/Hünteler/Coin, they are very good, but IMO not a critical acquisition considering that you have some superb versions. Anyway, I don't have the Musical Heritage Society disc which looks quite enticing...

[Gurn Blanston]

I see, it's great to know.

Regarding Cohen/Hünteler/Coin, they are very good, but IMO not a critical acquisition considering that you have some superb versions. Anyway, I don't have the Musical Heritage Society disc which looks quite enticing...

It is very good, actually. I didn't even know it existed since it wouldn't be listed at a music store, but I saw it on eBay one day and snapped it up for a few dollars. I have another disk of theirs which has a couple of Haydn trios (Hob 9 & 22) and one by Pleyel, along with a fortepiano concerto from 1779 by Karl Ditters. It is also well-played and the sound of the instruments is very... rustic? Original sounding, let us say.



They are not terribly famous, but listeners such as we are could appreciate them, I think.



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Now playing:


L'Orfeo Baroque Orchestra \ Gaigg   Nuria Rial - Hob 24b_08 Aria for Soprano  "Dica pure chi vuol dire"

[Antoine Marchand]

It is also well-played and the sound of the instruments is very... rustic? Original sounding, let us say.



They are not terribly famous, but listeners such as we are could appreciate them, I think.

No doubt. I love some slightly rustic timbre of the instruments in chamber music. Unfortunately, the sound of many HIP ensembles seems increasingly polished these days... It's as if they were pursuing to sound as a single instrument (the symphonic ideal of the 19th & esp. 20th Century), more than several discernible voices participating in a single conversation. 

[Gurn Blanston]

No doubt. I love some slightly rustic timbre of the instruments in chamber music. Unfortunately, the sound of many HIP ensembles seems increasingly polished these days... It's as if they were pursuing to sound as a single instrument (the symphonic ideal of the 19th Century), more than several discernible voices participating in a single conversation. 

Absolutely right. Possibly they are caving to the pressure of the critics and others who want their PI to sound like MI, so they can be more comfortable telling people how much they like PI.  

But these guys are more like listening to John Khouri playing Hummel or Cramer; a little jangle here and there is a small price to pay for such interest.

[Antoine Marchand]

BTW, Gurn, I recalled another version of the trios 15-17, completely played on violin. It's the favorite set of our Sonic: the Haydn Trio Eisenstadt (on MI).

[Gurn Blanston]

BTW, Gurn, I recalled another version of the trios 15-17, completely played on violin. It's the favorite set of our Sonic: the Haydn Trio Eisenstadt (on MI).

Oh yes? Interesting. The thing that makes it difficult is that search places that I like to use, like Arkiv, don't differentiate between flute and violin. They say (or once did), for example, that the Van Sweiten set is on violin when clearly it is on flute. So when one does a search, the results aren't a sure thing. Trio Eisenstadt, eh? I might be able to find that disk as a single... Thanks!

BTW, I was going to say earlier that the reason that you can be sure that all 3 were originally intended for flute is that there isn't a single note that isn't in the flute's range, while the violin has a very large range that is totally unused in these works. Tessitura, isn't it??




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Now playing:


La Petite Bande; Kuijken - Hob 01_092 Symphony #92 in G 2nd mvmt - Adagio

[Antoine Marchand]

BTW, I was going to say earlier that the reason that you can be sure that all 3 were originally intended for flute is that there isn't a single note that isn't in the flute's range, while the violin has a very large range that is totally unused in these works. Tessitura, isn't it??

A very persuasive/almost conclusive argument, indeed.

Just some minutes ago, I finished the sixth disc of the complete set of piano trios on Brilliant. It's a beatiful disc, as usual, with an excellent flutist like Marion Moonen, playing in these piano trios with flute. 

[Gurn Blanston]

A very persuasive/almost conclusive argument, indeed.

Just some minutes ago, I finished the sixth disc of the complete set of piano trios on Brilliant. It's a beatiful disc, as usual, with an excellent flutist like Marion Moonen, playing in these piano trios with flute.

Isn't that music just pleasant to listen to? I am particularly fond of the finale of #16, although it isn't mentioned anywhere that I've read, it has hints of the Gypsy sound that shows up on occasion in several of his other works. Not to the extent of the G major trio, of course, of Concerto #11, but just a hint in the background from time to time.  I only have listened to the Van Sweiten set once, but I thought that if it was my one and only I wouldn't be unduly hungry for others. Which is a very positive thing to say, IMO. 



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Now playing:


Trio 1790 - Hob 15_13 Trio in c for Piano & Strings 2nd mvmt - Allegro spirituoso

[Antoine Marchand]

Isn't that music just pleasant to listen to? I am particularly fond of the finale of #16, although it isn't mentioned anywhere that I've read, it has hints of the Gypsy sound that shows up on occasion in several of his other works. Not to the extent of the G major trio, of course, of Concerto #11, but just a hint in the background from time to time.  I only have listened to the Van Sweiten set once, but I thought that if it was my one and only I wouldn't be unduly hungry for others. Which is a very positive thing to say, IMO. 

Immensely pleasant... My favorite movement is the second of #16, marked "Andantino piú tosto allegretto" which is pleasant, calmed and a bit philosophical, and extremely well played in the Brilliant recording.

[chasmaniac]

I only have listened to the Van Sweiten set once, but I thought that if it was my one and only I wouldn't be unduly hungry for others.

Took it in this morning. An oasis of sanity in the desert that is Monday to Friday.

[Gurn Blanston]

Purchased today:



For whatever reason, I have looked at this disk 100 times and never thought 'you know, I need to get that'. This, despite the fact that I have been intensively collecting PI keyboard trios for the last couple of years. So last week, I saw it again and I thought 'you know, I need to get that', and it arrived yesterday evening. Now on my second time through it, and that has given me enough time to figure out a way to kick my own ass for not getting it 2 years ago!     

This is a very nice disk, lovingly played, and with great sounding instruments, like an authentic 1798 Broadwood pianoforte. Jerome Hantaï is a very skilled and sensitive player, I see no mention of him being related to Pierre, but he brings the same sort of sensitivity to the fortepiano as Pierre does to the cembalo. The violinist and cellist are also first rate, and the sound quality is top-notch as Astrée/Auvidis/Naïve tend to be. Another feature that I personally like, although I understand there are those who don't, is that they observe all written repeats, giving Haydn some credit for knowing what he wants. The result is a well-balanced sonata form, and 3 keyboard trios that last 66 minutes instead of the more common 70 minutes for 4 that we often get.

This was on sale at Arkiv last week, possibly still is. Glad I got it.




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Now playing:


Jerome Hantaï (1798 Broadwood Fortepiano) \ P. Couvert (Violin) \ A. Verzier (Cello) - Hob 15_22 Trio #36 in Eb for Keyboard & Strings 3rd mvmt - Finale: Allegro

[Gurn Blanston]

Oh, meant to include this:

Hob 15:22 Trio in Eb
I Allegro moderato
II Poco adagio
III Finale: Allegro

Hob 15:23 Trio in d
I Molto andante
II Adagio ma non troppo
III Finale: Vivace

Hob 15:26 Trio in f#
I Allegro
II Adagio cantabile
III Tempo di Minuetto

[Antoine Marchand]

Purchased today:



For whatever reason, I have looked at this disk 100 times and never thought 'you know, I need to get that'. This, despite the fact that I have been intensively collecting PI keyboard trios for the last couple of years. So last week, I saw it again and I thought 'you know, I need to get that', and it arrived yesterday evening. Now on my second time through it, and that has given me enough time to figure out a way to kick my own ass for not getting it 2 years ago!     

This is a very nice disk, lovingly played, and with great sounding instruments, like an authentic 1798 Broadwood pianoforte. Jerome Hantaï is a very skilled and sensitive player, I see no mention of him being related to Pierre, but he brings the same sort of sensitivity to the fortepiano as Pierre does to the cembalo. The violinist and cellist are also first rate, and the sound quality is top-notch as Astrée/Auvidis/Naïve tend to be. Another feature that I personally like, although I understand there are those who don't, is that they observe all written repeats, giving Haydn some credit for knowing what he wants. The result is a well-balanced sonata form, and 3 keyboard trios that last 66 minutes instead of the more common 70 minutes for 4 that we often get.

This was on sale at Arkiv last week, possibly still is. Glad I got it.

Strangely, I have had the same experience with that disc of piano trios. I have considered it a lot of times, but finally I haven't purchased it.

Same story with this disc of piano sonatas:

[asin]B0007OQBTS[/asin]

BTW, the Hantaïs are a trio of brothers like the Kuijken. Pierre, the harpsichordist; Marc, the flutist and Jérôme, the viola da gamba player and eventually fortepianist. 

[Gurn Blanston]

Strangely, I have had the same experience with that disc of piano trios. I have considered it a lot of times, but finally I haven't purchased it.

Same story with this disc of piano sonatas:

[asin]B0007OQBTS[/asin]

BTW, the Hantaïs are a trio of brothers like the Kuijken. Pierre, the harpsichordist; Marc, the flutist and Jérôme, the viola da gamba player and eventually fortepianist. 

  I have also looked at that sonatas disk with the same results. Maybe I will get over my fear of commitment this month.

Ah, well I suspected they were, how common is that name, after all, and in the small world of PI music?  Good to understand the relationships though. FWIW, that painting on the front of the disk cover is by their father, a well-known painter in his time. Actually, that is what probably scared me off from the first.




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Now playing:

Trio Galatea - Hob 15_27 Trio in C for Keyboard & Strings 1st mvmt - Allegro

[Uncle Connie]

Hi - I'm back from vacation and will have a report on the Haydn-related portion of my trip soon.  But just to get back into things quickly, here's a disc I discovered and commend to all of you interested in a really weird example of homage carried to extremes. 

[asin]B0021BUUX8[/asin]

On ArkivMusic.com they quote the Fanfare review, viz.:

"Luigi Gatti's (1740–1817) Creation Mass owes a far greater debt to Haydn's oratorio than does Haydn's own Mass. Could it be otherwise? Haydn was always writing new music, imitating no one, least of all himself. Gatti uses Haydn's themes, rhythms, and orchestration throughout; this is not plagiarism—it is too obvious for that. Such devoted homage produces a stale imitation of the real thing. Indeed, the freshest moments of the Gatti work are the few connecting passages of his own; we can hear them, even enjoy them, without having to make comparisons. Most of Gatti's piece is so literal a copy that we think the soloists are merely singing the wrong words. I have never heard such an exact duplication of one composer's work by another, which engenders a perverse fascination. The notes tell us that this sort of thing was common at the time, especially in the countryside, but that tradition hasn't survived. Gatti's Mass is also a condensation: The Creation in 29 minutes."

(Go look up the review to see what is said about the Haydn half of the disc - it's very warm and encouraging.)

And to hear what the reviewer means - you'll have trouble believing it, just as he did - click on the Amazon listing and play the Sanctus snippet they offer from the Gatti.  Wow!  Note for note indeed....

I had never heard of this Gatti person (he was a Kapellmeister in Salzburg from the 1780s, taking a position that Leopold Mozart fancied should have been his) until two weeks ago, when I stumbled on a live performance of a different one of his Masses (a Requiem in C Major).  Unrecorded, but thoroughly competent and reasonably original.  The man merits a bit more on disc, seems to me....

[Gurn Blanston]

Ah, good to see you back, Conrad. And with an interesting find, at that. I listened to a few snippets; you're quite right, makes you wonder about the line between homage and copyright is drawn.

We've been discussing a few things since you've been gone, hope you might have something to pitch in to that. Or maybe you are a straight through disk listener and not interested. We'll see.




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Now playing:


La Petite Bande \ Kuijken - Hob 01_103 Symphony in Eb 4th mvmt - Finale: Allegro con spirito

[Uncle Connie]

Another recent acquisition:



An old LP, which I wore out in that form years ago, with some odd material.  The cantata 'Appointment of a Conductor' is frankly not Haydn at his best; the three 'filler' choruses are of course masterworks but are all available elsewhere.  What I have is not the pressing shown, but a private reissue from Haydn House in Massachusetts that is a superb transfer but lacks the texts.  But it's also cheaper than this long-deleted reissue as pictured. 

The original LP was on Hungaroton, and the conductor and two of the singers are among those who first recorded "Il Ritorno di Tobia" on the same label.  I wore that LP set out as well.