Haydn's Haus

[Geo Dude]

To what shall we liken demand for Haydn? A flash flood, a consuming flame . . . .

[DavidRoss]

To what shall we liken demand for Haydn? A flash flood, a consuming flame . . . .

... a bush burning in the desert, yet not consumed?

[Geo Dude]

Speaking of stuff that's OOP, I'm glad I picked up this set a year and half ago:



It was shipped for just under $21 dollars; a remarkable bargain in itself, more of one if you see what the original volumes that comprise this set are going for.

[Gurn Blanston]

Speaking of stuff that's OOP, I'm glad I picked up this set a year and half ago:



It was shipped for just under $21 dollars; a remarkable bargain in itself, more of one if you see what the original volumes that comprise this set are going for.

Yes, that was one of those 'strike while the iron is hot' deals. I knew it wouldn't be around forever, but I didn't think it would go quite as soon as it did. I got both boxes together for $45; as you say, a remarkable bargain!

[Karl Henning]

Yes, one of quite a few Haus-driven purchases which have yielded satisfaction far greater than the sum of the parts.

[Opus106]

But the thing is, its partner set, containing Opp. 20, 33 and The Seven Words, is still universally available.

[Geo Dude]

But the thing is, its partner set, containing Opp. 20, 33 and The Seven Words, is still universally available.

Indeed.  Sometimes bizarre situations like that arise; for example, Rachel Podger's recording of Mozart's Sinfonia Concertante and Haydn's first and fourth violin concerti seems to be out of print--or at least going through an extreme dry spell--in America even though virtually everything else she's recorded for Channel Classics, some of which was released long before that, remains in print.

[Gurn Blanston]

On your store shelves June 1, 2013;



I rather liked their Op 20 more than the earlier 2 opera, so I will surely have this. 

[Karl Henning]

The Op.50! We wants it!

[Gurn Blanston]

The Op.50! We wants it!

By all accounts it'll be next. At the current rate, I would say early next year.

[Wakefield]

On your store shelves June 1, 2013;



I rather liked their Op 20 more than the earlier 2 opera, so I will surely have this. 

... but you bought all the earlier releases too, isn't it?

[Gurn Blanston]

... but you bought all the earlier releases too, isn't it?

Does a fat baby poop? 

[Karl Henning]

Heck, babies of all dimensions poop.

Don't they?

[Wakefield]

FatBaby would be a great nickname. 

[Mandryka]

This set , which was recommended to me very enthusiastically by a couple of friends, has just found its way in qobuz and no doubt, on spotify too.



I knew Dershavina's Haydn only through an extrordinary concert recording where she seemed to make the piano sound as delicate and colourful as a clavichord.

[TheGSMoeller]

I wouldn't consider much of Haydn's music as melancholy. But I'm starting to feel that way towards String Quartet No. 42 in C major, Op. 54, No. 2, Hob.III:57. I've been listening to this particular quartet quite a bit the past few weeks, performances by Kodaly Quartet and the Endellion Quartet. Even with the shortly-bright Presto in the finale, which is eventually taken over by the return of the opening Adagio before fading away. 

Also, Gurn you might have touched upon this area in the past, Op. 54 is titled "Tost" after violinist Johann Tost. Were these pieces written to feature Tost? The Adagio from Op. 54, No. 2 seems to be more of a solo for the first violin with the other three players as accompaniment.

[Gurn Blanston]

Heck, babies of all dimensions poop.

Don't they?

Yes, but they don't all make an amusing verbal picture.

FatBaby would be a great nickname. 

Agreed! Next forum I join that will be my name.

[Gurn Blanston]

I wouldn't consider much of Haydn's music as melancholy. But I'm starting to feel that way towards String Quartet No. 42 in C major, Op. 54, No. 2, Hob.III:57. I've been listening to this particular quartet quite a bit the past few weeks, performances by Kodaly Quartet and the Endellion Quartet. Even with the shortly-bright Presto in the finale, which is eventually taken over by the return of the opening Adagio before fading away. 

Also, Gurn you might have touched upon this area in the past, Op. 54 is titled "Tost" after violinist Johann Tost. Were these pieces written to feature Tost? The Adagio from Op. 54, No. 2 seems to be more of a solo for the first violin with the other three players as accompaniment.

Op 42 is stern. I hadn't thought of it as melancholy, although I can see where one would. There is not an extra note, as near as I can tell.

Let me get back to you on the Tost quartets. He was a violinist at Esterháza, although Tomasini is the one associated with the actual playing of the quartets. Haydn entrusted Tost to carry the manuscripts to Paris and sell them there, and I believe that Tost claimed that they were written for him to play (and dedicated to him) but that wasn't necessarily the case. I'll get some more precise info when I get home.

[Sergeant Rock]

This is on the Cleveland Orchestra's Facebook page today:





Koopman is conducting a Mozart/Haydn program this week, ending with the Farewell. How cool is that? Makes me wish I were home!


CLEVELAND ORCHESTRA
Saturday, May 4, 2013
8:00 PM
Severance Hall

Ton Koopman, conductor

MOZART - Symphony No. 1
FISCHER - Symphony with Eight Obbligato Timpani
MOZART - Symphony No. 17
REBEL - Overture from Les élémens
HAYDN - Symphony No. 45 ("Farewell")


Sarge

[Karl Henning]

Sweet!