Haydn's Haus

[Gurn Blanston]

Karl had listed 76 from the set on the listening thread, but I cannot find it on the set.

Well, I have the 10 boxes X 3, that disk plus the two London disks they did, so a total of 33. IIRC, that box claims to have 32 disks, so it looks dim. Karl may well be a Coloradan at heart...    

[Bogey]

Well, I have the 10 boxes X 3, that disk plus the two London disks they did, so a total of 33. IIRC, that box claims to have 32 disks, so it looks dim. Karl may well be a Coloradan at heart...    

[TheGSMoeller]

Just purchased my 13th (I think  ) recording of the 45th. This time from Koopman and the Amsterdam Baroque Orchestra. Haven't really heard any samples from this recording, but have a good amount from Koopman and the ABO to know it should be a good one. I really find myself charmed by their disc of Haydn's symphonies Nos. 97 and 98, crisp and lively tempos, and nice detail that is presented from the winds, although that disc is on a different label (Challenge).
Oh, and Nos. 44 and 49 are on this one, which I think help round out a great trio of pieces as they are some of the more unique ones from Haydn.

[Madiel]

The big Hogwood box stops at 75, according to the images at Amazon.  1-75, 94, 96, 100, 104, 107, 108.

[Karl Henning]

I note that the Orpheus couple it with #44 in e. That has to be the pick of the litter I would think.

Certainly Monkey Greg and I like that one a great deal.

[Karl Henning]

Does this set have the 76 and 77?

No, I have the 76/77 annex which Gurn lists here:

[Bogey]

No, I have the 76/77 annex which Gurn lists here:

Thanks, Karl.  Never know with these sets what you might find in them.

[Karl Henning]

G'day, Bill!

[Bogey]

G'day, Bill!

Hope all is well there.  We are waiting on a blast of snow, so I will just put on some Haydn and pretend I am huddled down in The House of Esterházy.

[TheGSMoeller]

Certainly Monkey Greg and I like that one a great deal.

I love the Orpheus/Haydn combo, they were my first Haydn symphony purchases years ago. I realize they are probably quite far from HIP, in fact their final Adagio from the Farewell is more Romantic than Classical to these ears, but the size of the band I think sounds perfect for the music.

[Sergeant Rock]

And yet none of the versions I own of 98 use a keyboard continuo, including the HIPsters Kuijken and Minkowski.

I have to revise that statement. A close listen to Jochum's 98s reveals a harpsichord at certain points in the last three movements. It's weird, though, because it doesn't seem to be playing continuously but rather suddenly appears and then quickly disappears. Of course the poor instrument is competing against the Berlin and London Philharmonics. Maybe it's just buried most of the time. That doesn't explain its absence in softer passages though. Curious.

Sarge

[Gurn Blanston]

Just purchased my 13th (I think  ) recording of the 45th. This time from Koopman and the Amsterdam Baroque Orchestra. Haven't really heard any samples from this recording, but have a good amount from Koopman and the ABO to know it should be a good one. I really find myself charmed by their disc of Haydn's symphonies Nos. 97 and 98, crisp and lively tempos, and nice detail that is presented from the winds, although that disc is on a different label (Challenge).
Oh, and Nos. 44 and 49 are on this one, which I think help round out a great trio of pieces as they are some of the more unique ones from Haydn.

Greg,
I am quite fond of that Koopman 44, 45, 49 disk you picture, although I have it on the Apex re-release shown here:

[asin]B000071WE7[/asin]

You may feel comfortable buying it clips-unheard, especially since this release lists for less than $4 brand new on AMP.  You can never have enough versions of those 3 symphonies, so this particular coupling (tripling?) is ideal.

[Sergeant Rock]

Uh-oh.   Can you say, "Reference disc?"

Yes, Knapp's 100 arrived yesterday and it is definitely some kind of reference 

Knappertsbush's Military is a fascinating document, marked by a creative and deeply personal interpretive touch – each movement is distended by a mammoth tempo shift at its mid-point, with varying impact. The first, following an extremely swift introduction and rather normal exposition nearly grinds to a halt for the far slower development, as if to signal with a change of pace the importance of Haydn's enlargement of that section's role within sonata form. (To further offset the development, Knappertsbusch inserts a long pause before the recapitulation, which then accelerates wildly to the coda.) Half-way through the allegretto, Knappertsbusch drops the tempo, as if to illustrate the dual nature of the Turkish music's evocation of war – both celebratory and then somber. Given a choice, Knappertsbush seems to favor the latter, as the treble portions of his Turkish music can barely be heard, and added pauses between phrases of the trumpet fanfare and slashing downbeats in the following measures all portend doubt and despair. That feeling is extended in the menuetto, whose spirited dance is brought to a standstill each of the three times the opening section is heard before picking up again. And to complete the scheme, Knappertsbusch literally halves the tempo at the mid-point of the finale. Whether viewed nowadays as daring and meaningful or merely quirky and frustrating, this remains not only the first, but the most quixotic, personal and stylistically challenging (and perhaps perplexing) Military on record (now on a Preiser CD).

That description is accurate. I received exactly what I was expecting. The most startling interpretive choice he mentions is the sudden and drastic slow down for the second half of the slow movement: music that sounds like it should accompany toy soldiers becomes something grim and foreboding, just like real war.

I love it; so different than any other Military I've heard. Thanks to both you and Gurn for providing the conversation that turned me on to this CD.

Sarge

[Bogey]

You are welcome.  Glad it worked out.  I cannot wait for its arrival.

[TheGSMoeller]

Greg,
I am quite fond of that Koopman 44, 45, 49 disk you picture, although I have it on the Apex re-release shown here:

[asin]B000071WE7[/asin]

You may feel comfortable buying it clips-unheard, especially since this release lists for less than $4 brand new on AMP.  You can never have enough versions of those 3 symphonies, so this particular coupling (tripling?) is ideal.

I may have skipped over it because of the small Koopman/ABO writing on the cover, I ordered the original Erato release used so depending on its condition I'll keep the re-release in mind.
Thanks, Gurn!

[Gurn Blanston]

I may have skipped over it because of the small Koopman/ABO writing on the cover, I ordered the original Erato release used so depending on its condition I'll keep the re-release in mind.
Thanks, Gurn!

You're welcome, Greg. Yes, that odd habit Warner developed with Apex of printing the performers' names so small they are nearly unreadable has cost them a couple of sales on eBay, as I won't buy a disk where I can't figure out who is performing. Of course, eBay should have a policy of requiring vendors to write that stuff down, but the world isn't perfect, by MY standards!   

[Gurn Blanston]

I was also busily listening to that Koopman disk today while writing this essay, which coincidentally is about the two symphonies of 1770, #43 & 44. You can read it here if you are interested;

Heck of a chamber symphony, Herr Haydn!

Hope you enjoy it and especially that you pull out the CD and have a listen to the pair.

Thanks,
GB

[Willow Pattern]

Just noticed this soon to be released box which I thought some people here might be interested in:

[Gurn Blanston]

Just noticed this soon to be released box which I thought some people here might be interested in:

Thanks for the heads-up, Conor.

Those who have the Big Box, of course, have all these. For those who don't, these are good to very good versions of the concertos. The violin concertos & organ concertos are especially worthwhile. The fortepiano concertos are very good, but the lire concertos are rather unique, originally issued quite a long time ago, made with a real lire organnizate and OOP for a long time. Very well performed, too. Certainly if you don't have these otherwise, Brilliant's price won't be worth trying to find excuses to miss.

[Bogey]

Thanks for the heads-up, Conor.

Those who have the Big Box, of course, have all these. For those who don't, these are good to very good versions of the concertos. The violin concertos & organ concertos are especially worthwhile. The fortepiano concertos are very good, but the lire concertos are rather unique, originally issued quite a long time ago, made with a real lire organnizate and OOP for a long time. Very well performed, too. Certainly if you don't have these otherwise, Brilliant's price won't be worth trying to find excuses to miss.

What Gurn said.