Haydn's Haus

[Gurn Blanston]

I think I'm going to look into it now. I need a good domain like gsligeti.com...

You laugh, but it's true! I got mine at GoDaddy, they are really inexpensive (less than a score!). My blog is on TypePad but I would recommend the freebies at WordPress instead. Just a matter of redirecting the blog to your own domain.

If you Google something about Haydn, and especially if you look at the images page, you will see dozens of images from fjhaydn.com. Everyone who checks out a picture also visits your page and reads what you have (usually). So gsligeti.com is a good idea if it's not already taken!      (maybe .net is still available!) 

[Ken B]

You laugh, but it's true! I got mine at GoDaddy, they are really inexpensive (less than a score!). My blog is on TypePad but I would recommend the freebies at WordPress instead. Just a matter of redirecting the blog to your own domain.

If you Google something about Haydn, and especially if you look at the images page, you will see dozens of images from fjhaydn.com. Everyone who checks out a picture also visits your page and reads what you have (usually). So gsligeti.com is a good idea if it's not already taken!      (maybe .net is still available!) 

WordPress tends to be commenter unfriendly.

I imagine Mirror Image selecting a domain name:
"Shostakovich.com, no Barber, that's it Barber.com. Or Delius. Delius.org. Wait, wait. ThePoulencSpot.com.
No.no! Nothing classical anymore. Genesis.com. Wait, Rush.net. Wait..."

[Gurn Blanston]

WordPress tends to be commenter unfriendly.

I imagine Mirror Image selecting a domain name:
"Shostakovich.com, no Barber, that's it Barber.com. Or Delius. Delius.org. Wait, wait. ThePoulencSpot.com.
No.no! Nothing classical anymore. Genesis.com. Wait, Rush.net. Wait..."

  Yes, it would be a blog for each season, that's for sure! 

I am not entirely sure that TypePad is commenter friendly either. I have only gotten a few, and that was quite some time ago. I do most of my discussing here, plus people tend to email me quite a lot.

You saw me whining last week about my special characters gone wild? What that turned out to be is I signed in to the beta program and installed Disqus on my blog. That (if you don't know) is a specialized commenting program. What happened is that in my editor the text still appeared perfect, but when I published it, all the special characters took a dump. I uninstalled and poof, back in business. So, I am trying to get something useful there, but apparently trouble lurks around every corner.

[Gurn Blanston]

Very nice, in my cart for purchase now. Samples sound great.
Thanks for the rec, Gordo and Gurn!

I think we will both be pleased, Greg. Somehow Gordo finds the time between World Cups to have all the latest news like that. ¡Qué hombre! 

[Que]

Newly purchased, on a rec by Gordo. Looking forward to this one a lot, since I not only like Lubimov, but I really like the sound of a Tangentenflügel!

[asin]B00IRQBTYA[/asin]

Oooooohhhh!     The recording industry sometimes succeeds in surprising us - in a nice way. 

Q

[Gurn Blanston]

Oooooohhhh!     The recording industry sometimes succeeds in surprising us - in a nice way. 

Q

  That's nearly exactly what I said when Gordo first posted it. More vulgarly of course, but the point remains.

[Gurn Blanston]

1774 was a fine year for symphonies, five for sure and probably one other. I spent some time looking at the first two of those 5, if you are interested you are welcome to join me.

The Absentminded man, and... something else 

Thanks,

[EigenUser]

1774 was a fine year for symphonies, five for sure and probably one other. I spent some time looking at the first two of those 5, if you are interested you are welcome to join me.

The Absentminded man, and... something else 

Thanks,

Nice! Thanks. I have the score for 60 so it was very interesting to read about.

[Gurn Blanston]

Nice! Thanks. I have the score for 60 so it was very interesting to read about.

Thanks, Nate, glad you enjoyed it. That reminds me, I need to download that one and look it over. Should have already done, but I don't think like you do. I had enough trouble finding Regnard!   

[TheGSMoeller]

I haven't pulled the trigger on the Lubimov yet (it's very close to happening) because I came across the Brautigam, which I remember making a few appearances here in GMG, but I can't decide which one to snatch up first. I am automatically attracted to the fortepiano and might need a full listen to the tangent piano before, perhaps from Spotify. Can anyone help sway me without making me feel like I need both? Because lets be honest, I really do need both. 
These will sit nicely with my Seven Words with voices, (Accentus, Harnoncourt) orchestral only (Savall) and by string quartet (Emerson, Mosaiques, Rosamunde).


   

[Gurn Blanston]

I haven't pulled the trigger on the Lubimov yet (it's very close to happening) because I came across the Brautigam, which I remember making a few appearances here in GMG, but I can't decide which one to snatch up first. I am automatically attracted to the fortepiano and might need a full listen to the tangent piano before, perhaps from Spotify. Can anyone help sway me without making me feel like I need both? Because lets be honest, I really do need both. 
These will sit nicely with my Seven Words with voices, (Accentus, Harnoncourt) orchestral only (Savall) and by string quartet (Emerson, Mosaiques, Rosamunde).


   

Don't look at me;  I needed both. If you aren't familiar with a tangent piano, I can hardly think of a better disk to introduce you. I have the Brautigam in the Complete Box, so that one wasn't a choice I had to make. I really think Lubimov's artistry should hit the mark here.

[Gurn Blanston]

Well, I finally got the balance of the Solomons symphonies out of my system. As you all know, Sony/CBS have had these locked up in their vault for years, with no apparent hope of ever releasing them again. To the point, in fact, where they have given Haydn House permission to make transfers from the LP's of the remaining 9 disks. If you have the ones called Vol. 7 & 9, plus the single which has 45 & 48, then those 6 disks combined with these 9 total the complete efforts of this band. This was the very first PI version, and IMO still ranks high compared to some fine later efforts.

Haydn House Solomons page.

They have put their own artwork on the panels, and there are no liner notes, although if there is anything you want to know about these works it isn't hard to find. I have had the downloads for several years now, I'm delighted to finally have the CD's on the way! 

[TheGSMoeller]

Thanks for the Solomon's posting, Gurn. I do have Vol 7 and the 45/48 single disc, all fantastic PI performances. I see a few symphonies listed that I would love to hear from them.

[Gurn Blanston]

Thanks for the Solomon's posting, Gurn. I do have Vol 7 and the 45/48 single disc, all fantastic PI performances. I see a few symphonies listed that I would love to hear from them.

You're welcome, Greg. I actually called them a while back to verify that if I had the disks I have, and I got theirs, I would have the entire output. So that's good. Yep, they are fine performances, and now that I have the disks, I can use them as a fair alternative in my recommendations, something I never do with downloads.   

[Phrygian]

What do you think of Haydn's Piano Trios?  Some people have described these as "accompanied piano sonatas" but I think this is harsh.  For me, these works are charming and full of invention.

[Pat B]

What do you think of Haydn's Piano Trios?  Some people have described these as "accompanied piano sonatas" but I think this is harsh.  For me, these works are charming and full of invention.

I doubt you will get any disagreement on that in this thread.

[Gurn Blanston]

What do you think of Haydn's Piano Trios?  Some people have described these as "accompanied piano sonatas" but I think this is harsh.  For me, these works are charming and full of invention.

Hi, Phrygian, welcome to The Haus!

I love Haydn's keyboard trios. I think they are some of the most interesting chamber music to come out of that period of history. Don't feel badly about the 'sonatas with the accompaniment of violin & cello'; this is what Haydn called them too, and in fact, this is what Mozart's were. At that point in time, the 19th century standards for what chamber music consisted in hadn't been defined yet. Thus the idea that these couldn't be real chamber music because there was doubling of the voices is nothing more than typical 19th century pompous bull feces.

Haydn had composed many trios in the 1750's & early 1760's, mainly for entertainment for his patrons and as teaching aids for his students. When he took them up again at the urging of his publisher, Artaria, in the early 1780's, he soon discovered that the medium was perfect for two things; letting him explore musical ideas which weren't suitable for symphonies or even quartets, and they sold like crazy to the robust amateur market both in Vienna, and in Paris, London and throughout Europe. His publishers loved them!

If you listen to what are essentially the last 15 or 20 of them, you will hear some of the most wonderful music he wrote. I have many versions of them and I play them very frequently and never get tired of them.

That's what I think of them, anyway...

[Phrygian]

Thank you for that!!  I, too, think they're charming but I haven't heard all of them by any means.

I visited Haydnhaus in Gumpfendorf in Vienna when I was living there is 2011.  It was a very moving experience and he really did live a comfortable lifestyle after his tenure at Eisenstadt was finished.

[EigenUser]

Far be it from me to criticize papa, but I was listening to Haydn 8 yesterday and I think that it contains one of my problems with the classical era -- it is too polite. The last movement is "La Tempesta". That was a storm?? I mean, I guess that this is before global warming. They must have had some very nice days.

I'm not asking for ear-splitting dissonance, but at least put it in a minor key! Vivaldi's storm in his summer from "The Four Seasons" a great example, I think. It would be interesting to know what Haydn would have done with this during the "Sturm und Drang" era.

I know that these (6, 7, were some of the first to be written during Haydn's tenure at Esterhazy, so perhaps he didn't want to scare them off by giving them something too dark?

[Karl Henning]

Well, viewed from another angle . . . what is harsh about accompanied piano sonatas?  I don't think it unfair to observe either (a) that the genre [did not emerge] "perfect" (edit) from the start, or (b) that for many of the trios, the cello does little more than double the left hand.  That said, those observations are merely factual, and do not remark on the quality and character of the composition.