Haydn's Haus

[Karl Henning]

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...

Leave it to Gurn, I always say . . . .

[Gurn Blanston]

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.

You're welcome. Come again often.

I would love to visit Gumpendorf, don't know as I will ever make it to Vienna, but I'll damn sure try.

[Gurn Blanston]

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?

  Well, it was just a passing afternoon shower, I guess. Probably a teapot involved.   I do like Vivaldi's effort too, I've been a consistent advocate of The Four Seasons here over the years just because of shining little moments like that. 0:)

[Gurn Blanston]

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.

No, but they would like to do that last. BTW, the assertion that the cello only doubles the piano's left hand (I know you are merely repeating it, not stating it as fact) was laid to rest back in the 1930's when Tovey received and published a letter from an anal retentive fan who counted the notes in all the trios of Haydn, Mozart and Beethoven and proved that Haydn had the least amount of doubling of those three composers. I'll get you a citation on it if you will. But here we are, nearly 85 years later, and people still say that like it was true (see parenthetical statement above).

Leave it to Gurn, I always say . . . .

Indeed. That wasn't too bad, OTTOMH.   

[Karl Henning]

As ever, thanks, O Gurn!

[Gurn Blanston]

As ever, thanks, O Gurn!

It is, as always, my distinct pleasure, Dr. H. 

[Phrygian]

You're welcome. Come again often.

I would love to visit Gumpendorf, don't know as I will ever make it to Vienna, but I'll damn sure try.

I'm returning in January for another 12 month stay, but visiting the rest of Europe and Scandinavia for a couple of months (again).  Papa's house contains Brahms's piano, as well as a stunning oil painting of Johannes.

For some reason, the Viennese are none too eager to tell people where their historic composer residences are.  One has to sharpen the super-sleuthing skills and ask lots of questions.

[Gurn Blanston]

I'm returning in January for another 12 month stay, but visiting the rest of Europe and Scandinavia for a couple of months (again).  Papa's house contains Brahms's piano, as well as a stunning oil painting of Johannes.

For some reason, the Viennese are none too eager to tell people where their historic composer residences are.  One has to sharpen the super-sleuthing skills and ask lots of questions.

I'm jealous! Hope you have an enjoyable visit. We have a member here who lives in Vienna and loves nothing more than to take people on a tour of the musical sights. She is a South California lady, how she ended up in Vienna... ?  And you know, of course, that Brahms was a huge fan of Haydn. So it is appropriate to see hi at Gumpendorf. I'm surprised he didn't buy it when he lived in Vienna.

[Gurn Blanston]

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]

This finally arrived yesterday, I didn't waste any time putting it on the player. As I suspected, the Tangentenflügel was a perfect complement for this music. Lubimov add some ornaments and flourishes which he says come from the orchestral part of the oratorio version, and they sound perfectly appropriate here. I could very well move this one into the slot reserved in the 1787 folder for this piece. Brautigam can always find a different home for himself. 

[TheGSMoeller]

This finally arrived yesterday, I didn't waste any time putting it on the player. As I suspected, the Tangentenflügel was a perfect complement for this music. Lubimov add some ornaments and flourishes which he says come from the orchestral part of the oratorio version, and they sound perfectly appropriate here. I could very well move this one into the slot reserved in the 1787 folder for this piece. Brautigam can always find a different home for himself. 

It's as if you wrote this post just for me! 
Actually, I saw your twitter post last night and decided then that the Lubimov is the one to get as well. So in the shopping cart it goes! Thanks!

[Gurn Blanston]

It's as if you wrote this post just for me! 
Actually, I saw your twitter post last night and decided then that the Lubimov is the one to get as well. So in the shopping cart it goes! Thanks!

Ah yes, that one was written in the throes of passion while it was still playing. It even inspired a Hay-ku...   I think you'll be very pleased with this, Greg.

[Karl Henning]

:-)

[Geo Dude]

If anyone is curious about whether the tone of the tangent piano (alt. name suggestions: Pianichord and clavichiano ) matches their taste, a YouTube user was kind enough to upload the second sonata.  This may give you a better feel for the instrument than 30 second samples:  https://www.youtube.com/watch?v=gKci9AKHUsU

[Gurn Blanston]

If anyone is curious about whether the tone of the tangent piano (alt. name suggestions: Pianichord and clavichiano ), a YouTube user was kind enough to upload the second sonata.  This may give you a better feel for the instrument than 30 second samples:  https://www.youtube.com/watch?v=gKci9AKHUsU

Thanks for that, G.Dude! That is a very nice quality upload too. This particular instrument is more resonant and fuller sounding than any which I have previously experienced (mostly Spanyi playing CPE Bach).

[Geo Dude]

Thanks for that, G.Dude! That is a very nice quality upload too. This particular instrument is more resonant and fuller sounding than any which I have previously experienced (mostly Spanyi playing CPE Bach).

I'm not familiar with the mechanics behind a tangent piano, but it's fascinating to me to listen to that movement because it sounds like an almost 50/50 fusion of a fortepiano and a clavichord.

[Gurn Blanston]

Beyond Symphony #54 and the strange and wonderful Il distratto symphony, Haydn wrote a trilogy of 'serious' symphonies too, which I number among my favorites. I've been studying about them lately, a great opportunity to listen to them a lot myself! If you are so inclined, here is the result of my studies.

The Symphonic Trio of 1774

Hope it makes you want to listen to them! 

[Sergeant Rock]

Beyond Symphony #54 and the strange and wonderful Il distratto symphony, Haydn wrote a trilogy of 'serious' symphonies too, which I number among my favorites. I've been studying about them lately, a great opportunity to listen to them a lot myself! If you are so inclined, here is the result of my studies.

The Symphonic Trio of 1774

Hope it makes you want to listen to them! 

A good read as always, Gurn...and inspiring: listening to 56 now.

Sarge

[Gurn Blanston]

A good read as always, Gurn...and inspiring: listening to 56 now.

Sarge

Thanks, Sarge. I truly appreciate your support.

Plus, I'm jealous, I'm listening to my air conditioner...

[Sergeant Rock]

Thanks, Sarge. I truly appreciate your support.

Plus, I'm jealous, I'm listening to my air conditioner...

I took your blog's advice for once    and put on Hogwood. Wow...a sensational performance.

Sarge

[Karl Henning]

Thanks, Sarge. I truly appreciate your support.

Plus, I'm jealous, I'm listening to my air conditioner...

Heck, they can hear your air conditioner in Middlebury, Connecticut