Haydn's Haus

[Karl Henning]

God rest his soul.  I hope the angels are playing Mozart for him.

[springrite]

God rest his soul.  I hope the angels are playing Mozart for him.

I hope so because Wagner, which he prefers, is played in the other place...

[Karl Henning]

I hope so because Wagner, which he prefers, is played in the other place...

I think that in heaven, he will find he actually likes Mozart . . . .

[springrite]

I think that in heaven, he will find he actually likes Mozart . . . .

Well, it just kind of goes with the ambience.

[EigenUser]

Well, it just kind of goes with the ambience.

What about Debussy's Sirenes from the Trois Nocturnes??

[Florestan]

I hope so because Wagner, which he prefers, is played in the other place...

I think that in heaven, he will find he actually likes Mozart . . . .

The apokatastasis will reunite the three of them. 

[Karl Henning]

The apokatastasis will reunite the three of them. 

Aye, I consider a dislike of Mozart to be an unfortunate side-effect of our fallen nature 

[Florestan]

Aye, I consider a dislike of Mozart to be an unfortunate side-effect of our fallen nature 

Excellent! No, I really mean it, excellent one! 

[Gurn Blanston]

My Kuijken symphonies arrived today. No.82 has been keeping me company several times.

I didn't even notice the harpsichord continuo until the second movement. I thought "hang on, that's what causes raging debates about authenticity?". Of course there might be other recordings where it's a good deal less subtle, but so far it isn't upsetting me in the slightest even though I've not encountered it before.

  That's been my feeling all along. It's different, a little bit, but certainly not a deal killer. 

[Dancing Divertimentian]

Yes, we know. He was a good friend and a very much misunderstood soul, with a very good core that few got to know.

I meant no disrespect, springrite. Please see PM.

[Gurn Blanston]

Seems like in pursuing our interest in newest recordings (and I'm all for that!) we sometimes let older ones slip through the cracks. These are from late '80's early '90's. I have seen very few (if any) mentions of this artist in these pages:



but I got this disk today, my 8th in her cycle, and like the previous 7 it is very nice indeed! She plays the entire cycle on a 1790 Walter reproduction fortepiano, nice sounding, and has a great touch. Of course, Haydn wrote almost all of his keyboard works for women, and they somehow seem to feel better to me when played by a woman, although I can't imagine how that feminine approach could be accounted for by a composer!  Anyway, the first three disks are on Titanic Records (and no, they haven't gone under!) and the remainder can often be picked up for a song at BRO or AMP. Have a go at one, you might like them.

[Cato]

If anyone has not visited Gurn's website about Haydn, called Haydnseek  , you are missing a treat!

See especially the essays called The Era of Impure Symphonies. 

Great stuff, which will interest you in listening to Haydn's symphonies!

[Gurn Blanston]

If anyone has not visited Gurn's website about Haydn, called Haydnseek  , you are missing a treat!

See especially the essays called The Era of Impure Symphonies. 

Great stuff, which will interest you in listening to Haydn's symphonies!

Thank you kindly, Mr. Cato. We at Da Haus are aiming for eventual world domination, so every blurb helps! Bwa-ha-ha!   

[Gurn Blanston]

I'm rapidly becoming familiar with some things I never was before. This essay looks at how Hanswurst Singspiel arose from Italian Commedia dell'arte, and what that has to do with Haydn. Who knew? Check it out, if you will. There are some symphonies there too!

Hanswurst, you naughty boy!

[Mookalafalas]

This big boy finally rolled in from Germany  
[asin] B001FY7BFC[/asin]
The sound is wonderful, and the performances in the disks I've played so far seem very good. I'm listening to the Piano Concerto disk now--all names I don't know, but I like what I hear.  I'm also about 1/4 of the way through the Calvin Stapert.  It is pleasant reading, with an agreeable, professorial tone that makes up for in enthusiasm what it lacks in style (I don't mean he is in any way a bad writer, but it's an academic book, with pedagogical rather than literary aims).  It's raining out, and I have many hours of (paid) proofreading to do, so it is very nice to sit in my study, listen to the disks, and poor red ink over some pretty miserable graduate papers...

  Edit: The recording quality of the Buchberger SQs is stellar.  I won't pretend to know enough to judge their playing ability in comparison with others, but if I close my eyes it's like they are in the room with me.  I could listen to this all day (and just might!!)

[TheGSMoeller]

This big boy finally rolled in from Germany  
[asin] B001FY7BFC[/asin]
The sound is wonderful, and the performances in the disks I've played so far seem very good. I'm listening to the Piano Concerto disk now--all names I don't know, but I like what I hear.  I'm also about 1/4 of the way through the Calvin Stapert.  It is pleasant reading, with an agreeable, professorial tone that makes up for in enthusiasm what it lacks in style (I don't mean he is in any way a bad writer, but it's an academic book, with pedagogical rather than literary aims).  It's raining out, and I have many hours of (paid) proofreading to do, so it is very nice to sit in my study, listen to the disks, and poor red ink over some pretty miserable graduate papers...

  Edit: The recording quality of the Buchberger SQs is stellar.  I won't pretend to know enough to judge their playing ability in comparison with others, but if I close my eyes it's like they are in the room with me.  I could listen to this all day (and just might!!)

Nice purchase! 
And I'm a big fan of the Buchberger Quartet's recordings, well at least the 4 individual opus recordings I've heard. A little aggressive, a little playful, a lot of joy. That's how I always heard them.

[Sergeant Rock]

Check it out, if you will. There are some symphonies there too!

You say two, but Wiki says there are three versions of 54 (the claimed second version adds another bassoon and timps to the score, the third flute and trumpets):

http://en.wikipedia.org/wiki/Symphony_No._54_(Haydn)

I can't find any other source (i.e., liner notes) confirming three instead of two versions. Do you know why the author makes this claim?

Sarge

[Karl Henning]

Might it be a quibble over what makes a "version"?  Per your post in WAYLT, Sarge, the addition of an Adagio maestoso introduction argues a distinct version.  If the composition itself be unchanged (my conditional here is purely a matter of discussion, and speculative), would addition of another bassoon and timpani really be another version?

[Sergeant Rock]

Might it be a quibble over what makes a "version"?  Per your post in WAYLT, Sarge, the addition of an Adagio maestoso introduction argues a distinct version.  If the composition itself be unchanged (my conditional here is purely a matter of discussion, and speculative), would addition of another bassoon and timpani really be another version?

Good point.

Sarge

[Gurn Blanston]

You say two, but Wiki says there are three versions of 54 (the claimed second version adds another bassoon and timps to the score, the third flute and trumpets):

http://en.wikipedia.org/wiki/Symphony_No._54_(Haydn)

I can't find any other source (i.e., liner notes) confirming three instead of two versions. Do you know why the author makes this claim?

Sarge

It is still a point of dispute. Sonja Gerlach, the author of what I call the New Chronology, disputes that the additions were spread out over a 15 year period. She says they were made all at the same time, which would eliminate version #2. The only real difference between 2 & 3  would be the 2nd flute, and Haydn could have added that for a specific outside orchestra, like the monastery where the score was found (Lambach, IIRC). In other words, they didn't just end up with an enhanced version, it may have been re-composed for them because they had the personnel necessary. Robbins-Landon argues for the 'spread out' scenario, but he doesn't support it with any documentation, merely that the symphony was played in London, so he must have redone it then with the 2nd flute. There is no recording I'm aware of using a single flute, with or without the introduction and/or the timpani. So any alleged actual version 2 is merely hinted at. FWIW, Hogwood plays what would be Version 3 for 1776, on the advice of Webster who appears to have accepted Gerlach at face value. That leaves Robbins-Landon sort of twisting in the wind.