Haydn's Haus

[kishnevi]

Well, I'm sure there is some compelling reason for it. I would probably think that when I first shopped for it, it was OOP and expensive. I didn't notice when it had been re-released. Which is odd, since I have all their Haydn and Mozart too. There was this little tiny crack, and it slipped right through! 

Was that you who hit me up about it before, Jeffrey? I guess my mind is just going... 

No it is Greg who deserves the tip of the hat.

[SonicMan46]

Some people were talking about it, I think it was over on the 'New Releases' thread, and they were saying it will be, but much more expensive than in Europe. I only partially paid attention because I already have it, the 2 disk sets, that is... If someone doesn't have them, then this big box would be the way to go, as the individuals are really quite expensive too, and there are 9 of them. 

RE: Haydn SQs w/ Q. Festetics!

Gurn - I have 12 of their discs, so not interested in the box, but a strong recommendation for PI performances in my mind - the other day I was looking at the reviews on Amazon and came across one about Op. 17 (a 2* only single comment by the infamous Bernard.... - HERE) - debating whether to add my 2 cents but who would care?  Dave

[Gurn Blanston]

Gurn - I have 12 of their discs, so not interested in the box, but a strong recommendation for PI performances in my mind - the other day I was looking at the reviews on Amazon and came across one about Op. 17 (a 2* only single comment by the infamous Bernard.... - HERE) - debating whether to add my 2 cents but who would care?  Dave

Yes, Bernard's a hoot. I've engaged him before; Mexican Death Match. Standoff though. Not worth your efforts, I'm afraid.

As to the QF, they certainly ARE worth your efforts. Even though I have roused some scorn, I stick with them. They have equally vehement partisans. I bought them a piece at a time. Took me months, cost hundreds. No box available back then!

[Mookalafalas]

Gurn - I have 12 of their discs, so not interested in the box, but a strong recommendation for PI performances in my mind - the other day I was looking at the reviews on Amazon and came across one about Op. 17 (a 2* only single comment by the infamous Bernard.... - HERE) - debating whether to add my 2 cents but who would care?  Dave

  It's gotten so that if I am browsing at Amazon and see what I know is a good recording with only 2 stars, a bell goes off "O'Hanlon's been here".  Just last night I gave a rave review to a Giuliani Mozart disc just to counteract that jerk's preciously ego-maniacal hatchet-work.  He's a menace.

[SonicMan46]

  It's gotten so that if I am browsing at Amazon and see what I know is a good recording with only 2 stars, a bell goes off "O'Hanlon's been here".  Just last night I gave a rave review to a Giuliani Mozart disc just to counteract that jerk's preciously ego-maniacal hatchet-work.  He's a menace.

Hi Baklavaboy - LOL!     Seems like we've all come across O'Hanlon - just irritates me that one 2* review will likely dissuade searchers for these works to look elsewhere - at least a 5* rating might up the rating?  Still considering whether to leave a second review?  Dave

[Mookalafalas]

Hi Baklavaboy - LOL!     Seems like we've all come across O'Hanlon - just irritates me that one 2* review will likely dissuade searchers for these works to look elsewhere - at least a 5* rating might up the rating?  Still considering whether to leave a second review?  Dave

  He's so persistent and ubiquitous I think he must have some sort of agenda.  His hatred of HIP is almost pathological. His review of the Gardiner box is so snide and nasty you wonder what's wrong with the guy. Sometimes his "reviews" are followed by a number of toad-licking agreements from other "reviewers" who suspiciously channel O'Hanlon's sneering, supercilious tone. I wonder if he ghost writes his own commentators...

[Ken B]

  It's gotten so that if I am browsing at Amazon and see what I know is a good recording with only 2 stars, a bell goes off "O'Hanlon's been here".  Just last night I gave a rave review to a Giuliani Mozart disc just to counteract that jerk's preciously ego-maniacal hatchet-work.  He's a menace.

Can't say I recognize the name.
Here he is

The Lang Lang War of 2009 was brutal. I lost a leg. ... Whilst I was recuperating, the Chinese Government nabbed my Liberace-o-meter in a black-opps mission.

Except that this is funnier, it really does sound like what folks here say about Lang Lang....

He does seem to have a superhurwitzian hatred of HIP though.

[Mandryka]

I listened to the 78th symphony today for the first time, the one on Naxos,  partly because I'm exploring the minor key symphonies, it's in C minor. Anyway, I couldn't help but think of the first movement Mozart KV 491. Is there a real link there or was it a figment of my imagination?

[Gurn Blanston]

I listened to the 78th symphony today for the first time, the one on Naxos,  partly because I'm exploring the minor key symphonies, it's in C minor. Anyway, I couldn't help but think of the first movement Mozart KV 491. Is there a real link there or was it a figment of my imagination?

Temporally, it precedes concerto 24 by about 7 years. There is absolutely no reason why Mozart could not have heard it and liked it enough to use a theme or two, although it is also not unusual to find two works in the same key to have a similar accent in their language back then, especially considering the level of the composers.

[Marc]

I listened to the 78th symphony today for the first time, the one on Naxos,  partly because I'm exploring the minor key symphonies, it's in C minor. Anyway, I couldn't help but think of the first movement Mozart KV 491. Is there a real link there or was it a figment of my imagination?

Funny.
I listened to no. 78 yesterday, with Esa-Pekka Salonen.



Concerning the relationship between no. 78 and KV 491: check out this passage from A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler by Mark R. Ellis, published in 2010.

[Pat B]

I kind of hate that this seems to happen - that someone's death is an opportunity to make money. It's happened with almost every conductor that's died in the last couple of years while I've been on the forum. But in this case, that's a box I already had on the long-term shopping list.

I agree. It would be nice if we could think of these releases as a sort of tribute. Unfortunately, that's hard to do when they're being pitched by the same record labels that unceremoniously dumped these guys mid-project.

Just to be clear, I don't begrudge any consumer for buying them.

[Gurn Blanston]

Funny.
I listened to no. 78 yesterday, with Esa-Pekka Salonen.



Concerning the relationship between no. 78 and KV 491: check out this passage from A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler by Mark R. Ellis, published in 2010.

Very interesting, Marc. Thanks for sharing. I guess when I get a couple years further down the road, I will get to read that for myself.

[Gurn Blanston]

Just to be clear, I don't begrudge any consumer for buying them.

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[Old Listener]

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That's a useful graphic for this forum.

[Marc]

Very interesting, Marc. Thanks for sharing. I guess when I get a couple years further down the road, I will get to read that for myself.

Well, I haven't read it myself.
Just found it thanks to Google.



But I had a similar experience as Mandryka and therefore I wanted to check the internet.
I found those listening experiences in one or two neat reviews, too, but I thought that it would be nice to stroke Mandryka's ego (and mine, of course) by throwing in a heavy musicological quote.

[Gurn Blanston]

1779 was a year when a lot of things changed for Haydn. Not in the most obvious ways, but in ways which would decisively affect his life and career. I've been looking at some of this, you can too:

...and yet more changes

Thanks!

[Madiel]

Definitely a fairly significant point in time. Truth be told, Haydn as I know him so far is pretty much all public, not entirely bound to the Prince.

[Gurn Blanston]

Definitely a fairly significant point in time. Truth be told, Haydn as I know him so far is pretty much all public, not entirely bound to the Prince.

Mainly true, from this point on. He did, however, have a deep sense of loyalty due to a couple of factors; the Prince helped him out several times when he needed financial assistance, oftentimes in ways which weren't obviously charity, although retrospectively it may seem so now. Second, and this is maybe a bit strange or not, but I really think that by this time, they had become friends in a way, even if it was based on mutual respect more than commonality. But really, Haydn's music had, by this time, become part of the European cultural scene, and it actually stood in Nicholas' favor to let Haydn appear publicly as 'Actual Kapellmeister to Prince Esterházy'.   

[Florestan]

the Prince helped him out several times when he needed financial assistance, oftentimes in ways which weren't obviously charity, although retrospectively it may seem so now. Second, and this is maybe a bit strange or not, but I really think that by this time, they had become friends in a way, even if it was based on mutual respect more than commonality.

All that, in stark contrast to JS Bach's treatment by the good burghers of Leipzig...

IMHO, Prince Esterházy I. Miklós deserves at least a bust, if not a statue. Do you know if there are any, Gurn?

[Gurn Blanston]

All that, in stark contrast to JS Bach's treatment by the good burghers of Leipzig...

IMHO, Prince Esterházy I. Miklós deserves at least a bust, if not a statue. Do you know if there are any, Gurn?

I do not know if there are any that are outside of the family museum venue. I think that his role in Haydn's success is vastly underrated, since he was an oppressor of the masses and a perpetuator of Class dichotomy....