Haydn's Haus

[Gurn Blanston]

Thanks for this effort, Gurn; this wonderful work deserves it.

I recall some years ago I commented very favorably the  Brautigam cycle of Haydn's keyboard music. I added that the crown of this cycle was the interpretation of the Last Seven Words (last volume, IIRC). Quickly one of our members said that this idea was a non-sense, as it wasn't a work originally composed for keyboard, and wasn't even directly prepared by Haydn (just revised). I knew it then and I haven't forgotten it so far, but the Seven Last Words have this power... and even its anomalous keyboard version should be ranked as one of the greatest works written for keyboard. Amen! 

Thanks, Gordo.  Haydn had some high praise for that keyboard transcription, and I figure if it was good enough for him, what modern philosophes might think of it is really of no consequence. I will be covering it next year, whether it was by Haydn or not so.   

This time, I was just trying to figure out how big of a dose of history to pass out with the music.

[torut]

I guess you all know by now that I like Haydn's music unreservedly. But even so, there are certain works which stand out above all the rest, for a variety of reasons. This week I took a look at one of them, and I think it is one of my own better efforts. See if you agree.

The Seven Last Words

This was a very good read, thank you. Looking forward to the sequel about chamber/keyboard versions.

I too think the keyboard version is very good. That and the SQ version are my favorites.
I am listening to this SQ + mezzo version. So beautiful.

But my new discovery of the season has been this hybrid; String Quartet and mezzo, thus playing the oratorio version for string quartet. Really quite striking.

[Gurn Blanston]

This was a very good read, thank you. Looking forward to the sequel about chamber/keyboard versions.

I too think the keyboard version is very good. That and the SQ version are my favorites.
I am listening to this SQ + mezzo version. So beautiful.

Thank you, Torut, pleased you enjoyed it. Also, you are the first who has got the Henschel version that I know of; I am delighted to not be the only one who has/likes it! 

[Camphy]

Every week on the Dutch classical radio website, a few recordings (new releases) are made completely available for listening. This week, among others, there's this one:



http://www.radio4.nl/plaatpaal/420/cd-van-de-week-haydn-il-filosofo-il-giardino-armonico

[Gurn Blanston]

Every week on the Dutch classical radio website, a few recordings (new releases) are made completely available for listening. This week, among others, there's this one:



http://www.radio4.nl/plaatpaal/420/cd-van-de-week-haydn-il-filosofo-il-giardino-armonico

Did you hear it!?  It won't be released in USA until May 25th (IIRC), so I just saw the advert clips on Youtube. I'm looking forward to it, some of my favorite works, and some W. Bach too!

[Camphy]

Just listened to #46. Great clarity and great horn-playing. Antonini doesn't take the repeat in the minuet, yet he takes both in the last movement, which diminishes somewhat the effect of the trio return.

Gurn, or someone else, do you have any idea about why he would take this view? Just this week I heard Brüggen, who does the opposite.

[Gurn Blanston]

Just listened to #46. Great clarity and great horn-playing. Antonini doesn't take the repeat in the minuet, yet he takes both in the last movement, which diminishes somewhat the effect of the trio return.

Gurn, or someone else, do you have any idea about why he would take this view? Just this week I heard Brüggen, who does the opposite.

No, I didn't know he did it till now; rather a disappointing choice.    The first rule for authentic performance of Classic Era music is that if there is a repeat, you play it. You may ornament it and all that, but you don't omit it. Classic Era music is all about balance, and omitting repeats throws that off. *sigh*

[Gurn Blanston]

This week I finally got up to 1787, the year of some of my favorite works, like the Op 50 quartes and Symphony 88. I gave this a lot of thought and realized we are now well into that little period which could be justly called Haydn's Golden Age. See what you think...

The Golden Age?

Thanks!

[Camphy]

No, I didn't know he did it till now; rather a disappointing choice.    The first rule for authentic performance of Classic Era music is that if there is a repeat, you play it. You may ornament it and all that, but you don't omit it. Classic Era music is all about balance, and omitting repeats throws that off. *sigh*

Sorry, Gurn, I didn't listen very carefully and jumped to conclusions based on the timings. He does take the first repeat, not the second, in all the minuets. He's just very quick, only two minutes in #46.
Of course it's the second part of the minuet, not the trio, which returns in the finale of #46.

[Camphy]

Thanks for your reply, though!

[Gurn Blanston]

Sorry, Gurn, I didn't listen very carefully and jumped to conclusions based on the timings. He does take the first repeat, not the second, in all the minuets. He's just very quick, only two minutes in #46.
Of course it's the second part of the minuet, not the trio, which returns in the finale of #46.

Yes, 46 is a fooler. Here is the little bit of score with the entire minuet & trio, which you will see is on 1 page!

Symphonies of 1772

The several versions I have range in time from 2:13 (Solomons) to 3:28 (Hogwood)

So 2 minutes is, just as you say, on the quick side.

[Camphy]

"These thrilling arrangements based on Haydn's string quartets penned by Vincent Gambaro a good two hundred years ago seem to have been made with Dieter Klocker in mind.

These works mostly feature the clarinet in a solo role although Gambaro's movement combinations do not at all follow Haydn's prescriptions. Gambaro instead samples from quartet compositions from all of Haydn's compositional periods and joins together individual movements to form new cycles."

http://www.prestoclassical.co.uk/r/MDG/MDG3010315

[Karl Henning]

On my Saturday morning drive to deliver two pieces of art to an exhibit which will open at the Cheshire County Historical Society in Keene, N.H., I took five CDs from the DRD symphonies cube.  In fine:  I entirely enjoy the performances.  I don't recall hearing a harpsichord continuo in the D Major symphony (104) before;  have to admit, I really like it.  I should really have more to say, but I'm lovin' it! will have to do for now.

[Gurn Blanston]

"These thrilling arrangements based on Haydn's string quartets penned by Vincent Gambaro a good two hundred years ago seem to have been made with Dieter Klocker in mind.

These works mostly feature the clarinet in a solo role although Gambaro's movement combinations do not at all follow Haydn's prescriptions. Gambaro instead samples from quartet compositions from all of Haydn's compositional periods and joins together individual movements to form new cycles."

http://www.prestoclassical.co.uk/r/MDG/MDG3010315

  Yep, that is right up Klöcker's alley! This combination was not unusual back then, I have some Mozart works arrange into clarinet quartets too. Mixing up movements from different works, though, IS a tad unusual! 

[Madiel]

Haydn will feature in my blog later this week, because he's the only composer I listened to while I was away in April.

Except I didn't listen to a 'Paris' symphony while in Paris or a 'London' symphony while in London. I think in both cases I only listened on the way there. Sloppy I know.

[Gurn Blanston]

Haydn will feature in my blog later this week, because he's the only composer I listened to while I was away in April.

Except I didn't listen to a 'Paris' symphony while in Paris or a 'London' symphony while in London. I think in both cases I only listened on the way there. Sloppy I know.

Still, sounds like an interesting trip. Business or pleasure?  I'll check you out when you publish.

[Madiel]

It was 3 days business (a conference) and about 28 days of "if I'm going all the way to Europe I'm going to make it worthwhile dammit" pleasure.

While I'm here... I've been listening to Symphony No.83 in G minor today. I can read in any number of places about the 'clucking' in the first movement. Why oh why isn't anyone talking about the amazing disruptions in the second movement? Honestly, Haydn has me on tenterhooks, waiting through 4 whole bars of fading 'accompaniment' for the 'music' to start again.

[Gurn Blanston]

It was 3 days business (a conference) and about 28 days of "if I'm going all the way to Europe I'm going to make it worthwhile dammit" pleasure.

While I'm here... I've been listening to Symphony No.83 in G minor today. I can read in any number of places about the 'clucking' in the first movement. Why oh why isn't anyone talking about the amazing disruptions in the second movement? Honestly, Haydn has me on tenterhooks, waiting through 4 whole bars of fading 'accompaniment' for the 'music' to start again.

Cool, glad the opportunity arose for you.

Well, I talked about it here more than a mention. It is one of the highlights of the work, IMO. I call it 'blasts of dissonance', but disruptions is just as good. To me, the oboe part is one of the least interesting, typical of the 19th century to seize on it and use it to identify the work by. The whole alternation of affekt throughout the movement is the important thing, not what the individual parts are which are alternated. It is a character thing.

[Karl Henning]

Except I didn't listen to a 'Paris' symphony while in Paris or a 'London' symphony while in London. I think in both cases I only listened on the way there. Sloppy I know.

Not necessarily sloppy;  you may just have wanted distance 

[Gurn Blanston]

Has anyone here ever seen this double CD? Might it be included in one of the big Warner boxes? Boy, I'd sure like to have it!