Haydn's Haus

[Gurn Blanston]

Perhaps of local interest, in this abode:


J. Haydn
Notturni & Scherzandi
Jessop Haydn Ensemble & Trinity Haydn Ensemble
Denis McCaldin
divine 2CDs
German link - UK link
Europe only, for the time being. In association with the Haydn Society of Great Britain.
This includes: Notturnis 1-8, Hob.II:25-32 and the Scherzandi 1-6, Hob.II:33-38

Interesting indeed. I shall be delighted when they can post more specific information about it. Have you heard an advance copy, Jens? Or are you out here with the masses as yet? 

[jlaurson]

Interesting indeed. I shall be delighted when they can post more specific information about it. Have you heard an advance copy, Jens? Or are you out here with the masses as yet? 

I'm in the middle of listening to the first disc. Any information I can volunteer?

[Gurn Blanston]

I'm in the middle of listening to the first disc. Any information I can volunteer?

My first (and only important) question would be: are they the original versions as composed for the King of Naples (with lira organizatta) or are they the versions that Haydn re-scored in 1791 for use in London, where the lira were replaced by a flute and oboe (or 2 flutes + an extra violin etc)?  There are (good) versions around of the latter, but other than the occasional here and there, no full set of the former.

[Gurn Blanston]

Oh, these are the Solomon/London revisions... which is to say: flute and oboe, w/double bass in continuo section.

Ah, that's very good to know. There is some of Haydn's most attentive music in there, the last gasp of the 18th century divertimento. I'm sure he didn't derive inspiration from the original instrument itself; maybe it was the challenge of making even that sound special that drove him on. Clearly he thought a lot of the music, since he saved all his original scores and used them again in different venues. No doubt at all I will have to acquire this. Thanks for the heads up.

[Gurn Blanston]

Actually, after listening to the first disc: Don't be so certain. Those pieces are played by a student orchestra, unlike the second, which I'll tackle tomorrow, and it displays unacceptably low performance standards. Awful, frankly.

I'm sad...

With professionals going begging, why record students? Encourage them, of course, and attend performances, but record? *sigh*

Thanks though.

[Florestan]

Those pieces are played by a student orchestra, [...], and it displays unacceptably low performance standards. Awful, frankly.

With professionals going begging, why record students? Encourage them, of course, and attend performances, but record? *sigh*

Are they much worse than the amateurs who performed them in the 18th century?  I doubt it.

For many people that was the only way they heard their Haydn, so a recording with less than perfect technical performance is actually as HIP as it gets, methinks. 

[Karl Henning]

Rely on Andrei to take the historical reproduction tack ; )

[Florestan]

What's that, tack? Never heard that word till know. 

[Karl Henning]

Comes, I believe, from sailing....

[Florestan]

Thanks, Jens.

[Gurn Blanston]

This maneuver is frequently used when the desired direction is (nearly) directly into the wind.

This maneuver is frequently used when the desired direction is (nearly) directly into the wind.

Yes, that suits our Andrei to a T.

I won't argue the merits of amateurs v professionals with you, Florestanio, but I will say that a mediocre performance at the conservatory auditorium is for an evening. A mediocre recording is forever.

[Karl Henning]

. . . A mediocre recording is forever.

Alas! yes, as harmonizes with a message I was just sending, about the scarcity of recordings available for a certain living composer's rather substantial catalogue.

[Florestan]

Yes, that suits our Andrei to a T.

You can say it again. The-tack-not-taken is my middle name. 

I won't argue the merits of amateurs v professionals with you, Florestanio,

That was not the issue anyway. 

but I will say that a mediocre performance at the conservatory auditorium is for an evening. A mediocre recording is forever.

This doesn't seem to deter scores of mediocre performances being recorded every year. 

[mc ukrneal]

You can say it again. The-tack-not-taken is my middle name. 

It could be seen by all if you tack it on to your profile! (PS: Tack here means attach to, add on, or something similar.)

[Karl Henning]

This tangent is proving a bit tacky (in the sense slghtly adhesive, not shabby) . . . .

[Karl Henning]

Hadn't marked it, actually, Jens.

[Opus106]

What...? My 'invisible' addendum?

Fortunately, no. It's the whole tack business.

[Florestan]

Gurn, here's one scenario/problem for your consideration: you travel in time and witness and record the premiere of Haydn's 88th symphony at Eszterhaza, with the court orchestra. Based on your extensive research on all things Haydn, the resulting recording would technically be (1) worse than, (2) equal to, (3) better than, your current favorite recording of that symphony --- pick one. 

[Florestan]

It could be seen by all if you tack it on to your profile! (PS: Tack here means attach to, add on, or something similar.)

Done. 

[Gurn Blanston]

Gurn, here's one scenario/problem for your consideration: you travel in time and witness and record the premiere of Haydn's 88th symphony at Eszterhaza, with the court orchestra. Based on your extensive research on all things Haydn, the resulting recording would technically be (1) worse than, (2) equal to, (3) better than, your current favorite recording of that symphony --- pick one. 

I don't think it is wishful thinking to say "better than". The Esterháza Orchestra was generally conceded to be the best orchestra in Europe at that time. And being conducted by the composer, well, hard to see who could beat it today.

You could have picked almost any other orchestra out there and you would have gotten a different answer, probably.