BaL 22.02.14 - Haydn: Symphony no. 44

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  • Eine Alpensinfonie
    Host
    • Nov 2010
    • 20572

    BaL 22.02.14 - Haydn: Symphony no. 44

    9.30am Building a Library
    Nicholas Kenyon is the guide to recordings of Haydn's inventive 'Trauer' Symphony, No.44 in E minor.

    Available versions:

    Concertgebouw Chamber Orchestra, Marso Boni
    Academy of St Martin-in-the-Fields, Iona Brown
    Arion, Gary Cooper
    Stuttgart Chamber Orchestra, Dennis Russell Davies
    Philharmonia Hungarica, Antal Dorati
    Anima Eterna, Jon van Immerseel
    Heidelberger Sinfoniker, Thomas Fey
    Austro-Hungarian Haydn Orchestra, Adam Fischer
    RIAS Radio Orchestra, Ferenc Fricsay
    WDR Sinfonieorchester Köln, Ferenc Fricsay
    Hannover Band, Roy Goodman
    Academy of Ancient Music, Christopher Hogwood
    Amsterdam Baroque Orchestra, Ton Koopman
    Staatskapelle Berlin, Andris Nelsons (DVD/Blu-ray)
    Orkiestra Kameralna Mala Filharmonia, Marcin Nalecz-Niesiolowski (download)
    The English Concert, Trevor Pinnock
    RPO, Stefan Sanderling
    Vienna State Opera Orchestra, Hermann Scherchen (download)
    Cantilena, Adrian Shepherd (download)
    Les Soloistes de Paris, Henri-Claude Fantapié
    Orchestra Libera Classica, Hidemi Suzuki
    Tafelmusik, Bruno Weil
    Radio Chamber Orchestra, Mogens Wöldike
    Capella Istropolitana, Barry Wordsworth
    Last edited by Eine Alpensinfonie; 27-02-15, 11:59.
  • verismissimo
    Full Member
    • Nov 2010
    • 2957

    #2
    Thanks, Alpie. One of my absolute favourite Haydn symphonies. From his wonderful Sturm und Drang years.

    Comment

    • mikealdren
      Full Member
      • Nov 2010
      • 1203

      #3
      Originally posted by verismissimo View Post
      Thanks, Alpie. One of my absolute favourite Haydn symphonies. From his wonderful Sturm und Drang years.
      I agree completely, one of my earliest LPs of Haydn symphonies was the CFP version with the LPO and John Pritchard. I bought it for the Farewell but listened to the Trauer more.

      Mike

      Comment

      • gurnemanz
        Full Member
        • Nov 2010
        • 7405

        #4
        The "big beast" conductors do not seem to venture into the lower-number symphonies.

        Comment

        • Barbirollians
          Full Member
          • Nov 2010
          • 11751

          #5
          Originally posted by gurnemanz View Post
          The "big beast" conductors do not seem to venture into the lower-number symphonies.
          Rattle does to an extent.

          Comment

          • waldo
            Full Member
            • Mar 2013
            • 449

            #6
            Another for the list:

            Frans Bruggen, Orchestra of the Age of Enlightenment.

            Comment

            • ferneyhoughgeliebte
              Gone fishin'
              • Sep 2011
              • 30163

              #7
              Originally posted by Barbirollians View Post
              Rattle does to an extent.
              Not many beasts "bigger" than Scherchen Fricsay or Dorati, either. But gurne's point is generally valid - no pre-#80s recordings from Furtwangler, Karajan, Klemperer, Toscanini, Walter, Szell, Solti, Tennstedt, Bernstein, Reiner, Kripps, Kleiber (either), Boult, Beecham - or that chap in Manchester. Wotsisname?
              [FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]

              Comment

              • ferneyhoughgeliebte
                Gone fishin'
                • Sep 2011
                • 30163

                #8
                That's it: Loughran!
                [FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]

                Comment

                • HighlandDougie
                  Full Member
                  • Nov 2010
                  • 3106

                  #9
                  Although it's available as an MP3 (i.e. lo-fi) download, the Brüggen is not, I think, available as a CD. Spurred on by JLW's (wholly justified) enthusiasm for Brüggen's "Stürm and Drang" set, I resorted to e-bay to find a copy. They came in the big (13CD) set so, if anyone would like copies of Brüggen's "Paris" and "London" symphonies, PM me and I'll send them.

                  Comment

                  • Thropplenoggin
                    Full Member
                    • Mar 2013
                    • 1587

                    #10
                    I expect the Fey version comes with harpsichord accompaniment plinking away in the background. If so, is this historically accurate?
                    It loved to happen. -- Marcus Aurelius

                    Comment

                    • ferneyhoughgeliebte
                      Gone fishin'
                      • Sep 2011
                      • 30163

                      #11
                      Originally posted by Thropplenoggin View Post
                      I expect the Fey version comes with harpsichord accompaniment plinking away in the background. If so, is this historically accurate?
                      Don't know about Fey, Thropple, but the Philharmonia score (edited by HCRL, who would've known) doesn't include a Cembalo part. However, HCRL does say in his prefatory remarks to the Passion Symphony (#49)

                      The presence of a Cembalo (Harpsichord), though not specifically required in Haydn's score, was a matter of course in the 18th Century, and a performance of this work without without this instrument is unthinkable. Particularly in the First Movement (eg bars 39ff) the Harpsichord fulfils a necessary harmonic, as well as colouristic, function.

                      (Haydn need not have written the part out, as he was himself responsible for the plinking. Similarly, there is no Bassoon part written in the score. This does not necessarily mean that Haydn didn't want them/it to play - he simply expected them/it to play from the 'cello part.)
                      [FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]

                      Comment

                      • Barbirollians
                        Full Member
                        • Nov 2010
                        • 11751

                        #12
                        Originally posted by ferneyhoughgeliebte View Post
                        That's it: Loughran!
                        I thought you meant Hamilton Harty. Loughran seems also to have been sadly lacking in conducting Lachenmann.

                        Sir John Barbirolli on the other hand - although he confined himself to later Haydn symphonies did conduct the odd rare work such as L'isola disabitata: Overture in G minor, Hob.Ia:13

                        Comment

                        • Thropplenoggin
                          Full Member
                          • Mar 2013
                          • 1587

                          #13
                          Originally posted by ferneyhoughgeliebte View Post
                          Don't know about Fey, Thropple, but the Philharmonia score (edited by HCRL, who would've known) doesn't include a Cembalo part. However, HCRL does say in his prefatory remarks to the Passion Symphony (#49)

                          The presence of a Cembalo (Harpsichord), though not specifically required in Haydn's score, was a matter of course in the 18th Century, and a performance of this work without without this instrument is unthinkable. Particularly in the First Movement (eg bars 39ff) the Harpsichord fulfils a necessary harmonic, as well as colouristic, function.

                          Haydn need not have written the part out, as he was himself responsible for the plinking.
                          Thanks, FHG. I didn't mean for 'plinking' to sound derisory but for me it just sounds odd hearing one in classical works as opposed to baroque works (see my encomium of the Dunedin Consort's Brandenburg Concertos).
                          It loved to happen. -- Marcus Aurelius

                          Comment

                          • ferneyhoughgeliebte
                            Gone fishin'
                            • Sep 2011
                            • 30163

                            #14
                            Originally posted by Barbirollians View Post
                            I thought you meant Hamilton Harty.
                            - sadly, no recordings of even the later symphonies from this source.

                            Loughran seems also to have been sadly lacking in conducting Lachenmann.
                            Whislt in Manchester, true. When he headed Hamburg there were a couple of performances - sadly not making it to the recording studio.

                            EDIT: "Hamburg"? Schamburg" - Loughran's German orchestra was the Bamberg SO; and re-checking dates, there's no evidence that the Lachenmann performances were conducted by Loughran. Barbie was right - Loughran seems to be as sadly lacking in his programming of Lachenmann as he was of Vaughan Williams.
                            Last edited by ferneyhoughgeliebte; 15-02-14, 13:16.
                            [FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]

                            Comment

                            • waldo
                              Full Member
                              • Mar 2013
                              • 449

                              #15
                              Originally posted by ferneyhoughgeliebte View Post
                              Don't know about Fey, Thropple, but the Philharmonia score (edited by HCRL, who would've known) doesn't include a Cembalo part. However, HCRL does say in his prefatory remarks to the Passion Symphony (#49)

                              The presence of a Cembalo (Harpsichord), though not specifically required in Haydn's score, was a matter of course in the 18th Century, and a performance of this work without without this instrument is unthinkable. Particularly in the First Movement (eg bars 39ff) the Harpsichord fulfils a necessary harmonic, as well as colouristic, function.

                              (Haydn need not have written the part out, as he was himself responsible for the plinking. Similarly, there is no Bassoon part written in the score. This does not necessarily mean that Haydn didn't want them/it to play - he simply expected them/it to play from the 'cello part.)
                              This is very much the "old", traditional view of the use of continuo. There is now a consensus among modern Haydn scholars that it is wrong, or least lacking the kind of evidence needed. Indeed, the balance of evidence now points the other way: that Haydn did not use a continuo when he performed these symphonies at Esterhazy. For one thing, there was no continuo in the music room there, and if they had moved one it would have taken up too much space. Even HCRL has now reversed his opinion on this subject and has joined the ranks of those who believe that the symphonies were not composed with a continuo in mind: "There is no evidence that Haydn played harpsichord in the symphonies". He has suggested that dispensing with continuo in the symphonies might have been "another of Haydn's innovations, just as he got rid of the harpsichord in the string quartets."

                              Others, of course, disagree. But the consensus is now very much against the use of continuo.

                              Comment

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