Haydn

One can never own enough recordings or hear enough performances of the Haydn string quartets. Not only did Haydn invent the quartet form, he was composing, even early in his career, at a level that no one else could even come close to matching, according to Classical Era authority, Charles Rosen. These Opus 20 'Sun Quartets' (so-called because of the drawing of a sun on the title-page of the original published edition) were among the eighteen early quartets Haydn wrote around 1770 in which he made a huge advance on what had previously been a form more like a divertimento; in so doing he more or less invented 'high classicism'.

Thomas Quasthoff’s great artistry needs no introduction. Here he follows up his much-raised Bach Cantatas recording with another project perfectly suited to his dark-hued, flexible voice. In anticipation of the forthcoming Haydn year – the 200th anniversary of the composer’s death falls in May 2009 – Quasthoff turns his attention to the Viennese master’s considerable operatic output, with an album of arias drawn from both Haydn’s comic and serious operas.

In a conducting career spanning several decades, Sir Neville Marriner has had many great achievements, especially with his own Academy of St. Martin In The Fields, and as music director of the Los Angeles Chamber Orchestra from 1969 to 1978. Another great achievement was the series of recordings he made during the middle and late 1980s with the Dresden State Orchestra for EMI of the later Mass settings of Franz Joseph Haydn, recordings that, alongside similar ones made by Leonard Bernstein, both with the New York Philharmonic in the 1970s and the Bavarian Radio Symphony Orchestra in the 1980s, bought this particular aspect of Haydn's output back into the forefront after having been somewhat obscured by his one hundred four symphonies.

The summit of Haydn’s quartet-writing, and of the classical string quartet medium itself. The ‘Emperor’, ‘Fifths’ and ‘Sunrise’ may be the best known of the six—as so often with those works by Haydn which have nicknames—but the others are every bit their equal.

We often think of Haydn as a composer of symphonies, string quartets and piano sonatas – that is, of instrumental music in various forms. But in fact, he probably wrote as much vocal music, in a variety of genres. The late, great oratorios are still justly famous – The Creation and The Seasons – but he also composed twelve large-scale Masses, a number of cantatas and other sacred works, as well as songs, concert arias and as many as 21 operas and Singspiele. Some of these have been lost, but the majority still exist in more or less complete form. The earliest of these is Acide, the fragment of an opera composed for the celebrations of the wedding of Count Anton Esterházy and Countess Maria Theresia Erdödy, and performed at the Esterházy residence at Eisenstadt on 11th January 1763.

The attached CD is dedicated to the latest winner of the 64th “Busoni” Prize, awarded “unanimously” after 28 years, the 24-year-old Russian pianist Arsenii Mun. On the album, the testimony of the extraordinary feat that took the pianist from the preliminaries to the final with the Haydn Orchestra of Trento and Bolzano conducted by Arvo Volmer: Bach: Choralvorspiel Nun komm der Heiden Heiland BWV 659; Haydn: Sonata in E flat major Hob. XVI: 52; Chopin: Three Mazurkas op. 6 no. 1, op. 17 no. 2 and no. 4; Ravel: Gaspard de la nuit; Rachmaninov: Rhapsody on a Theme by Paganini op. 43 for piano and orchestra.

One of the greatest artists of her generation, Cecilia Bartoli is at the height of her powers. With thrilling performances of Mozart and Haydn arias, recorded live in concert, this double disc set also includes symphonic performances from Nikolaus Harnoncourt and his Concentus Musicus Wien.

This CD contains a fine performance of the Michael Haydn's Requiem, but if you are interested in hearing the much discussed striking influence of this Requiem on Mozart's, this is not most persuasive performance. For Rilling gives a rather musically suave reading, emphasizing a certain comforting quality to the music, and though you can still make the comparison, there is a better take on that angle. The old Hinreiner recording which was on a Koch/Schwann lp (I don't think it ever made it to CD) is actually much better for suggesting the almost spooky and dusky similarity between the two works. Still, this one is very heartfelt and enjoyable. But the much more spectacular event on this CD is the St. Francis Mass of Michael Haydn.