Joseph Haydn 2024

Nikolaus Harnoncourt präsentierte 2009 einen der spannendsten Beiträge zum Haydn-Jubiläumsjahr. Seine Neueinspielung der berühmten Jahreszeiten von Haydn mit dem Originalklangorchester Concentus Musicus Wien bietet einen liebevoll im Detail ausgemalten, kontraststarken und spannungsreichen Bilderbogen - mit wild brausenden Winterstürmen, brütender Sommerhitze, heftigem Gewitter und einem ausschweifenden Winzerfest. Das Solistenterzett mit Genia Kühmeiers mädchenhaften Sopran, dem kultivierten Tenor von Werner Güra und dem ausdruckstarken, lyrischen Bariton von Christian Gerhaher lässt keine Wünsche offen. 2010 erhielt Nikolaus Harnoncourt für diese Einspielung den Echo Klassik für die beste Chorwerk-Einspielung des Jahres.

When Nature took on new meaning. The transition from Winckelmann to Rousseau marked one of the biggest upheavals of thought in the Enlightenment - and it is perfectly illustrated in these four Seasons with their decidedly Romantic 'descriptivism'! In this music, even though lambs frisk, fish teem and thunder booms, it is the question of Man within Nature that is the central issue. By going back to the very first version of The Seasons (with the orchestral introductions played in their entirety), René Jacobs enables us to relive that day in April 1801 that saw the triumph of old 'Papa' Haydn.

The popularity of the lute in the Renaissance and Baroque periods continued during the early years of Haydn's life. By this time it usually had thirteen courses (twenty-four strings arranged in pairs with the top two courses being single) and it was still appreciated among the European aristocracy. It is therefore not surprising to find four works for lute and strings by Joseph Haydn in two manuscript sources from the middle of the 18th century. Three of these are well known in versions for string quartet (Op.1 No.1, Op.1 No,6 and Op.2 No.2) whereas the Sonata a 3 in F major has not survived in any other form.

2 CDs mit Leonard Bernsteins herausragenden Interpretationen der Haydn-Sinfonien mit dem New York Philharmonic Orchestra. Als erster US-Amerikaner war Leonard Bernstein von 1958-1969 Musikdirektor des New York Philhamonic Orchestra. In seinem Wirken als Dirigent fand er weltweit große Beachtung mit einem Repertoire, das von der Klassik bis zur Avantgarde reichte.

In seinem ‚Entwurf-Katalog’ verzeichnete Joseph Haydn ab 1765 sieben Orgelkonzerte. Sein eigener Organistendienst beim Fürsten Esterházy, den er an der Eisenstädter Schlosskirche versah, bot ihm die Möglichkeit, Orgelkonzerte aufzuführen. Gleichwohl blieben seine Orgelkonzerte Nischenrepertoire, denn die Symphonie war mehr und mehr auf dem Vormarsch und Haydn selbst hat bekanntlich ungleich mehr Symphonien als Orgelkonzerte komponiert. In seinem Katalog findet sich zudem auch die Bezeichnung ‚Cembalo’, was die Aufführung dieser Konzerte im weltlichen Rahmen außerhalb der Kirche möglich machte. Renommierte Organist Norbert Düchtel an der Johann-Philipp-Seuffert-Orgel aus dem Jahr 1756 in der Wallfahrtskirche Maria Limbach den Orgelkonzerten Joseph Haydns gewidmet. Das L’arpa festante Barockorchester München stellt den soliden Orchesterapparat.

Recorded between 2009 and 2021, this mammoth project has consistently drawn the highest critical acclaim: ‘A project that began in 2010 is completed; what a journey it has been. Bavouzet’s gifts of insightful exposition and revelation are matched by the wisdom of his curation… A triumph’ -The Sunday Times ‘A recording worth rushing to the shops for. Bavouzet plays these inventive masterpieces with real love’ -Classic FM

It would be a sad day if Haydn and Mozart symphonies were only to be heard on period instruments, but with Sir Georg Solti and Sir Colin Davis jointly perpetuating the tradition of Haydn performances which Beecham created in the 78rpm era, with its combination of elegance and warm humanity, we need have no fears on this score.

After Haydn composed The Seven Last Words for chamber orchestra as a devotional accompaniment to the Good Friday liturgy at Cadiz Cathedral in 1786, several other arrangements were made during his lifetime, by himself and others, all of them familiar to us now: as an oratorio with soloists and chorus, and in string quartet and solo keyboard transcriptions.

As ever, the conductor-less New York orchestra give lithe, impeccably groomed performances. Tempos tend to be swift, articulation exceptionally buoyant and precise, phrasing stylish and gracious. . . . [A]ll three minuets are beautifully judged, poised and light of foot . . . and the Andantes of the two D major symphonies are nicely done, too, with an awareness of deeper currents beneath the perky charm of No. 73. . . . [T]here's a lot of pleasure to be had from these nimble and elegantly crafted performances, cleanly recorded . . .