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1 CD -
244 198-2 ZK - (p) 1990
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| Franz Joseph
Haydn (1732-1809) |
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| Symphonie Nr. 45 fis-moll
"Abschieds-Symphonie", Hob. I/45 |
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31' 11" |
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- Allegro assai
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8' 34" |
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1 |
| - Adagio
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12' 13" |
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2
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| - Menuett. Allegretto - Trio
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2' 50" |
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3
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| - Finale. Presto - Adagio |
7' 34" |
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4
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| Symphonie
Nr. 60 C-dur "Il Distratto", Hob. I/60 |
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31' 43" |
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- Adagio - Allegro di molto
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8' 43" |
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5
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| - Andante |
9' 48" |
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6
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- Menuetto, non troppo
presto - Trio
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3' 47" |
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7
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| - Presto |
3' 06" |
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8
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- Adagio (di Lamentatione) -
Allegro
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4' 35" |
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9
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- Finale. Prestissimo
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1' 44" |
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10
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CONCENTUS MUSICUS
WIEN (mit
Originalinstrumenten)
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Alison Gangler, Oboe |
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Silvia Iberer, Violine |
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Marie Wolf, Oboe |
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Stefano Mollo, Violine |
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Milan Turković, Fagott |
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Gerold Klaus, Violine |
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Andrew Joy, Naturhorn |
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Maighread McCrann, Violine |
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Cathrine Putman, Naturhorn |
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Peter Schoberwalter junior, Violine |
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Karl Steininger, Naturtrompete
in C (Nr. 60) |
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Maria Kubizek, Violine |
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Hermann Schober, Naturtrompete
in C (Nr. 60) |
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Jacqueline Roschek, Violine |
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Martin Kerschbaum, Pauken (Nr.
60) |
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Peter Matzka, Violine |
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Erich Höbarth, Violine |
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Kurt Theiner, Viola |
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Alice Harnoncourt, Violine |
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Lynn Pascher, Viola |
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Andrea Bischof, Violine |
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Dorle Sommer, Viola |
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Anita Mitterer, Violine |
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Charlotte Geselbracht, Viola |
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Peter Schoberwalter, Violine |
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Herwig Tachezi, Violoncello |
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Karl Höffinger, Violine |
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Rudolf Leopold, Violoncello |
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Helmut Mitter, Violine |
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Eduard Hruza, Violone |
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Walter Pfeiffer, Violine |
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Andrew Ackermann, Violone |
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Nikolaus
Harnoncourt, Leitung
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Luogo
e data di registrazione
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| Casino
Zögernitz, Vienna (Austria) - maggio
1988 |
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Registrazione
live / studio
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| studio |
Producer
/ Engineer
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Wolfgang
Mohr / Michael Brammann
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Prima Edizione CD
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| Teldec
- 244 198-2 ZK - (1 cd) - 63' 09" - (p)
1990 - DDD |
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Prima
Edizione LP
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Notes
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The two Haydn
symphonies recorded here both owe
their composition to external
circumstances. In
January 1772 Haydn’s employer Prince
Nikolaus Esterházy
decreed that none of the court
musicians - with the exception of
Haydn himself, the first violinist
Tomasini and a number of
singers-should any longer be allowed
to house his family in the castle
grounds. Indeed, he “didn`t even want
to see wives and children on a 24-hour
visit in the future”. When all the
musicians’ pleas proved fruitless,
Haydn lent musical emphasis to their
wishes with his SYMPHONY NO.
45 IN F SHARP MINOR. “He had the idea
of writing a symphony” - thus the
composer's friend Griesinger in his
"Biographical Notes" - “in which one
instrument after another stops
playing. This symphony was played at
the very first opportunity in the
presence of the Prince, and each of
the musicians was instructed to put
out his light as soon as his part was
over, to pack his music together and
to walk out with his instument under
his arm." And another of Haydn’s
biographers, Dies, added the following
commentary: “One last violinist
(Tomasini) was left. Haydn had
deliberately chosen him to be the
last, since the Prince was very fond
of his solo playing, and the
Tomasini’s artistry
forced him to wait to the end... Now
the Prince got up and said; ‘if
everybody else is leaving, we’d better
go too'." The next day the orchestra
was ordered to leave Esterház.
Haydn's "Farewell" Symphony is not
some antiquated joke, but - going far
beyond the demands of the occasion -
is altogether rebellious music. It
shares this eccentricity with many
other works from Haydn’s so-called
“Sturm und Drang" period from the
early to the mid-1770s. Haydn resorts
to solutions far removed from all
formal conventions: the very key is
out-of-the-ordinary, as is the fact
that the second subject of the first
movement does not come in until the
development section. Indeed, there is
no motivistic fusion of the two
subjects; the brusque first subject
and the imploring second subject are
placed opposite each other in Baroque
antithesis, so to speak, as if
representing the dispute between the
Prince and his supplicant musicians.
Likewise, the pale adagio and the
altogether feeble minuet are composed
against all traditional rules. A
complete break with convention occurs
in the last movement, whose
artificially cheerful presto section
breaks off on the dominant and leads
into the fully composed farewell of
the adagio.
The SYMPHONY NO. 60 IN C MAJOR
diverges even further from the
listener's expectations. It was
originally written as the incidental
music to the comedy “Der Zerstreute" (Il
Distratto - The Absent-Minded
Gentleman) by Jean-Francois
Regnard. The Preßburger
Zeitung wrote in November 1774 that
the “curious sort of music composed by
Herr von Heyden (sic) is admirable,
most admirable, and the finale had to
be repeated in response to the
incessant applause of the audience. In
this music the allusion to the
absent-minded gentleman who forgets he
is the bridegroom on his wedding day,
and ties a knot in his handkerchief to
remind himself, is most effective. The
musicians begin the piece with great
pomp and it takes them a while to
realise that they haven’t yet tuned
their instruments." The six
movements combined after the
manner of a suite - an overture and five
entr'actes - follow one another
without links or formal connections in
pot-pourri fashion. The only claim
to the title of “symphony” to be found
in this music with all the verve of a
popular song is the style of its
orchestral writing. However, we cannot
judge whether this was the reason why
Haydn referred to the piece as “just
an old trifle of mine" many years
later when the Empress asked to hear
it. Both the symphonies on this
record, No. 45 and No. 60, certainly
confirm in their contrast with one
another what Mozart once said about
Haydn: “No-one can do everything: fool
around and upset, make people laugh
and move them profoundly, and all that
as well as Haydn does it.”
Uwe
Schweikert
Translation: Clive Williams
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Nikolaus
Harnoncourt (1929-2016)
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