Haydn scholar H.C. Robbins Landon described Haydn’s D major cello concerto as one of the composer’s “weakest compositions”, an “uncomfortable” work, displaying “misjudgments of dramatic timing”, its concluding rondo “staid and melodically short-winded”. Whatever the theoretical, and to some degree subjective basis for that assessment, for most listeners, hearing this concerto will provoke nothing short of pure delight and appreciation for Haydn’s clever and catchy—and often virtuosic—thematic writing, buoyant rhythms, and thoroughly entertaining interplay between soloist and orchestra. There’s a reason why the work is represented on more than 100 recordings in the current CD catalog. And Wendy Warner’s addition to that number is a stellar confirmation of its popularity to audiences and particular appeal to performers.

That same popularity applies to the C major concerto, written in the 1760s, some 20 years earlier than the D major, yet only re-discovered in 1961 and given its modern premiere in Prague a year later. This work features even more brilliant bursts of virtuosic writing for the soloist—and Warner really digs in: you can just picture the flashing bow strokes, the swift, fluid motion of fingers, and a resultant musical enunciation that seems so easily and effortlessly produced, so absolutely natural, and so articulate and artful that you wouldn’t care if the tune were “Twinkle, twinkle little star”, you’d be just as impressed and satisfied. In fact, in view of the grand heap of Haydn cello concerto recordings, Warner’s playing places this one at the very top.

Warner’s impressive command of style and technique also serve to convince us that the “other” concerto on the program—a little-known work by Czech composer, and friend of Mozart, Joseph Myslivecek—is a more than worthy companion to the Haydn pieces; in fact, if you’re not paying very close attention, you won’t notice the transition from the Haydn C major concerto to Myslivecek’s work in the same key—the style and quality of Myslivecek’s composition makes an easy, almost seamless flow from one piece to the next. Combining this work with the two Haydn concertos was a smart bit of programming that, along with the unquestioned virtuoso performances of Wendy Warner, gives this disc an extraordinary value not only for collectors but for those who have yet to acquire a recording of these essential Haydn works. Praise for the orchestra and its conductor Drostan Hall must not go without mention—they are outstanding collaborators whose appropriately styled, energetic playing and remarkably tight ensemble complement every note and expressive utterance from Warner’s Guarneri cello. The sound, from College Church in Wheaton, Illinois, is consistent with Cedille’s highest standard. Don’t miss this.

-- David Vernier, ClassicsToday.com

Lars Haugbro, who received his doctoral degree from Cornell University, made his brilliant piano debut in Oslo in 1982 and has since performed as soloist and chamber musician in Scandinavia, Italy, Spain, Russia, and the U.S. He has appeared as soloist with a number of symphony orchestras, including the Oslo Philharmonic Orchestra, and has made television and radio recordings for the Norwegian Broadcasting Corporation (NRK). He is often invited to serve as a jury member at the International Edvard Grieg Piano Competition in Bergen, and at the Young Musicians Competition in Oslo, among others.

Spritely performances of real winners.

Perhaps it’s a terrible admission to make, but much as I love Haydn, I have never really warmed to his concertos. Here, I thought, was the father of the Symphony as we know it today, the String Quartet as we know it today, and the foundation of opera. OK, I know that Mozart had an hand in the development of all these forms but it was Haydn who got things going. Sure enough, there’s drama and poetry aplenty in the pieces mentioned but concertos? Where’s the dramatic interplay between soloist and orchestra? Where’s the element of man standing alone against the crowd?

Then along comes this disk and I suddenly have to re–think my position. It had never dawned on me that the concept of protagonist and lynch mob hadn’t been invented at the time Haydn was writing his concerted works. So now I can see them in a different light for what they are – wonderful entertainment music with prominent parts for solo instruments.

I’m glad that I’ve been able to change my views and can now enjoy these works for they are delightful. The Horn Concerto which opens the disk is full of good things, the writing for horn is certainly virtuosic – the range which Haydn demands of his performer is phenomenal – and here Babanov is quite happy whether he plays in the highest or lowest registers. Haydn goes to both extremes and exploits the full range of the instrument. The work also includes two quite taxing cadenzas. It is thought that the work was written for Joseph Leutgeb, the recipient of Mozart’s four Horn Concertos - he must have been some player! And what a lucky man to have five such magnificent works created for him!

The Harpsichord Concerto is full of great jokes. I especially love the jumping frog impression which the keyboard undertakes at 1:37 in the first movement. There’s lots of interplay between soloist and orchestra, more than in the wind concertos, but this is probably because Haydn knew that his soloist wouldn’t be overwhelmed by the accompaniment as easily as in the other works. The slow movement contains many little jokes with grace notes cheekily sticking their noses into the serious business of tunefulness. The finale is simply a fast romp.

The Double Concerto is thought to have started life as a work for organ. It is considered to have been performed for the solemn profession of Therese Keller, Haydn’ future sister–in–law, as a nun in 1756 – the proof being that the range used by the fortepiano is restricted to the range of the contemporary Viennese organ. Certainly, this is a more serious work, more stately, than the others contained herein. The two soloists never engage in overt display and more often than not they connect in harmonious duet. Rather lovely it is, too. The finale is fast and joyful, but there’s still a serious undertone to the music.

Thanks to the solo trumpet repertoire being quite small, until contemporary composers started writing for it, Haydn’s Trumpet Concerto has become very well known. It’s a true virtuoso work with a gorgeous slow movement and a racy finale.

The performances here are first class, with lots of life and a real period feel. There’s nothing prissy or restrained about them - they’re really very alive. Thoroughly enjoyable.

I must make two points. First of all, in almost every movement, for reasons best known to himself, Müller–Brühl insists on making huge rallentandi at the ends of movements. This ruins the flow of what has gone before. It is a blemish on the performances.

My second point is rather more important. The sound is in Naxos’s best manner – bright and clear. In the Trumpet Concerto the balance between soloist and orchestra is perfect. The whole sound is well focused and there is a good relationship between listener and performer. However, in the other three works the recording is very close which slightly distorts the sound-picture as everything comes across as being overblown. The obviously small string orchestra ends up sounding like a small orchestra which has been over–amplified. This is most noticeable in the slow movements where a more intimate atmosphere is required than in the faster pieces. If you turn the volume down in the hope of taming the sound you lose some of the presence of the performances. This is a shame for these are spritely performances which are real winners and will do much to make these works better known to the public.

This is well worth having, despite my reservations about the sound. If you can tame it ever so slightly – it doesn’t need much – you’ll have a really good time listening to very pleasurable music.

-- Bob Briggs, MusicWeb International

Even at this early stage in his career (he was in his late 20s to early 30s, don't forget), Haydn's music was about 10 times more inventive than any of the competition. All four of these symphonies have many delightful moments, from the syncopated rhythms in the finale of No. 14, to the lovely and affecting use of counterpoint that opens No. 16 (a personal favorite), to the gorgeous slow introduction of No. 15 for horns with pizzicato strings. Kevin Mallon and the Toronto Camerata clearly understand and enjoy the idiom, offering stylish and elegant renditions that make this one of the best releases in Naxos' enterprising but variable complete symphony edition. The horn players are excellent, textures are transparent, and Mallon knows how to judge tempos to provide maximum contrast (especially in the minuets) and vitality. The continuo is well balanced and discretely played, as it should be, so as not to create artificial rhythms that fight against Haydn's energetic bass lines. In short, these are first-rate modern-instrument versions of works that you should waste no time in getting to know. Very good sound too. [5/16/2006]--David Hurwitz, ClassicsToday.com

The early 1780s saw the passion for Haydn across Europe reach it's first peak. Ten years later, the composer was considered the most important of his day. In places noted for their music, his latest works sold like hot cakes. And even out in the country, far from fashionable towns and cities, there was an insatiable demand for whatever he had just written. The small North Swabian principality of Oettingen-Wallerstein was no exception. Prince Kraft Ernst, who extravagantly maintained a court ensemble then regarded as one of the best in the German nation, was unstinting in his admiration of the composer and compiled an extensive collection of his works. At the beginning of 1788, Kraft Ernst commissioned his agent in Vienna, von Müller, to ascertain from Haydn himself his price for three new symphonies of which the Prince was to be the sole owner: "as Joseph Haydn is demonstrably the greatest of Symphonists and I am thoroughly well disposed towards his Music, I should like to obtain three new Symphonies from him, which however nobody save myself should possess. My Court Agent shall tender this my Request to Joseph Haydn and advise me concerning what he will charge and when I shall receive these Symphonies." The composer accepted the commission but explained that he could not deliver at once on account of other obligations. More than a year and a half were to pass before Haydn delivered the commissioned symphonies. The Bavarian Chamber Orchestra (BKO) based in the idyllic spa resort of Bad Brückenau has made a name for itself with innovative projects since it's foundation in 1979. The orchestra consists of first-rate professional musicians from the nations of central Europe, who regularly come together as chamber orchestras or in various chamber ensembles.

Austrian classical composer Joseph Haydn was instrumental in his contributions to musical form. He earned the epithets "Father of the Symphony" and "Father of the String Quartet," but also contributed many works to the genre of the Mass. On this release, eight of his masses have been gathered. Some of these works he wrote for the Esterhazy family, for whom he served as Kapellmeister and court composer. This release begins with the Missa Cellensis in honorem Beatissimae Virginis Mariae, which was written in 1766 after Haydn was promoted to Kapellmeister at Esterhaza. The mass is dedicated to the pilgrimage cult of Mariazell, Styria. Rounding out the release is one of Haydn's most popular masses, his Missa in tempore belli, or Mass in time of war. The work is also known as the Kettle Bell mass for it's dramatic use of timpani. He composed the work in August 1796 when Austria was mobilizing into war. Reflecting the troubled mood of this time, Haydn integrated references to battle in the Benedictus and Agnus Dei movements. Artists on this work include the Gachinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Oregon Bach Festival Orchestra, and more.

HAYDN Concertos for 2 Lire organizzate: in C, Hob VIIh:1; in G, Hob VIIh:2; in G, Hob VIIh:3; in F, Hob VIIh:4; in F, Hob VIIh:5 • Helmut Müller-Brühl, cond; Daniel Rothert (rcr); Philipp Spätling (rcr); Benoît Fromanger (fl); Ingo Nelken (fl); Christian Hommel (ob); Cologne CO • NAXOS 8.570481 (73:31)


This absolutely delightful disc includes all five surviving concertos that Haydn wrote in 1786 for King Ferdinand IV of Naples for the lira organizzata, an oddball instrument combining the qualities of a street hurdy-gurdy with a small chamber organ. Maverick that he was, Haydn refused to let the instrument’s limitations circumscribe his compositional style, but rather allowed his imagination full rein while producing music of lightness and humor combined with strict divertimento form. With lire organizzate being unavailable in other cities, Haydn simply adapted the music to be played by two recorders or flutes and an oboe, simulating the high, reedy sound of King Ferdinand’s instrument.


Technical description of the music would take too much space and would be, I feel, unnecessary to anyone familiar with Haydn’s style. Needless to say, Haydn was a composer who never cheated his audience by writing “down,” even when commissioned to tailor his style to a specific instrument or player. Thus, the solo parts, though technically undemanding, are musically clever, complementing the more complex music of the string and horn orchestra that accompanies them. Indeed, he liked this music so well that he used the second and third movements of the fifth concerto (in F, Hob. VIIh:5) as a basis for his Symphony No. 89 (1787). It’s also interesting to note that the opening theme of this concerto’s first movement bears a close resemblance to the last movement of Mozart’s “Jupiter” Symphony, and in turn is a development of the beginning of the last movement of Haydn’s own Symphony No. 13 of 1763. Its development here, of course, is entirely different, given the nature of the thematic material and the instrumental texture.


I cannot say enough good things about the playing of either soloists or orchestra here. They are lively, charming, boisterous, elegant, and humorous in turn as the music progresses. Photos and bios of all the soloists are, thankfully, given in the booklet, and they are a lively, racially diverse, and well-schooled lot. Germans Rothert and Spätling, the recorder-players, are pupils of Günther Höller of the Cologne Music School. Frenchman Fromanger and Dane Ingo Nelken both studied flute with Jean-Pierre Rampal, though their other teachers are quite different, while oboist Hommel studied with the superb Heinz Holliger. Müller-Brühl, a name unfortunately unknown to me, is the oldest of the lot, which makes sense since his conducting style is evidently from the same school as my faves of the 1950s and 1960s, Woldike, Leitner, Münchinger, Rilling, and Ristenpart. Under his direction, this music for lire organizzate breathes the air of the streets of Naples as much as the concert halls of Austria. This music may not add particularly to your appreciation of Haydn or his musical lexicon, but it will not be a background disc for dinner parties, either. Trust me, people will stop talking and eating and just listen, that’s how good it is.


FANFARE: Lynn René Bayley

Challenges even the best - a bargain alternative to Trevor Pinnock.

Naxos already had a decent recording of the ‘Nelson’ Mass (8.554416, with the ‘Little Organ’ Mass, Hob.XXII/7) on which soloists, the Hungarian Radio Chorus and the Nikolaus Esterházy Sinfonia were conducted by Béla Drahos. The new recording, Volume 3 of the Naxos series of the Haydn Masses, is also available in an 8-CD.

The Nikolaimesse, recorded in 2002, gets the new recording off to a very good start. The music is lighter, less vintage Haydn than its more familiar companion, with mainly brisk tempi much in the manner of the short early Masses which Mozart composed for his Salzburg patron Archbishop Coloredo. It also receives a fine performance and recording. The soloists don’t merit a listing on the rear insert, but they are named inside the booklet, as they deserve to be. If I select Ann Hoyt, the soprano, for special praise, that should not be at the expense of the others.

To be honest, I had not expected much from this CD - I hadn’t heard of any of the performers and I’d forgotten the warm reception which the complete box had received - but the performance of the Nikolaimesse alone makes it worth the modest price. All concerned convince me that this early work is at least the equal of any of Mozart’s Masses, with the exception of the Coronation (K317) the ‘Great’ Mass (K427)and, of course, the Requiem (K626).

The ‘Nelson’ Mass is, I think, at least the equal of the three best Mozart Masses. I shall continue to give it that name as a kind of shorthand, though it has very little to do with Lord Nelson: Haydn nicknames have a habit of sticking even when they are inappropriate - there is at least enough evidence to doubt that it was at a performance of Symphony No.96 that the heavy chandelier narrowly missed causing serious injury, yet the name ‘Miracle’ continues to be attached to that work. Haydn himself called it Missa in angustiis, Mass in straitened times, but it’s easier and shorter to continue to call it the ‘Nelson’.

The opening Kyrie announces that this is a more serious work than the Nikolaimesse. As Jennifer More Glagov notes in the excellent booklet, the lack of wind players - the Prince had just dismissed them as an economy measure - apart from three (specially hired?) trumpets gives the work an undeniably martial tone.

The performers again give an excellent account of themselves. Only Ann Hoyt remains from the earlier line-up and continues to sing impressively - my wife came in as I was listening and was very surprised to discover that this was the voice of a singer whom neither she nor I had heard before. Naxos and others please note, we want to hear more of her. The other soloists and the choir also step up to the plate and the recording, though thicker than for the earlier work, recorded five years earlier, is more than adequate. The last semi-professional performance of the ‘Nelson’ that I heard was spoiled by a soprano who out-sang everyone else, but that is certainly not the case here. I understand that all the soloists are members of the Trinity Choir, which must make it a formidable place for the musically inclined to worship.

John Sheppard (hereafter JS) complained of Burdick’s habit of slowing at certain points, but some of these are traditional. In the Creed, for example, the slowing at the end of track 16 on the words descendit de cælis prepares for the more marked traditional emphasis on et incarnatus est in the next section, where it used to be expected that all would kneel or bow deeply. In any case, JS soon began to be as untroubled by this practice as I was.

William Hedley (hereafter WH) commented on the reverberant acoustic of the Trinity Church but I really was not troubled by this - different audio systems react differently to reverberant recordings. Nor was I really troubled by the other detailed criticisms which he makes. Rather than repeat these here, I refer you to his review. Whilst I admit the validity of just about all of them, I cannot consider them a serious handicap to an overall recommendation.

WH is more than a little hard on the diction - the syllables are frequently chopped up in the wrong places, but the demise of Latin in the school curriculum makes it almost inevitable that a choir’s familiarity with that language can no more be taken for granted than a knowledge of Japanese. (Actually, the latter is a more frequent visitor to the modern UK secondary curriculum). Haydn would have expected to hear the harder Austro-Germanic pronunciation of Latin, with hard ‘g’ in virginis, and ‘c’ in crucifixus, for example; I’m pleased to report that all concerned here take the softer Italianate course.

JS raises the possibility that the set as a whole is superior even to Hickox (Chandos CHAN0599, also available separately) or Guest (Argo/Decca). I’m not quite sure that I would go that far, but I was impressed enough by the single CD under consideration to wish to sample more of the set via the Naxos Music Library.

I’ve already praised the quality of the Naxos notes. One small complaint concerns the absence of texts, but the Tridentine Latin Mass is pretty well known and the texts and translations are available online, as indicated above: they can be yours even without buying the CD.

Overall, I think that WH is right to prefer John Eliot Gardiner (Philips 470 2862, with the Theresienmesse) and Trevor Pinnock (DG Archiv 423 0972, with the Te Deum). I recommended the Pinnock version of the ‘Nelson’ Mass as Download of the Month in my May 2009 Download Roundup) and thoroughly agree with WH that it offers a life-enhancing experience, but I can’t imagine purchasers of the present CD being disappointed with J Owen Burdick’s performances. Having heard the recording right through once, I couldn’t wait to hear it all again, instead of taking the usual time out to gather my impressions. Go for Pinnock for the best - even at full price and rather short value - but the new Naxos makes a very fine and less expensive alternative.

-- Brian Wilson, MusicWeb International

HAYDN Piano Trios: No. 24 in D; No. 25 in G; No. 26 in f?; No. 31 in e? • Kungsbacka Pn Trio • NAXOS 8.572040 (52: 35)


This disc offers an intriguing set of paradoxes. But let’s first state that it is quite wonderful. The Adagio cantabile of Trio No. 26 is that of the Adagio of Haydn’s Symphony No. 102—and yet it is not. The notes are very much the same; one easily follows the symphony’s score during the trio, translating the first violin part to the piano and the winds to the violin. But the movement now makes a totally different impression, sweet and calm instead of solid and intense. This is not just the performance, and the Kungsbacka demonstrates elsewhere that it can be appropriately intense. In its complete set, Haydn Trio Eisenstadt (which I admire greatly) hews close to the symphony’s Adagio, and it just doesn’t work.


As I seem to repeat in every issue, there is no single right way to play Haydn, assuming competence and taste. This ensemble produces the impression of period practice, and yet Simon Crawford Phillips’s piano is clearly a modern grand. He achieves delicate, pearl-like tones in Haydn’s rising and falling phrases, but he sometimes pounds cadences in codas. These performances are thoughtful and relaxed (the andantes are especially lovely), with little of the sparkle of the Beaux Arts Trio’s recordings—which are in turn seldom contemplative and can wear one down with their consistent flash. Each complements the other, and many recordings lie in between; yet the Kungsbacka races through the presto “Hungarian Rondo” of No. 25 as fast as any group. If you prefer one complete set, I recommend Haydn Trio Eisenstadt on Phoenix Edition ( Fanfare 32:5). I prefer the variety of multiple ensembles, and these four trios mesh neatly with a disc of Nos. 21–23 by Trio 1790 on cpo (Complete Piano Trios Vol. 4) and Nos. 27–30 by Robert Levin, Vera Beths, and Anner Byslma on Sony. Add to these PentaTone’s two-SACD set of nine early trios by the Beaux Arts: no duplications, and you get both modern and period instruments.


FANFARE: James H. North

Exceptionally elegant performances from a first rate band of musicians.

Although it is for his instrumental music, primarily symphonies, string quartets and works for solo piano that Josef Haydn is most known, he was quite given to writing for voices and left behind a sizeable output of operas, twelve authenticated masses and numerous other settings of sacred texts for choir, soloists and orchestra. This program gives us his first and last words in the mass genre, one by an exuberant boy of seventeen the other by a tired and weary old man, although one could never discern the composer’s fatigue by listening to the music.

The Missa Brevis in F is a little gem of economy, with Haydn sailing through the wordy Credo in under three minutes, a feat he accomplished by stacking phrases of the text on top of one another and distributing them throughout the voice parts. The unusual scoring for only two solo voices, both sopranos might have been a vehicle for he and his brother Michael, though it does stretch belief a bit to think of a seventeen year old with an unchanged voice.

The Harmoniemesse is one of Haydn’s final works, written for the birthday celebrations of the Esterhazy Princess in 1802. The composer soon took his leave of the Esterhazy family after decades of service and although he lived another seven years, he did little composing after this period. There is no evidence in this joyful and exuberant mass that Haydn was at all ill. In fact, his later masses have been criticized over the years for their joyous optimism, and sometimes overly upbeat settings of the more reflective and serious parts of the texts. Be that as it may, this is a masterpiece, beautifully augmented by the full complement of wind instruments that give the mass its nickname of “harmonie.”

These are performances of divinely understated elegance. Singing from the choir is dead in tune and beautifully balanced. Phrases are splendidly shaped and tempo choices are spot on. The Trinity Choir is full of fine soloists, and there is some magnificent singing from sopranos Ann Hoyt and Julie Liston is the Missa Brevis. The Rebel Baroque Orchestra is a tight band of precision players. The clarity of their playing, especially in fast passages is without flaw. The one and only defect in this production is the lack of texts and translations in the booklet. The program notes are informative and interesting and not loaded with blow by blow descriptions of the music.

These are performances of almost text-book perfection and will be a delight to any lover of choral music. With really nothing to criticize, I can say nothing more but go add this fine recording to your library.

-- Kevin Sutton, MusicWeb International