Haydn: Concertos For 2 Lira Organizzate / Müller-Brühl
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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...
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
Product Description:
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Release Date: January 27, 2009
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UPC: 747313048175
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Catalog Number: 8570481
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Label: Naxos
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Number of Discs: 1
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Composer: Franz Joseph Haydn
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Conductor: Helmut Müller-Brühl
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Orchestra/Ensemble: Cologne Chamber Orchestra
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Performer: Benoît Fromanger, Christian Hommel, Daniel Rothert, Ingo Nelken, Philipp Spatling