Includes work(s) by Franz Joseph Haydn. Ensemble: Munich Piano Trio. Soloist: James Taylor (tenor).

This unique performance of Haydn’s biblical oratorio Il ritorno di Tobia, which is so rarely heard, is thanks to an unusual gift: the orchestra La Scintila, which was founded as an “original sound” ensemble comprising musicians from the Zurich opera orchestra, had awarded Nikolaus Harnoncourt honorary membership. The honor included the opportunity for Harnoncourt to choose a piece of music which he could then perform with the orchestra in an ideal atmosphere. Harnoncourt surprised everyone by choosing Haydn’s virtually unknown oratorio based on the apocryphal Bible story of Tobias, who goes on an adventurous journey with the angel Raphael in order to heal his blind father with the angel’s help. In keeping with the spirit of the subject matter, the proceeds of the concert were given to a charity supporting war victims of Sarajevo. The work was performed under Harnoncourt’s direction with an ideal lineup of soloists and the magnificent Arnold Schoenberg Choir at a 2013 Salzburg Festival concert in the Felsenreitschule. The release by Orfeo International of the live recording, which is almost devoid of background noise, is only the third-ever recording to have been made of this very seldom performed Haydn oratorio in the history of phonography. Yet again one is moved to ask why so many of Haydn’s operas and oratorios are so rarely played. Viewed objectively, Il ritorno di Tobia is in no way inferior to Haydn’s hit oratorios The Creation and The Seasons.

On this recording, Salzburg violinist Thomas Albertus Irnberger interprets violin concertos by Joseph Haydn with the Munich Chamber Philharmonic dacapo under the direction of Franz Schottky. The authorship and exact background of many of Haydn’s instrumental concertos are according to musicological findings often still uncertain, since they primarily served the purpose of giving the individually outstanding members of the Esterházy court orchestra the opportunity to perform as soloists, and were therefore rather neglected by Haydn in his own catalog of works. In the case of the concertos for violin and orchestra in C major, Hob. VIIa:1 and G major, Hob. VIIa:4 recorded here, however, Haydn’s authorship is considered assured. The Concerto for violin, harpsichord and string orchestra in F major Hob. XVIII:6 is a rarity as a double concerto, and is performed here by featured pianist Barbara Moser on a historical fortepiano.

A double Haydn programme with passion and impact!

Dramatic and expressive interpretation of Haydn, on a quest in a time before the "classical" sonata form had been established.

This 2009 recording includes mezzosoprano Marilyn Schmiege, and violinist Ingrid Seifert, alongside the Cappella Coloniensis orchestra. (Phoenix)