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Haydn: Piano Sonatas, Vol. 1 / Rabinovich

First Hand Records

$29.99 Nov 16, 2018

This release is the first volume in a series of new recordings in which the illustrious pianist Roman Rabinovich will record all of the piano sonatas written by Haydn for FHR. Haydn was a prominent and prolific Austrian composer of the Classical period and composed 62 keyboard sonatas. Written over a 40 year period or so, and displaying a variety of styles, the earlier sonatas were written for harpsichord and the last for the newly developed hammer-action fortepiano. Rabinovich is a brilliant interpreter of Haydn. Indeed, The New York Times hailed Rabinovich’s Haydn performances as ‘admirable interpretations, performed with a rich, full-blooded sound, singing lines and witty dexterity’. Each album will feature artwork illustrated by the pianist. Rabinovich has earned critical praise for his explorations of the piano music of Haydn, which include his 42 sonata cycle at the 2018 Bath International Festival. Rabinovich has performed throughout Europe and the United States in venues such as London’s Wigmore Hall, Leipzig’s Gewandhaus, the Great Hall of the Moscow Conservatory, and the Millennium Stage of Kennedy Center in Washington DC. Lauded as ‘a master of tone-color’ (International Piano, 2018), Rabinovich made his Israel Philharmonic début under the baton of Zubin Mehta at age ten. He was a top prize winner at the 12th Arthur Rubinstein International Piano Master Competition in 2008.

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Haydn: Piano Sonatas, Vol. 1 / Rabinovich
First Hand Records Nov 2018
CD
$29.99

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HAYDN: Piano Sonatas Nos. 32, 49, 59 and 62
Signum Classics Jan 2007
CD
~~$19.99~~ $9.99

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Haydn, M.: Missa Sanctae Ursulae / Mozart, W.A.: Ave Verum C
Profil Sep 2009
CD
~~$18.99~~ $9.49

Haydn, J.: Symphonies, Vol. 4 - Nos. 55-69

Nimbus

$37.99 Apr 01, 2005

Christopher Tyler Nickel's contemporary classical compositions pack a bracing and emotional punch. His award-winning works for the concert hall, stage and screen have been heard in over 160 countries by audiences in the tens of thousands. His experience as an oboist instills a confidence to compose with an exhilarating freedom to explore the vast expressive range of the instrument, from lyrical and plaintive to acerbic and brittle. The world-premiere recordings of these three concertos for oboe and it's lower-pitched siblings the oboe d'amore and bass oboe receive dazzling performances by Mary Lynch, principal oboe of the Seattle Symphony, and Harrison Linsey, oboist with the Washington D.C.-based National Symphony Orchestra. Grammy Award-winning David Sabee, a tireless advocate of contemporary classical music, conducts the Seattle-based Northwest Sinfonia.

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Haydn, J.: Symphonies, Vol. 4 - Nos. 55-69
Nimbus Apr 2005
CD
$37.99

Haydn: Keyboard Sonatas / Vladimir Feltsman

Nimbus

$16.99 Jul 01, 2013

Vladimir Feltsman has a long-established reputation as a major artist. His 1987 arrival in the United States (after a seven-year shutdown of his career by Soviet authorities) was greeted with loud huzzahs. His first American recital took place at the White House, and his ensuing Carnegie Hall debut was recorded in its entirety. His repertoire covers everything from Bach through the 20th century. Recording first for Melodiya, then for Sony, then Camerata, he has now made a great many recordings for Nimbus since 2008.

These seem to be Feltsman’s first recordings of Haydn; his readings are very personal, as if he were trying to be different from every other performance or recording. There are many unmarked and unexpected tempo changes, some amounting to Luftpausen more appropriate to mid-19th-century music. Such playing can be either invigorating in its freshness or cloying in its fussiness; it would no doubt upset period practice purists. As a long-time lover of conductor Willem Mengelberg’s erratic ways, I would expect to be open to Feltsman’s performances, but I can be invigorated and exasperated by the same passage on succeeding days. I am bothered by Feltsman’s wildly inconsistent playing of the C-Minor Sonata, but maybe that’s just me: I have never been satisfied with any performance and am not even sure what I want from this often recorded piece. The only pianist to come close is Youri Egorov, yet I cannot cite anything special in his recording; he just plays it straight, offering no special insight.

I listen again as I write this, and I continue to be disturbed by the dichotomy: Such magnificent pianism takes the breath away, yet such inappropriate music-making almost loses Haydn. Then comes the opening Presto of the E-Minor Sonata: Feltsman understands well that the vibrancy of a Presto is never based on speed alone. Every mark in the score is faithfully observed, the clarity and sheer life of the playing are inimitable; there is only one slight slowdown at an internal cadence, and a thrilling virtuoso flourish—lasting less than a second—is tossed into the second repeat. I could keep, and recommend, this two-CD set for this one track. But the following Adagio is filled with bluster and virtuoso posturing (in his program notes, Feltsman calls it “elaborate ornamentation in the manner of C.P.E. Bach.”), and the final Vivace molto wanders fitfully, searching in vain for its true character. So it goes throughout both discs. Listening again to the C-Minor Sonata, Feltsman produces a lovely, yearning character in the opening measures, but after a minute or so his odd phrasings, unexpected pauses, and sudden violent attacks spoil the mood.

The opening Andante con espressione of the C-Major Sonata is fascinating here. Feltsman’s left hand is leonine, like nothing since Cliburn. But a cutesy twist of the three chords in measure nine breaks the spell before it has a chance settle in. In the Presto , there is an awkward moment during the repeat of measure 17 (at 0:37) that sounds like a too-tight edit, cutting a fraction of a second from the music. Nimbus’s trademark reverberance is too much for this tempo, blurring what seems to be pristine pianism. The Eb Variations are gentle, subtle music, and Feltsman has a strong feeling for them. There is not a single virtuoso excess in its 17 minutes.

It’s clear that Feltsman can do anything he wants at the keyboard, and do it better than almost anyone else. One constantly receives the impression that one is listening to a dominant artist. But his style of playing generally does not suit Haydn—Sviatoslav Richter could get away with it because he was so sensitive to every type of music. It works on and off for Feltsman. I equate his playing with Nimbus’s recorded sound: both are brilliant but overdone, too glittering, too shiny. Has any piano ever sounded this bright, with a tiny halo around every note? The results are not for me, but that doesn’t mean they may not be for you. What I do recommend is that every piano lover hear these performances.

Postscript : The package is a single-CD-sized jewel case, but the swinging inner tray fell out every time I opened it. It’s long past time to abandon the fragile jewel case.

FANFARE: James H. North

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Haydn: Keyboard Sonatas / Vladimir Feltsman
Nimbus Jul 2013
CD
$16.99

Haydn: Sonates et variations pour le pianoforte

Arcana

$20.99 Jan 01, 2009

If Joseph Haydn played a major role in the development of the symphony and string quartet, he was also and no less the virtual creator of the classical keyboard sonata. In wealth of musical invention and diversity of forms his sonatas surpass those of even Mozart and Beethoven. Although mostly less demanding technically, they are by no means easier to interpret. Their relatively modest demands in the way of virtuosity are more than made up for by the greater creative contribution they require from the player. Especially in the sonatas of his early and middle periods Haydn allowed considerable leeway to the interpreter in matters ranging from choice of ornaments to virtual invitations to interpolate free cadenzas. An intriguing challenge, but many pianists nowadays do not know how to cope with it. Schooled in later traditions, they cling to the printed text, never daring to make the contribution the composer took it for granted he could expect from the performer. Still, if Haydn placed considerable reliance on the player’s personal creative talent this never meant a blanket permission to alter the musical sense by changes foreign to the style of the time. In this release, legendary Viennese pianist Paul Badura-Skoda has recorded five piano masterworks by Joseph Haydn, on the occasion of the bicentenary of his death. His fortepiano from his own collection, which has been used for this recording and was built around 1790, is the most appropriate instrument available today for interpreting Haydn’s music.

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Haydn: Sonates et variations pour le pianoforte
Arcana Jan 2009
CD
$20.99

HAYDN: SYMPHONIES

ELOQUENCE AUSTRALIA

$77.21 Nov 26, 2021

With the delightful original LP cover illustrations, this 'original jackets' presentation collects together for the first time the 33 Haydn Symphonies recorded by Sir Neville Marriner and the Academy of St. Martin in the Fields over a twenty-year period, from 1970-1990. Both the Polish and refinement of these performances, as well as the recording quality "of exceptional vividness and presence" (Gramophone), received widespread critical acclaim. Begun in 1970 with an album of Symphonies Nos 52 & 53, this series of Haydn recordings soon concentrated on symphonies with nicknames (none of them supplied by the composer). They attracted widespread praise for the precision of their playing, the excellence of the Philips engineering and the unassuming Polish and refinement of the readings, the only complaint being made that Marriner and his ensemble could not venture into all those other symphonic marvels which happened not to have attracted a nickname. Only towards the end of the series, in 1981, did they yield to this criticism by completing a set of the Paris symphonies with beautifully pointed accounts of Nos. 84, 86 and 87. However, with 33 individual symphonies eventually recorded, the series covers a substantial fraction of Haydn's legacy. Marriner took a flexible attitude to thorny academic issues such as whether or not to use a harpsichord continuo: 'The most important thing is to be practical, ' he said, and the series conveys a meeting of minds across the centuries between two supremely practical musicians. Some of these recordings last saw the light of day in a 1996 box of the 'named' symphonies. However, the present compilation restores the original couplings with 'original jacket' artwork. The booklet includes many session photographs of Marriner and the Academy in their natural habitat, as well as an enticing array of editorial contributions: from Max Harrison on Haydn's inexhaustible invention as a symphonist, from Philip Stuart on the ins and outs of the ASMF Haydn discography, from Rob Cowan on Sir Neville Marriner as a director of unfailing style and vitality in this repertoire, and a personal memoir from Costa Pilavachi who worked with Marriner in his capacity as A&R manager and later head of the Philips Classics label.

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HAYDN: SYMPHONIES
ELOQUENCE AUSTRALIA Nov 2021
CD
$77.21

Haydn: The Seven Last Words of Our Saviour (Version for Keyb

Naxos

$13.99 ~~$19.99~~ Save 30% Nov 11, 2014

The request for Haydn to write The Seven Last Words came from a priest in Cádiz to mark Good Friday. + Setting the words of Christ gave Haydn the basis for the construction of seven slow and meditative movements to be played by the orchestra as the Bishop descended from the pulpit to pray. + The following year Haydn arranged the work for string quartet and a version for keyboard was prepared. + To this version, which he did not prepare himself, Haydn gave his wholehearted approval noting that it was ‘very good and made with particular care’. + Hungarian pianist and Liszt Academy, Budapest professor Jenő Jandó has recorded for Naxos all the piano concertos and sonatas of Mozart. + Other recordings for the label include the concertos of Grieg and Schumann as well as Rachmaninov’s Second Concerto and Paganini Rhapsody and the complete piano sonatas of Haydn and Beethoven. + He has performed and recorded a wide repertoire of chamber music, in addition to his recording of the complete piano music of Bartók.

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Haydn: The Seven Last Words of Our Saviour (Version for Keyb
Naxos Nov 2014
CD
~~$19.99~~ $13.99

Haydn: Symphonies Nos. 6, 7, & 8 - Morning, Afternoon & Night / Florilegium

Channel Classics

$20.99 Oct 28, 2022

Recorded in St John's Church West Norwood, London in March 2022, Florilegium release their 31st Channel Classics album: Haydn Symphonies Nos. 6, 7 and 8. This recording involves 18 members of Florilegium, the exact same number Haydn had at his disposal when he composed these symphonies shortly after arriving at Esterhazy in 1761. Haydn’s first symphonies for his new employer, Prince Paul Anton Esterházy, form a group of three entitled Morning, Noon and Night. Perhaps these were a result of the Prince’s suggestion that Haydn write something programmatic along the lines of Vivaldi’s Four Seasons.

As symphonies for a small chamber orchestra, all three exploit the solo skills of each of Florilegium’s principals, from flute to double bass, not to mention heroic horns as well as spectacular violin and cello solos, each vividly characterized in an almost operatic way. Florilegium's previous Haydn London Symphonies recording was hailed as "first rate" by BBC Music Magazine. Florilegium is one of Britain's most outstanding period instrument groups specializing in music from the 17th and 18th centuries. Many of their recordings have garnered international awards over the years.

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Haydn: Symphonies Nos. 6, 7, & 8 - Morning, Afternoon & Night / Florilegium
Channel Classics Oct 2022
CD
$20.99

Haydn: Complete Solo Keyboard Music, Vol. 7 - Esterhazy Sona
BIS Mar 2002
CD
$21.99

Haydn: Concertos For 2 Lira Organizzate / Müller-Brühl

Naxos

$19.99 Jan 27, 2009

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

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Haydn: Concertos For 2 Lira Organizzate / Müller-Brühl
Naxos Jan 2009
CD
$19.99

Haydn: Early Divertimento Sonatas For Keyboard, Nos. 1-20
BIS May 2003
CD
$39.99

Haydn: Die Schöpfung / Mehta, Orchestra del Maggio Musicale Fiorentino, Coro del Maggio Musicale Fiorentino

Dynamic

$18.99 Aug 20, 2021

Inspired by hearing performances of Handel’s oratorios during his visits to London, Haydn composed Die Schöpfung (‘The Creation’) in 1798. Through a series of accompanied recitatives, arias, duets and choruses, the music depicts the creation of the universe and the carefree existence of Adam and Eve. Haydn drew on the full complement of his symphonic and vocal prowess which reach peaks of almost operatic intensity. With rich harmonies and sonic magnificence in abundance, Die Schöpfung represents the apex of the Viennese oratorio tradition.

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Haydn: Die Schöpfung / Mehta, Orchestra del Maggio Musicale Fiorentino, Coro del Maggio Musicale Fiorentino
Dynamic Aug 2021
CD
$18.99

Haydn: Piano Sonatas, Vol. 2 / Rabinovich

First Hand Records

$29.99 Jul 16, 2021

The present release is the second volume of Roman Rabinovich’s complete cycle of Haydn Piano Sonatas. Rabinovich has performed throughout Europe and the United States in venues such as London’s Wigmore Hall, Leipzig’s Gewandhaus, the Great Hall of the Moscow Conservatory, and the Millennium Stage of Kennedy Center in Washington DC. Lauded as ‘a master of tone-color’ (International Piano, 2018), Rabinovich made his Israel Philharmonic début under the baton of Zubin Mehta at age ten. He was a top prize winner at the 12th Arthur Rubinstein International Piano Master Competition in 2008.

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Haydn: Piano Sonatas, Vol. 2 / Rabinovich
First Hand Records Jul 2021
CD
$29.99

HAYDN, F.J.: String Quartets - Nos. 11, 21, 22 (Smithsonian
Sono Luminus Jul 2009
CD
$18.99

Haydn: The Complete Piano Sonatas, Vol. 7 / Bavouzet

Chandos

$21.99 Jul 20, 2018

"Bavouzet’s Haydn is unmatched in its zest and its wit. But it is also substantial, informed and deeply rewarding."

--The New York Times on Bavouzet's Haydn Sonatas cycle, 2022

Alongside an internationally acclaimed celebration of Debussy’s centenary, Jean-Efflam Bavouzet continues his sumptuous journey through Haydn, the installments consistently praised for their intelligent approach and clear and vivid interpretations. Recorded on a modern Yamaha CFX in the warm acoustic of Potton Hall in Suffolk, the series has now reached Volume 7, which showcases several rarely heard sonatas, some of which have been considered of dubious authenticity or outright apocryphal. With the exception of No. 13 (Hob. XVI: 6), absolutely and unarguably authentic, these sonatas survive only in the form of copies, and to establish a chronology is difficult, even impossible. But through Jean-Efflam Bavouzet’s playing, all these pieces are revealed in their purest essence and diversity, from the energetic, witty, and ironic to the graceful, tender, and intimate.

REVIEWS

Extremely well recorded in Potton hall in Suffolk, Bavouzet’s Yamaha enables him to bring ideal clarity to these elegant works.

--BBC Music Magazine

Jean-Efflam Bavouzet’s Haydn isn’t a comfortable ride but a vivid one. Take his stimulating approach to Sonata 58’s first movement; it has warmth, athleticism and a feel of being improvised while missing nothing of Haydn’s harmonic, rhythmic and dynamic twists. There’s a certain quirkiness about it, but that is exactly Haydn’s.

--MusicWeb International (Michael Greenhalgh)

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Haydn: The Complete Piano Sonatas, Vol. 7 / Bavouzet
Chandos Jul 2018
CD
$21.99

Trios For Flute, Cello And Pia
Kontrapunkt Jan 1991
CD
$22.99

Haydn & Kozeluch: The Johann Schantz Fortepiano

Gramola Records

$24.99 Jul 26, 2024

During his lifetime, Johann Schantz (1762-1828) was considered the most important and respected piano maker in Vienna alongside Anton Walter and Nannette Streicher. His instruments were widely appreciated by musicians and composers, including explicitly by Haydn and Beethoven. One of his early fortepianos were integrated into the collection of old musical instruments at the Kunsthistorisches Museum in Vienna in 1939 from private ownership due to the fact that it could not be restored without considerable investment. There it was painstakingly restored in several phases and finally brought to it's present, playable condition in 2009. On this recording, pianist Richard Fuller, renowned for his decades-long involvement with historical instruments, presents this fortepiano with the Sonatas for Fortepiano in E major, Hob. XVI:31 (1776) and E-flat major, Hob. XVI:49 (1790) by Joseph Haydn. The collaboration with the soprano Karoline Pilcz demonstrates that this instrument has unique sound characteristics not only as a solo instrument but also as an accompanying instrument. The Arette italiane, Op. 31 (1790) and the Cantata in Honor of Marie Theresie Paradis (1784) by Leopold Kozeluch also date from the time of the instrument's creation, as is characteristic of this KHM edition.

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Haydn & Kozeluch: The Johann Schantz Fortepiano
Gramola Records Jul 2024
CD
$24.99

Haydn: The Complete Piano Sonatas, Vol. 4 / Bavouzet

Chandos

$10.99 ~~$21.99~~ Save 50% Sep 25, 2012

"Bavouzet’s Haydn is unmatched in its zest and its wit. But it is also substantial, informed and deeply rewarding."

--The New York Times on Bavouzet's Haydn Sonatas cycle, 2022

This is Volume 4 in Jean-Efflam Bavouzet’s project to record the complete piano sonatas of Haydn. The last volume in the series was a Critic’s Choice in Gramophone, an Instrumental Choice in BBC Music, Editor’s Choice in Classic FM, and Recording of the Month in MusicWeb International.

In the words of Bavouzet himself: ‘Each volume of this ambitious, extended project will arrive over the years like a postcard, dispatched during my travels with scant respect for chronological considerations, but undertaken with the greatest passion for trying to convey as vividly as possible to twenty-first-century ears the boundless treasures of this sublime music.’

Jean-Efflam Bavouzet received a BBC Music Award in 2012 and a Gramophone Award in 2011 for his recording of works by Debussy and Ravel (with the BBC Symphony Orchestra and Yan Pascal Tortelier). His recording of Bartók’s Concertos (with Gianandrea Noseda and the BBC Philharmonic) was short-listed for a Gramophone Award, and he has won multiple awards for his recording of the complete works for solo piano by Debussy.

REVIEWS

Bavouzet doesn’t disappoint. He leans towards passion...but melancholy also surfaces through rubato, embellished repeats, control of line, pace and dynamics. This is a performance of stature with not a trace of the slick superficiality that mars matters elsewhere.

--Gramophone

These are marvelous works: every one of them has something inspired to capture your attention. In Sonata No. 38, that would have to be the central Adagio, one of those touchstone classical melodies that seem to sum up all that was most beautiful in 18th century music. Sonata No. 40 has only two movements, an intricate opening Moderato and a charming concluding Minuet.

Like No. 38, Sonata No. 30 is a substantial work in three movements[.] Bavouzet’s aptly spiky articulation of the main theme reminds us that Haydn’s early sonatas were likely composed with the harpsichord in mind, but they lose nothing (and gain much) from being played on a modern piano. This program also includes the moody Variations in F minor. Bavouzet’s interpretation is aptly pre-romantic...Haydn’s original, shorter cadenza/coda, without that astonishing tragic eruption that vaults the music forward into the 19th century...Haydn lovers are in keyboard heaven.

--ClassicsToday.com (David Hurwitz)

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Haydn: The Complete Piano Sonatas, Vol. 4 / Bavouzet
Chandos Sep 2012
CD
~~$21.99~~ $10.99

Haydn: Complete Solo Keyboard Music, Vol. 8
BIS Sep 2002
CD
$21.99

Haydn: Symphonies Nos 26, 35 & 49 / Ward, Northern Co

Naxos

$19.99 Apr 23, 1993

Symphony No. 26 in D minor seems to have been written in 1768 or thereabouts and is scored for the usual Esterháza forces of pairs of oboes and French horns, bassoon, strings and cembalo. Haydn completed his Symphony No. 35 in B flat major on 1st December 1767, scoring the work for pairs of oboes and high B flat horns, bassoon, strings and cembalo. What starts light-heartedly enough assumes a graver air in the central development, where contrapuntal use of earlier thematic material introduces an element of stronger feeling, with the recapitulation marked by the ascent of the first horn to unusual heights. The E flat major slow movement is scored for strings only with music of considerable charm. The wind instruments return for the Minuet, but are excluded from the E flat Trio, with it's triplet rhythm handed from second to first violin. The symphony ends with a cheerful Finale and the tone of the whole work has led Robbins Landon to suggest that it might have been written to celebrate the return from Paris of Prince Esterházy, who had visited France in the autumn of 1767 with the presumed object of learning more about the Palace of Versailles that his own new palace at Esterháza was to imitate and rival. Symphony No.49, La Passione, was written in 1768 and is scored for pairs of oboes, French horns in F, bassoon, strings and originally cembalo. This work, in the key of F minor, belongs clearly to the dramatic mood of Sturm und Drang, although not so called until the publication in 1777 of Klinger's play of that name. Sturm und Drang (Storm and Stress), a self-explanatory title, describes well enough the current literary mode of extravagant expression of emotions, partly reflected in some of the music of the period. Haydn's symphony follows the old pattern of the church sonata, opening with a slow movement. A degree of tension is generated in the following Allegro di molto, not least by the wide leaps and syncopation of the first violin in the opening of the movement, leading to a calmer shift to the relative major key. The Minuet, in which first and second violins double one another for much of the time, frames an F major Trio that makes use of the high range of the first horn. The final monothematic Presto brings to an end a symphony that enjoyed very considerable popularity in Haydn's life-time, the culmination of a particular development of the symphony and the expression of a depth of feeling that ensured serious consideration for the genre. A symphony of this kind was no mere diversion. Northern Chamber Orchestra, Manchester Formed in 1967, the orchestra has established itself as one of England's finest chamber ensembles. Though often augmented to meet the requirements of the concert program, the orchestra normally contains 24 musicians and performs both in concert and on disc without a conductor. Their repertoire ranges from the baroque era to music of our time, and they have gained a reputation for imaginative program planning.

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Haydn: Symphonies Nos 26, 35 & 49 / Ward, Northern Co
Naxos Apr 1993
CD
$19.99

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Schubert: Piano Sonata No. 15 / 13 Variations / Deutscher In
Toccata Oct 2007
CD
~~$20.99~~ $10.49

M. Haydn: Serenade in D Major

Capriccio

$16.99 Sep 09, 2016

Johann Michael Haydn never quite reached the fame of his older brother Joseph, but still introduced an impressive oeuvre into the classical repertoire. J. M. Haydn’s Serenade in D was composed in Salzburg in 1767. The ten movement work displays Haydn’s affinity for chamber compositions. Founded in 1986, the Virtuosi Saxoniae is made up of principal members of the Dresden Staatskapelle. The ensemble concerns itself with 18th century European music, devoting themselves to the great figures of the Hasse era.

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M. Haydn: Serenade in D Major
Capriccio Sep 2016
CD
$16.99

STABAT MATER
ALTO May 2015
CD
$11.01

Haydn, J.: Symphony No. 45 / Mozart, W.A.: Serenade No. 9 /
Musicaphon May 2007
SACD
$16.99