Haydn: Symphonien Nr.76-78 / Roy Goodman, The Hanover Band – Tonträger gebraucht kaufen

wie neu

71 Min.

2003

CD

120 g

Album: NEU und EINGESCHWEISST (OVP), SEALED

Haydn: Symphonies No 76, 77, 78 / Roy Goodman, Hanover Band

Release Date: 12/10/2002
Label: Helios Catalog #: 55122 Spars Code: DDD
Composer: Franz Joseph Haydn
Performer: Roy Goodman
Conductor: Roy Goodman
Orchestra/Ensemble: Hanover Band
Number of Discs: 1
Recorded in: Stereo
Length: 1 Hours 11 Mins.

Works on This Recording
1. Symphony no 76 in E flat major, H 1 no 76 by Franz Joseph Haydn
Performer: Roy Goodman (Harpsichord)
Conductor: Roy Goodman
Orchestra/Ensemble: Hanover Band
Period: Classical
Written: ?1782; Eszterhazá, Hungary
Date of Recording: 06/1991
Length: 26 Minutes 1 Secs.
2. Symphony no 77 in B flat major, H 1 no 77 by Franz Joseph Haydn
Performer: Roy Goodman (Harpsichord)
Conductor: Roy Goodman
Orchestra/Ensemble: Hanover Band
Period: Classical
Written: ?1782; Eszterhazá, Hungary
Date of Recording: 06/1991
Length: 21 Minutes 4 Secs.
3. Symphony no 78 in C minor, H 1 no 78 by Franz Joseph Haydn
Performer: Roy Goodman (Harpsichord)
Conductor: Roy Goodman
Orchestra/Ensemble: Hanover Band
Period: Classical
Written: ?1782; Eszterhazá, Hungary
Date of Recording: 06/1991
Length: 23 Minutes 13 Secs.

Notes and Editorial Reviews
With Volume 6 of their complete cycle the Hanover Band alight on the trio of works Haydn composed in 1782 for an aborted visit to London. These were his first symphonies designed expressly for foreign consumption, and Nos. 76 and 77 in particular are altogether suaver in manner, less quirky and volatile, than most of the works of the previous decade. And alongside an almost Mozartian surface polish goes a new sophistication of thematic development (shown most obviously in the contrapuntal intricacies of No. 77's outer movements and the opening Vivace of No. 78) that calls to mind the recently published Op. 33 string quartets.

As before, Goodman's performances are marked by colourful textures, brisk tempos and energetic, thrustful rhythms. These readings score high in sheer physical excitement, especially in the finale of No. 77 and the outer movements of No. 78, all of which develop a powerful cumulative tension. To anyone who has come to know these symphonies in the fine Dorati performances (Decca, 6/91) the minuets will initially come as a shock, with their strong accents and zestful, almost one-in-a-bar tempos. But though those in Nos. 76 and 78 (marked Allegretto) lack something in poise and elegance, the trios emerge as delightfully bucolic Viennese waltzes; and the stomping minuet of No. 77, marked, unusually for this period, Allegro, here becomes a real miniature scherzo.

Elsewhere, though, I'm not always sure that Goodman's bristling energy and direct, nononsense phrasing uncover all that this music has to offer. I'm thinking, for instance, of the outer movements of No. 76, whose warmth and easygoing lyricism are rather skated over (at this speed the expansive main theme of the finale, with its pervasive grace notes, seems uncomfortably fid gety), and of the beautiful slow movements of Nos. 76 and 77, which could be moulded with greater affection and subtlety: in No. 76's Adagio ma non troppo, for example, the accompaniment to the increasingly florid main theme is distinctly heavy, while the pianissimo B flat minor episode (at 2'39") could be more hushed and mysterious— and the tuning of the wind chords here is sometimes a bit sour.

At the risk of incensing many readers, I should also add that, as in the first two volumes in the series, I found Goodman's harpsichord continuo over-intrusive both in tutti sections, where he remorselessly reinforces repeated-note basses, and in lightly scored music—at the beginning of No. 77's Andante for instance, the harpsichord distracts the attention from Haydn's exquisite string textures. Still, despite my cavils there's a lot of eager and invigorating music-making here, with a particularly exciting performance of No. 78. Certainly, no one who has enjoyed previous volumes in the Hyperion Edition should hesitate to investigate these three superb and still little-known symphonies.
-- Gramophone [5/1992]

'These recordings are aglow with aural warmth and tonal beauty; they bubble with vitality. Glory follows upon glory with Haydn's memorable melodies and wonderful harmonies leaping from page to the ear. These recordings sparkle with enthusiasm as well as a love of the repertoire' (Fanfare, USA)

Pressestimmen

H. C. v. Dadelsen in FonoForum 9 / 92:" Die hier erschienene sechste CD der begonnenen Gesamtaufnahme von Haydn-Sinfonien zeigt, daß Roy Goodman sich die Differenziertheit und Intensität im Detail bewahrt hat und nicht ins Routinierte, Heruntergespülte abgleitet."

Introduction EnglishFrançaisDeutschPerformance noteNote de l'interprèteAnmerkungen
By the early 1780s Haydn had been in the employ of Prince Nikolaus Esterházy for some twenty years. Yet, although his duties kept him at court for much of the year, his music and his reputation had already reached right across Europe, as far as Spain and England. Since there were no copyright laws to speak of in those days, dissemination of music was often through the work of publishers who had no compunction in re-engraving pirated versions of orchestral parts (the usual form of publication) if they could lay their hands on manuscript versions by disreputable copyists. Haydn, though obviously averse to publications of his music that gave him no financial reward, was astute enough a businessman often to have his works brought out by more than one publisher. Such was the case with Symphonies 76, 77 and 78, issued in the early 1780s by no fewer than three companies: Torricella in Vienna, Boyer in Paris and Forster in London. (Mozart tried a similar ploy by selling a manuscript to one publisher and then writing the music out again from memory to sell to another.)
These three symphonies, not only the first since numbers 6, 7 and 8 to be written as a set (a publishing rather than a performing practice) were also the first Haydn wrote expressly for performance outside the confines of Eszterháza. They were intended for a concert tour to London, a trip that Haydn never made (he had to wait until the prince's death in 1790 for the impresario Johann Peter Salomon finally to lure him to London). In 1781 (the year he began his association with the publisher William Forster) Haydn appears to have been invited to introduce in person some of his operas and symphonies to the London musical public. His Symphony No 53 had been performed with great success at one of the Bach-Abel concerts (run by the ‘London Bach', Johann Christian and Karl Friedrich Abel, both of whom had taught Mozart on his visit to London in 1764) and The Morning Herald reported in November 1781 that Haydn ‘the Shakespeare of musical composition is hourly expected.'† He had still not arrived by February 1783 when the Herald again bemoaned that ‘we have got neither him nor his music—however the music is certainly to come—the musician, most probably, will remain in Vienna'. The English music historian Dr Charles Burney also wrote in a letter at about the same time,

I have stimulated a wish to get Haydn over as opera composer—but mum mum—yet—a correspondence is opened, and there is a great likelihood of it, if these cabals, and litigations ruin not the opera entirely …
Two years later, when the composer was still anxiously awaited, it was even lightheartedly mooted that he might be kidnapped, as the following, from another journal, the Gazetteer and New Daily Advertiser, suggests:

This wonderful man, who is the Shakespeare of music, and the triumph ot the age in which we live, is doomed to reside in the court of a miserable German Prince, who is at once incapable of rewarding him, and unworthy of the honour … would it not be an achievement equal to a pilgrimage, for some aspiring youths to rescue him from his fortune and transplant him to Great Britain, the country for which his music seems to be made?
In his letter offering the three symphonies to Boyer in Paris, Haydn describes them as ‘beautiful, elegant and by no means over-lengthy … they are all very easy, and without too much concertante'. They do indeed stand out from the surrounding Eszterháza works, lacking some of the idiosyncracies that, although suitable for his own performances at the court, might have deterred foreign performers. That is not to say, however, that they lack anything in originality or quality.

Symphony No 76, like the other two, has the standard four movements and, unlike many of his other symphonies, no slow introduction to the first. Here we are launched straight into the first subject, an alternation of vigorously arpeggiated chords and a restrained, downward-moving phrase. There is no second subject as such, unless we include the brief pianissimo phrase (in the tonic key) that follows the second appearance of the falling idea. The Adagio begins with the strings alone, making the entrance of the wind on a pianissimo chord all the more effective; they return at the climax of the movement, a fortissimo tour de force of demisemiquavers and staccato semiquavers. The Minuet is followed by a lighthearted Rondo, featuring some brief woodwind solos before the final coda.

The most notable thing about Symphony No 77 is its finale, one of the first examples of a sonata-rondo form, literally a combination of sonata form with the rondo in which the C section of the A–B–A–C–A comprises a development of earlier material rather than a new theme. The preceding movements are no less distinctive: an opening Vivace with, this time, a true second subject; a leisurely, often restrained Andante sostenuto with the strings muted; and a Minuet of a vigour that looks forward to the true scherzo.

The first movement of Symphony No 78 has an urgency in keeping with its key, C minor. The second subject turns to the relative major, E flat, and it this key rather than the tonic that ultimately dominates the exposition. The development features some fine contrapuntal writing where fragments of both subjects are tossed between the various instruments. The Adagio returns to E flat major. Unlike the slow movements of the other two symphonies, the wind instruments are integrated lnto the texture from the start, while the stateliness of the music itself looks forward to the late ‘London' symphonies. The C major Minuet is followed by a Presto rondo whose thinly scored B section turns to C major. When the same theme reappears later, so does the major mode, which remains to the end of the symphony.

Matthew Rye © 1991

Produktinfo

Zu beginn der 80er Jahre des 18. Jahrhunderts stand Haydn seit annähernd 20 Jahren im Dienst des Fürsten Nikolaus Esterházy. Doch obwohl ihn seine Pflichten die meiste Zeit des Jahres bei Hof festhielten, waren seine Musik und sein Ruf längst durch ganz Europa bis nach Spanien und England vorgedrungen. dass zu jener Zeit noch kein nennenswertes Urheberrecht existierte, war die Verbreitung von Musik häufig das Werk von Verlegern, die keine Bedenken hatten, Raubgravuren von Stimmbüchern (der üblichen Publikationsform) zu erstellen, wann immer sie handschriftlicher Versionen skrupelloser Kopisten habhaft werden konnten. Haydn hatte naheliegende Einwände gegen Veröffentlichungen seiner Musik, die ihm finanziell nichts einbrachten, war jedoch andererseits in Geschäftsdingen umsichtig genug, seine Werke oft von mehr als nur einem Verleger herausgeben zu lassen. Das galt auch für die Sinfonien Nr. 76, 77 und 78, die in den ersten Jahren nach 1780 bei nicht weniger als drei Verlagen erschienen: bei Torricella in Wien, Boyer in Paris und Forster in London. (Mozart versuchte es ihm gleichzutun, indem er einem Verleger ein Manuskript verkaufte und dann die Musik noch einmal aus dem Gedächtnis niederschrieb, um sie einem zweiten anbieten zu können.)

Helios 55122A