Classical Music online - News, events, bios, music & videos on the web.

Classical music and opera by Classissima

Joseph Haydn

Saturday, July 23, 2016


Norman Lebrecht - Slipped disc

July 15

In his only work of music, a great Hungarian writer warns against putting up fences

Norman Lebrecht - Slipped discPéter Esterházy died yesterday of pancreatic cancer at the age of 66. The most renowned of Hungarian literary authors, his breakthrough novel Celestial Harmonies traced his family’s fortunes from the days when Haydn worked on their estate to the post-Communist era. Péter Esterházy showed little interest in contemporary music – with one exception. He wrote an oratorio, Halleluja – Oratorium balbulum, with Péter Eötvös, five years ago. It will be premiered at the end of this month in Salzburg by Daniel Harding and the Vienna Philharmonic. Eötvös says: ‘Péter Esterházy, proved to be a true prophet when he wrote these lines in 2011: “We need borders. We put up fences everywhere; we even fence within the fences. We’re on the inside, but outside… well, that’s not us. […] Perhaps for the first time, we now have nothing to say about the future.”‘

Norman Lebrecht - Slipped disc

July 20

Haydn’s passport portrait is found in a US store

The Joseph Haydn Privatstiftung Eisenstadt has acquired a portrait of the composer made in 1785, when he was a provincial kapellmeister on a visit to Vienna. Five years later, with the death of his Eisenstadt patron, Haydn became a world traveller, settling for two long periods in London and earning continental acclaim. The portrait, by Christian Ludwig Seehas, was found in a US antique store. The portrait was his ticket to publicity.






Tribuna musical

July 12

The Usina del Arte and the ambulatory Philharmonic

The very mixed record of Darío Lopérfido as the Colón´s Artistic Director does have some good points. One of them involved Lopérfido as the city´s Minister of Culture: he programmed at the Usina del Arte eleven concerts of the Buenos Aires Philharmonic and seven of the Colón´s Resident (Estable) Orchestra, and with different repertoire from that heard at the Colón. Thus he filled the gaps on the calendar of both organisms, too often unoccupied at their mother institution. But of course, as he as Minister named Marcelo Panozzo as Director of the Usina del Arte, it stands to reason that the latter had to honor the dates announced by the Colón already in March, in the book that contains the whole 2016 activities of the Colón either there or elsewhere. But recently the Usina wasn´t the venue of two of those concerts: the third of the series, with conductor Andrés Tolcachir and violinist Xavier Inchausti, was derived to the Coliseo. The fourth did take place at the Usina and I attended it: conductor Roberto Paternostro and pianist Paula Peluso. However, the fifth, where Paternostro presented fragments of Johannn Strauss II´s "The Bat" ("Die Fledermaus") with talented youngsters from the Colón´s Institute of Art, happened at the Auditorio de Belgrano. There was no explanation either from the Usina or the Colón. And, as already explained in another article for the Herald, programming at the Usina is erratic, with no yearly plan, and announced only on Internet and quite late: one week before the first day of July the site for that month was still unavailable. Maybe there´s a sunny side: the Phil has been playing at four different venues in one month, so they had to adapt to different acoustics; and that´s the sort of flexibility that you need if you go on tour, so this can be taken as training... But I can only ascribe to Lopérfido as erstwhile Minister the strange fact that reviewer´s tickets are provided by Festivales de Buenos Aires, a completely different institution that should have no interference in matters of the Usina. I asked for an explanation, I was given none. I don´t know what happens with the general audience. Now to Paternostro´s concert at the Usina. You will probably remember that he was one of García Caffi´s conductors and he had the redoubtable task of leading the Colón Ring; quite apart from the essential wrongness of that venture, he proved an experienced Wagnerian with the stamina to last the 6½ hours of the compressed Ring and give sense to the music played by two consecutive orchestras. Well, his programme at the Usina needed an orchestra of moderate size and was based on the First Vienna School: Mozart, Haydn and Schubert. From the latter, the delightful "Rosamunde" Overture (in fact, that of the melodrama "Die Zauberharfe" –"The Magic Harp"). Mozart was represented by Piano Concerto Nº23, a perfect score of his mature style. And Haydn, by the peculiar Symphony Nº 100, called "Military" due to the enlarged percussion of the second movement (a unique case in his abundant production): Paternostro has an Italian surname but he is Viennese and he has imbibed the proper style from Swarowsky,Von Dohnányi and Von Karajan. However, he also follows recent trends: rather fast speeds and firm solid sound, leaving aside dainty wispiness. His phrasings are musical, the attacks and releases clear, and he knows how to maintain a living pulse. The Phil played well for him. And Peluso is an accomplished classicist with very clean articulation; however, I missed a bit more accent and roundness to her tone. For Buenos Aires Herald

Joseph Haydn
(1732 – 1809)

Joseph Haydn (31 March 1732 - 31 May 1809) was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form. A life-long resident of Austria, Haydn spent much of his career as a court musician for the wealthy Hungarian aristocratic Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".[5] At the time of his death, he was one of the most celebrated composers in Europe. Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.



[+] More news (Joseph Haydn)
Jul 21
Wordpress Sphere
Jul 20
The Boston Musica...
Jul 20
Norman Lebrecht -...
Jul 18
Meeting in Music
Jul 18
Wordpress Sphere
Jul 17
Guardian
Jul 17
The Boston Musica...
Jul 16
Wordpress Sphere
Jul 16
Google News UK
Jul 15
Norman Lebrecht -...
Jul 15
Guardian
Jul 15
The Boston Musica...
Jul 15
The Boston Musica...
Jul 14
The Boston Musica...
Jul 14
The Boston Musica...
Jul 14
Topix - Opera
Jul 13
Wordpress Sphere
Jul 12
My Classical Notes
Jul 12
The Well-Tempered...
Jul 12
Tribuna musical

Joseph Haydn




Haydn on the web...



Joseph Haydn »

Great composers of classical music

Creation Concerto Masses Opera Symphony Sonate

Since January 2009, Classissima has simplified access to classical music and enlarged its audience.
With innovative sections, Classissima assists newbies and classical music lovers in their web experience.


Great conductors, Great performers, Great opera singers
 
Great composers of classical music
Bach
Beethoven
Brahms
Debussy
Dvorak
Handel
Mendelsohn
Mozart
Ravel
Schubert
Tchaikovsky
Verdi
Vivaldi
Wagner
[...]


Explore 10 centuries in classical music...