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Joseph Haydn

Saturday, May 28, 2016


Norman Lebrecht - Slipped disc

May 19

Few traces left of Huguette’s great recorded legacy

Norman Lebrecht - Slipped discA cri-de-coeur from the French harpsichordist Orhan Memed: I’m one of the many students of Huguette Dreyfus whom Jory Vinikour mentions in his touching tribute and who finds himself utterly at a loss to imagine the musical world without her presence. I feel compelled to write to point out with regret how few of her recordings have been reissued. A quick search on the ‘net brings up very little, with only the Bartok and the Bach Partitas released in the last 10 years. I am probably one of the few who has in his possession the list that Huguette kept of her complete discography and I wanted to share it with you…in the hope that readers would see not only how extensive but also how varied it is… and alas how unlucky we are not to have the opportunity to hear these recordings. The Haydn Trios with Eduard Melkus, for example, are gems and I know how much Huguette cherished them as well. Years ago, with her permission, I sought to track down what happened to the old Valois recordings. I found out that the stock (and rights) had been bought by Naive and when I approached them I was sent a polite e-mail to say that the stock was in a warehouse and no one had taken the time to organise and therefore impossible to retrieve. A more recent attempt back in 2014 was met with a similar response. Would it be inappropriate to encourage readers to make their desire to have these recordings re-released known to Naive, Denon, etc.? DISCOGRAPHIE H U G U E T T E D R E Y F U S Chez DEUTSCHE GRAMMOPHON – POLYDOR : J. HAYDN : Concerto pour clavecin et orchestre en sol majeur avec l’orchestre de chambre Paul KUENTZ. (Grand Prix du Disque de l’Académie Charles Cros 1971) Collection ARCHIV PRODUKTION : H. I. BIBER : “Sonates du Rosaire” pour violon et continuo avec Eduard MELKUS. F. COUPERIN : Apothéose de Lully et de Corelli J.M. LECLAIR Sonate “Le Tombeau” pour violon et continuo avec Eduard MELKUS. A.VIVALDI : “Il Pastor Fido”, pour divers instruments et continuo. A. CORELLI : Opus V : 12 Sonates pour violon et continuo, avec Eduard MELKUS. En deux disques. Réédité en C.D. J.S. BACH : Les Six Suites Françaises pour clavecin. “Capriccio sopra la lontananza del suo fratello dilettissimo”. En deux disques. Réédité en C.D. J.S. BACH : Les Six Suites Anglaises pour clavecin. En trois disques. Réédité en C.D. J.S. BACH : Les Six Sonates pour violon et clavecin, avec Eduard MELKUS. En deux disques. C.PH.E. BACH : Sonates – Rondos – Fantaisies – jouées sur un Hammerflügel. Chez VALOIS : J.PH. RAMEAU : Pièces de clavecin (Intégrale en trois disques). J.PH. RAMEAU : Pièces de clavecin en concerts, avec Christian LARDE (flûte) et Jean LAMY (viole de gambe). (Grand Prix de l’Académie du Disque Français 1964) (Grand Prix des Discophiles 1964). F. COUPERIN : Sixième et Onzième Ordres F. COUPERIN : Anthologie de l’oeuvre pour clavecin en quatre disques (Grand Prix du Disque de l’Académie Charles Cros 1962). comprenant 9 Ordres et les 8 Préludes de” l’Art de Toucher le Clavecin”. (Grand Prix de l’Académie du Disque Français 1970). D.SCARLATTI : Anthologie chronologique de 70 Sonates. Coffret de quatre disques. J.S.BACH : Quatre Toccatas pour clavecin. J.S.BACH : La Musique de Chambre: Enregistrement des Sonates pour violon, pour viole de gambe et des oeuvres pour flûte avec le clavecin ou la basse continue, avec G.F. HAENDEL (violon), Christian LARDE (flûte), Jean LAMY (viole de gambe),Michel DEBOST (flûte) et Claude MAISONNEUVE (hautbois). Coffret de six disques. J.M. LECLAIR : Les 9 Sonates pour flûte et continuo en deux disques, avec Christian LARDE (flûte) et Jean LAMY (viole de gambe). (Grand Prix de l’Académie du Disque Français 1968). J. HAYDN : Seize Trios pour Hammerflügel (Pianoforte), violon et violoncelle (sur instruments anciens) avec Eduard MELKUS et E. VOGT. Coffret de quatre disques. (Grand Prix du Disque de l’Académie Charles Cros 1972). Chez ERATO : Père Coelestin HARST : Pièeces de clavecin : le Troisième Ordre. (Série Châteaux et Cathédrales : Strasbourg). C.PH.E. BACH : Concerto en fa majeur pour clavecin et pianoforte avec Robert VEYRON-LACROIX et l’Orchestre de Chambre de la Radiodiffusion Sarroise dirigé par Karl RISTENPART. J.S. BACH : Participation à l’enregistrement intégral de “l’Art de la Fugue” avec R. VEYRON-LACROIX et l’Orchestre de Chambre de la Radiodiffusion Sarroise dirigé par Karl RISTENPART. J.S. BACH W.F. BACH : Quatre concertos pour deux clavecins J.CH. BACH avec Luciano SGRIZZI. J.I. KREBS J.S. BACH : Les douze concertos pour clavecins et orchestre avec Luciano SGRIZZI, Luigi-Ferdinando TAGLIAVINI, Yannick LE GAILLARD et l’Ensemble Baroque de DROTTNINGHOLM. Chez MUSIFRANCE : (Une collection ERATO/RADIO FRANCE pour la musique française) : Henri DUTILLEUX : “LES CITATIONS” avec Maurice BOURGUE, hautbois, Bernard CAZAURAN, contrebasse et Bernard BALET, percussion. (Prix de la Nouvelle Académie du Disque 1994) Chez CRITERE : J.S. BACH : Participation à l’intégrale des concertos pour clavecin avec Ruggero GERLIN et le Collegium Musicum de Paris dirigé par Roland DOUATTE. Chez PHILIPS : Carlos SEIXAS : 14 Sonates pour clavecin (sous les auspices de la Fondation GULBENKIAN). J. HAYDN W.A. MOZART : Sonates pour violon et clavecin avec Claire BERNARD. Chez BARENREITER-MUSICAPHON : Hugo DISTLER : Concerto pour clavecin et orchestre avec les Deutsche BACHSOLISTEN. Chez HARMONIA MUNDI : Bela BARTOK : Extraits de “Mikrokosmos” au clavecin, en un disque. (Grand Prix du Disque de l’Académie Charles Cros 1970); Chez DENON – NIPPON COLUMBIA : W.A. MOZART : Les Six Sonates pour flûte et clavecin KV 10-KV15, avec Andras ADORJAN. C.PH.E. BACH : Quatre Sonates pour flûte et clavecin, avec Andras ADORJAN. J. S. BACH : Quatre Sonates pour flûte et clavecin et Trois Sonates pour flûte et basse continue, avec Andras ADORJAN (flûte), et Joachim RABE (viole de gambe). J.S. BACH : Trois Sonates pour viole de gambe et clavecin, avec Johannes FINK (viole de gambe). J.S. BACH : Musique de clavecin : Concerto Italien en fa majeur BWV 971 Fantaisie chromatique et fugue en ré mineur BWV 903 Fantaisie en ut mineur BWV 906 Prélude et fugue en la mineur BWV 894 J.S. BACH : Inventions et Sinfonies BWV 772/786. D. SCARLATTI : 14 Sonates pour clavecin. J.CH. BACH : 3 Concertos pour clavecin et orchestre avec les TOKYO SOLISTEN. F. COUPERIN : 11e et 13 e Ordres. W.A. MOZART : Concerto pour trois clavecins et orchestre KV 107 avec Georges KISS et Olivier BAUMONT. Deux concertos pour clavecin et orchestre avec la Capella Academica de VIENNE dirigée par Eduard MELKUS. J.S. BACH : Concerto en la mineur pour flûte, violon, clavecin et orchestre BWV 1044 avec Andras ADORJAN (flûte) et Jean-Jacques KANTOROW (violon) et le NETHERLANDS CHAMBER ORCHESTRA dirigé par Kees BAKELS. J.S. BACH : Six Partitas pour clavecin BWV 825/830 en trois C.D. J.S. BACH : Ouverture à la Française – Prélude , Fugue et Allegro en mi bémol majeur – Quatre duetti. F. COUPERIN : Septième et Huitième Ordres. C.PH.E. BACH : Deux sonates pour violon et clavecin Fantaisie en fa dièse mineur pour violon et pianoforte. W. FRIEDEMANN BACH : 9 Fantaisies pour clavier. J.S. BACH : Les “Variations Goldberg” BWV 988 J.S. BACH : 16 transcriptions pour le clavecin de concertos de compositeurs variés BWV 972/987. 2 C.D. W.A. MOZART : Sonates et fantaisies sur fortepiano. 2 C.D. J.S. BACH : Le “Clavier bien Tempéré” Volume 1 BWV 846/869. 2 C.D. J.S. BACH : Le “Clavier bien Tempéré” Volume 2 BWV 870/893 2 C.D. PRIX DU DISQUE GRAND PRIX DU DISQUE DE L’ACADEMIE CHARLES CROS : 1962 : F. COUPERIN : 6è et 11è Ordres (Valois) 1970 : B. Bartok : Mikrokosmos au clavecin (Harmonia Mundi) 1971 : J. HAYDN : Concerto pour clavecin et orchestre en sol majeur avec l’orchestre de chambre Paul Kuentz (Deutsche Grammophon-Polydor). 1972 : J. HAYDN : Seize trios pour Hammerflügel (Pianoforte), violon et violoncelle (sur instruments anciens) avec E. Melkus et E. Vogt. (Coffret de 4 disques) – (Valois). 1985 : PRIX DU PRESIDENT DE LA REPUBLIQUE J.S. BACH : Cinq disques (Archiv Produktion-Deutsche J.S. BACH : Un disque (Denon-Nippon Columbia) D. Scarlatti : Un disque (Denon-Nippon Columbia) Grammophon) GRAND PRIX DE L’ACADEMIE DU DISQUE FRANCAIS 1964 : J.PH. RAMEAU : Pièces de clavecin en concerts, avec Christian Lardé (flûte) et Jean Lamy (viole de gambe – (Valois). 1968 : J.M.LECLAIR : Les 9 Sonates pour flûte et continuo en deux disques, avec Christian Lardé (flûte) et Jean Lamy (viole de gambe). 1970 : F. COUPERIN : Anthologie de l’oeuvre pour clavecin en 4 disques comprenant 9 Ordres et les 8 Préludes de “l’Art de Toucher le Clavecin” (Valois). GRAND PRIX DES DISCOPHILES 1964 : J.PH. RAMEAU : Pièces de clavecin en concerts avec Christian Lardé (flûte) et Jean Lamy (viole de gambe) – (Valois) PRIX DE LA NOUVELLE ACADEMIE DU DISQUE 1994 : HENRI DUTILLEUX : Participation au coffret de Musique de Chambre avec “Les Citations” avec Maurice BOURGUE (hautbois), Bernard CAZAURAN (contrebasse) et Bernard BALET (percussion). DISCOGRAPHIE Parmi de nombreux enregistrements notons: Chez D.G.G. Archiv Produktion: Suites françaises et anglaises de J.S.BACH Chez Valois : l’oeuvre pour clavecin de J.Ph.RAMEAU Chez Harmonia Mundi : un disque de Mikrokosmos de B.Bartok Chez DENON-NIPPON COLUMBIA : des oeuvres de J.S.BACH, C.Ph.E.BACH, W.Friedemann BACH, J.C.BACH, F.COUPERIN, D.SCARLATTI. Les disques les plus récemment parus sont : J.S.BACH: Le Clavier bien Tempéré (Vol.I et II) (DENON-NIPPON COLUMBIA) H. DUTILLEUX : “Les Citations” pour hautbois, clavecin, percussions et contrebasse (MUSIFRANCE. Collection ERATO-RADIO FRANCE)

Guardian

Yesterday

Five of the best... classical concerts

The Music Of Silence | Wigmore Hall 115th anniversary | Duets In A Frame | La Voix Humaine | Eugene Onegin Garsington Opera’s new season begins with the greatest of Tchaikovsky’s operas. Michael Boyd directs and Roderick Williams sings the title role for the first time. There are stagings of Rossini, Mozart and Haydn to come, too. Continue reading...




My Classical Notes

May 16

Joyce diDonato Sings at Wigmore Hall

Joyce di Donato has entertained us and give us much pleasure and amazing memories. This recording adds to our experience. Here is a rather long list of what we get to listen to: Arlen: Over the Rainbow Berlin, I: I love a piano Bolcom:to, Amor Curtis, E: Non ti scordar di me Dougherty, C: Love in the Dictionary Foster, S: Beautiful Dreamer Haydn: Arianna a Naxos, cantata, Hob.XXVIb/2 Kern: The Siren’s Song (from Leave it to Jane) Go Little Boat (from Oh, my dear) Life upon the wicked stage (from Show boat) Can’t help lovin’ dat man (from Showboat) All the things you are (from Very Warm for May) Moross: A Lazy Afternoon Nelson, H: Lovely Jimmie in Four Irish songs, from an anonymous Irish song Rodgers, R: My Funny Valentine Rossini: Beltà crudele Soirées musicales: La Danza Santoliquido: I canti della Sera Villa-Lobos: Food for thoughts (from Magdalena) Performed by Joyce DiDonato (mezzo-soprano) & Antonio Pappano (piano) London’s Wigmore Hall is an intimate place — this hall holds 550 people – and it is one of the world’s great concert halls. Its acoustic is legendary, and great singers of the past who have appeared there include Enrico Caruso, Nellie Melba, Elisabeth Schwarzkopf and Victoria de los Ángeles. To open its season is a special honor for any musician, and in September 2014 that honor went for the second time to American mezzo-soprano Joyce DiDonato. The pianist for the occasion was none other than Sir Antonio Pappano, who generally devotes his time in London to his duties as Music Director of the Royal Opera House, Covent Garden. The Times described the pair as “mezzo diva supreme” and “golden maestro and piano accompanist to the stars”. The first item on the program was Haydn’s dramatic cantata Arianna a Naxos. DiDonato, who nicknames herself ‘Yankee Diva’, is from Kansas, and the London-born Pappano moved to Connecticut as a teenager, so it was fitting that the rest of the program was dominated by American composers. The Guardoan wrote last year: “Last year’s recital by the dream duo of Joyce DiDonato and Antonio Pappano works wonderfully as a double CD – arguably more effective than the concert itself…DiDonato’s immaculate voice relishes every vowel sound, Pappano responds with pianistic wit and idiomatic invention. Ad libs and applause are judiciously included. All a delight.”



Norman Lebrecht - Slipped disc

May 7

So now I get to teach Joseph Joachim’s class

Our latest diary instalment from Anthea Kreston, wide-eyed American violinist in the Berlin-based Artemis Quartet. This week the teaching part of my job with the Artemis began. In addition to playing concerts, the position came with two teaching positions – one at the Universität der Künste Berlin (University of the Arts), and the other is the Queen Elizabeth Music Chapel in Brussels. The UdK is the largest art school in Europe and is known to be one of the most diverse arts schools world-wide. Past teachers include Feuermann, Joachim, Clara Schumann, and Schoenberg. The Artemis is on faculty – we each have responsibility for 6 chamber groups, and in addition we share 8 “master groups” amongst us, helping to prepare them for international competitions and the day-to-day details of beginning a career as a professional quartet. There are also open master classes and concerts to attend. This week we got the names of our groups and have begin to set up the schedule. Chapel is located in a beautiful little town just south of the main Brussels airport. The Artemis Quartet is the Master Quartet in Residence, and is in charge of all chamber music that happens in this highly usual place. There are a handful of teachers – Gary Hoffman for cello, Augustin Dumay violin, Miguel da Silva viola, Maria João Pires piano, Alfred Brendel piano, and the Artemis. The Artemis each visit Chapel individually several times per year for a handful of days for intense work with the chamber groups which we have selected from live auditions. The facilities are incredible – a historic building houses the staff and many Curtis-style practice/teaching/performing rooms. The new wing is state-of-the-art with three concert venues, 10 studios for the 10 selected solo artists/students, and a fully-staffed kitchen and rec area. The groups which I coached were all in the midst of healthy careers – having won international competitions, with management, and recording contracts. It felt a little like being back at Curtis – when I landed there at age 18 it seemed like everyone was already completely established with full careers. The groups themselves mainly travel to Chapel for our coachings – several are based in Paris. I met for three-hour sessions with each group, in the wooden concert hall with a backdrop of a full glass wall looking out to a forest with passing deer. If it sounds unbelievable, it felt unbelievable. Outside the main entrance was a reflecting pool with the requisite mold-covered Greek goddess sculpture. Just paradise. And there were lots of cappuccino machines sprinkled throughout the buildings. On more than one occasion I was steered away from one machine by a student, with the advice of finding a better one in the next room. I liked that. The groups I worked with were Trio Busch (preparing for a possible manager), Trio Zadig (now at the Fischoff Competition), Quartuor Hermès (winners of Young Concert Artists and preparing for a recording of the Ravel Quartet), Quartour Arod (getting ready for ARD) and Trio Medici (competition the following day). All of the groups were focused, exquisite, and open to my suggestions. The repertoire was – for trio – Beethoven Op. 1/1, Op. 1/3, Mendelssohn 1 and 2, Shostakovich, Ravel – for quartet Beethoven 132, Ravel, Bartok 3, and Haydn 76/1. Lots to have on hand, especially since I have had to get 12 quartets up and running for the Artemis. But – luckily I had played all the trios and all but one quartet. On the final day I was miked and readied for a video 2 hour masterclass. It might already be up on the Chapel website, not sure. The groups were Arod and Zadig and I think we had a great time. We were loose but serious – I pushed but was supportive. In the end, we had an audience singalong to the Beethoven 132. See – late Beethoven isn’t scary! Speaking of rep – guess what is on the docket for me coming up? Am I the luckiest girl alive – pinch me I must be dreaming! Schubert Quintet in Istanbul with Gautier Capuçon, then Beethoven 135, 130, 133, Mozart Dissonance, Schubert G Major, Bartok 2, Shostakovich 7 and the quintet, Mendelssohn 44/1, and Schumann 1 and 3. Recording for Warner – probably Shostakovich and beginning of Bartok box. Aaaaaaaand we have water in the kitchen now. For the love of all things Good and Mighty I have clean socks and don’t have to do the dishes in the bathtub anymore. Last piece of advice – don’t try to dump the leftover oatmeal down the tub drain. It doesn’t really work.

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.



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