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Divertimenti Vol.3
Joseph Haydn
- Divertimento in G-dur (Cassatio) für 2 Violinen, 2 Bratschen und Basso (Violincello und Kontrabass) Hob. II:2
- I. Scherzo: Presto 1'23
- II. Allegro moderato 4'45
- III. Menuet 4'23
- IV. Adagio 2'12
- V. Menuet 3'55
- VI. Finale: Presto 2'02
- Variationen in Es-dur (Fragment) für Flöte, 2 Englischhörner, Fagott, 2 Hörner, 2 Violinen und Basso continuo (Violincello, Kontrabass) Hob. II:24
- Variation 1 1'15
- Variation 2 1'49
- Variation 3 1'55
- Variation 4 1'10
- Variation 5 1'02
- "Thema" de capo 1'12
- Divertimento in C-dur (Cassatio) für 2 Klarinetten, 2 Hörner, 2 Violinen, 2 Bratschen und Basso continuo (Violincello und Kontrabass) Hob. II:17
- I. Marche: Adagio 3'40
- II. Allegro 5'00
- III. Menuetto I 5'03
- IV. Recitativ und 1'44
- Andante 3'58
- V. Menuetto II 4'48
- VI. Allegro molto - 1'16
- Andante - Presto 2'47
Manfred Huss, Conductor- Haydn Sinfonietta Wien
Koch Schwann- 3-1481-2
Haydn's divertimenti belong to a period of his life about which we have next to no reliable knowledge. Up to about 1757, when he was 25, Haydn was dependent on casual work as a musician to keep his head above water.
Of all the early divertimenti, the G major work Hob.II/2 is the only surviving composiion without wind instruments. According to modern terminology, Hob.II/2 is actually a 'string quintet', i.e. a five-part composition: though of course the question poses itself as to what instrument Haydn meant by "basso" - a cello alone, a violone, or both? In some respects, this divertimento could almost be the twin brother of the G major work Hob.II/9: there is a striking resemblance between the slow movements and between the second minuet in each case, but in the cassation Hob.II/2 the trio is a fully-composed piece of 'thunderstorm music'.
One unusual piece that has been preserved in the autograph manuscript is the variation movement in E flat, Hob.II/24: the five variations represent the torso of a larger work which has disappeared without a trace. Even the theme of the variations is missing: it is fair to assume that it was to be found in the minuet to which Haydn's marking refers at the end of the final variation: "Menuett da capo".
Haydn's Divertimento in C, Hob.II/17, dates from 1761: it occupies a position of special importance by virtue of the fact that Haydn uses clarinets for the first time here, some 25 years before Mozart gave the instrument such an important role in the music of the Viennese Classical school. This large-scale Divertiment, almost symphonic in its proportions, was probably one of those compositions that Haydn wrote to prove his mettle when he took up his appointment at Prince Paul Anton Esterházy's court.
Manfred Huss
Adapted from the CD-Booklet
Of all the early divertimenti, the G major work Hob.II/2 is the only surviving composiion without wind instruments. According to modern terminology, Hob.II/2 is actually a 'string quintet', i.e. a five-part composition: though of course the question poses itself as to what instrument Haydn meant by "basso" - a cello alone, a violone, or both? In some respects, this divertimento could almost be the twin brother of the G major work Hob.II/9: there is a striking resemblance between the slow movements and between the second minuet in each case, but in the cassation Hob.II/2 the trio is a fully-composed piece of 'thunderstorm music'.
One unusual piece that has been preserved in the autograph manuscript is the variation movement in E flat, Hob.II/24: the five variations represent the torso of a larger work which has disappeared without a trace. Even the theme of the variations is missing: it is fair to assume that it was to be found in the minuet to which Haydn's marking refers at the end of the final variation: "Menuett da capo".
Haydn's Divertimento in C, Hob.II/17, dates from 1761: it occupies a position of special importance by virtue of the fact that Haydn uses clarinets for the first time here, some 25 years before Mozart gave the instrument such an important role in the music of the Viennese Classical school. This large-scale Divertiment, almost symphonic in its proportions, was probably one of those compositions that Haydn wrote to prove his mettle when he took up his appointment at Prince Paul Anton Esterházy's court.
Manfred Huss
Adapted from the CD-Booklet
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