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Divertimenti Vol.5

Divertimenti Vol.5
Joseph Haydn
    • Divertimento in F für 2 Violinen, 2 Englischhörner, 2 Hörner und 2 Fagotte Hob. II:16
  1. Allegro 2'19
  2. Menuet: Moderato 3'01
  3. Adagio 3'50
  4. Menuet:Poco Vivace 2'19
  5. Finale: Presto 2'07
    • Divertimento in C für 2 Klarinetten und 2 Hörner Hob. II:14
  6. Allegro 0'40
  7. Menuetto 1'02
  8. Adagio 2'09
  9. Menuetto 0'55
  10. Finale: Presto 0'40
    • Divertimento in Es-Dur für Clavicembalo, 2 Hörner, Violine und Violoncello Hob. XIV:1
  11. Moderato 6'30
  12. Menuet 3'16
  13. Finale: Allegro 4'33
    • Divertimento in D für 2 Flöten, 2 Hörner, 2 Violinen und Basso Hob. II:8
  14. Allegro 3'18
  15. Menuet 3'43
  16. Adagio 6'15
  17. Menuet 4'21
  18. Finale: Presto 1'47

  • Manfred Huss, Conductor
  • Haydn Sinfonietta Wien

  • Koch Schwann
  • 3-6483-2
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.

This CD is a collection of rarities. All these works are distinguished by their unconventional instrumentation, which is quite unlike that of other works by Haydn or any other composer. The Divertimento Hob.II:16 is actually a 'Feldpartie' - music to be played in the open air. Its instrumentation is based on a wind sextet whose soprano voice, the cor anglais, is supported by the violins because the cor anglais of the period, though very beautiful in tone, did not have a powerful enough sound. The bass voice is proved by two horns and two bassoons, making a most lovely combination.

The Divertimento Hob.II:14, though also a Feldpartie, is made up of a quartet of clarinets and horns and has a quite different sound. It is open to question whether a bassoon part has been lost: Haydn had designated the work as a 'Divertimento a sei', which would suggest the inclusion of bassoons, bit it is perfectly playable and seemingly complete without them.

Divertimento Hob.II:8 is characteristic of his early period, but he omits violas and uses flutes instead of oboes. Interestingly, the flautists in his ensemble were two brothers, the Kapfers, who also played the oboe and cor anglais; such versatility was not uncommon in those days.

Haydn comes across as a master of instrumentation who had neither precedent nor rivals - a description that remains true of his whole output from the beginning to the end of his career.

Manfred Huss
Adapted from the CD-Booklet

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3-1482-23-1121-2 H1A 9110-1C

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