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Music for Prince Esterházy and the King of Naples
6 Scherzandi | 7 Baryton octets | 5 Lira concertos | 8 Nocturni from Joseph Haydn
- Scherzando No. 2 in C major Hob. II:34
- Allegro 2'11
- Menuet 3'07
- Adagio 2'47
- Finale. Presto 0'40
- Scherzando No. 1 in F major Hob. II:33
- Allegro molto 0'59
- Menuet 2'24
- Adagio 2'48
- Finale. Presto 0'43
- Scherzando No. 3 in D major Hob. II:35
- Allegro 1'07
- Menuet 3'53
- Adagio 3'14
- Finale. Presto 0'45
- Scherzando No. 4 in G major Hob. II:36
- Allegro 1'29
- Menuet 3'18
- Adagio 3'56
- Finale. Presto 0'38
- Scherzando No. 5 in E major Hob. II:37
- Allegro 2'11
- Menuet 2'55
- Adagio 2'39
- Finale. Presto 0'32
- Scherzando No. 6 in A major Hob. II:38
- Allegro 2'07
- Menuet 2'38
- Adagio 2'52
- Finale. Presto 1'07
- Divertimento in D major Hob. X:2
- Allegro moderato 5'21
- Adagio 5'06
- Finale. Allegro 7'08
- Baryton Octet in G major Hob. X:5
- Adagio 6'32
- Allegro 4'55
- Finale. Presto 2'49
- Divertimento in A major Hob. X:3
- Adagio 6'19
- Allegro 4'19
- Finale. Allegretto 5'45
- Divertimento [`Quintet´] in D major Hob. X:10
- Adagio 6'02
- Allegro 4'11
- Menuetto 3'19
- Baryton Octet in G major Hob. X:4
- Moderato 7'03
- Adagio 6'25
- Finale. Tempo di Menuet 4'20
- Divertimento in D major Hob. X:1
- Allegro moderato 5'37
- Adagio 6'09
- Finale. Presto 3'57
- Divertimento in A major Hob. X:6
- Moderato 5'18
- Adagio 4'09
- Finale. Allegro 3'40
- Divertimento in G major Hob. X:12
- Moderato 4'47
- Adagio 5'12
- Finale. Presto 2'49
- Concerto No. 2 in G major Hob. VIIh:2
- Vivace assai 5'16
- Adagio ma non troppo 3'05
- Rondo. Presto 3'37
- Concerto No. 5 in F major Hob. VIIh:5
- Allegro 4'30
- Andante 3'56
- Finale. Vivace 2'44
- Concerto No. 1 in C major Hob. VIIh:1
- Allegro con spirito 4'10
- Andante 3'30
- Finale. Allegro con spirito - Adagio - Tempo I 4'34
- Concerto No. 3 in G major Hob. VIIh:3
- Allegro con spirito 5'07
- Romance. Allegretto 3'28
- Finale. Allegro 4'16
- Concerto No. 4 in F major Hob. VIIh:4
- Allegro 4'50
- Andante 4'44
- Finale. Presto 3'38
- Notturno No. 1 in C major Hob. II:25
- Marcia 2'33
- Allegro 5'12
- Adagio 3'29
- Finale. Presto 3'45
- Notturno No. 2 in F major Hob. II:26
- Adagio - Allegro spiritoso 5'39
- Adagio 2'57
- Finale. Allegro con brio 2'05
- Notturno No. 3 in C major Hob. II:32
- Allegro moderato 6'16
- Andante 4'01
- Finale. Molto vivace 2'01
- Notturno No. 4 in C major Hob. II:31
- Allegro 4'52
- Adagio 2'48
- Finale. Presto 4'03
- Notturno No. 5 in C major Hob. II:29
- Allegro 4'09
- Andante 2'26
- Finale. Fuga: Allegro moderato 1'54
- Notturno No. 6 in G major Hob. II:30
- Presto 4'45
- Andante 3'17
- Notturno No. 7 in F major Hob. II:28
- Allegro moderato 7'12
- Adagio 4'26
- Finale. Presto 5'12
- Notturno No. 8 in G major Hob. II:27
- Largo - Allegro 7'06
- Adagio 4'03
- Finale. Vivace assai 4'20
Manfred Huss, Conductor- Haydn Sinfonietta Wien
BIS Records- BIS-CD-1796-98
Providing an opportunity to explore less familiar aspects of the great composer, this six-disc set contains works written for the house of Esterházy, Haydn’s long-time employers, and for the King of Naples: from the Six Scherzandi, a set of ‘miniature symphonies’ probably composed in 1761, to the Eight Notturni for the King of Naples, composed around 1790.
Up until the late 18th century, almost all music was written for a specific person or institution, and often with a specific occasion in mind.
But the works featured here are associated with their maker’s employer to an unusual degree: the Baryton Octets (and the Quintet Hob.X:10) were written for the private use of Prince Nikolaus Esterházy I, for performances that may have been heard by nobody but the musicians themselves. At such occasions, the part of the baryton, an instrument of the gamba family which was outmoded already at the time of composition, would be played by the Prince himself, while his favourite horn-player performed the highly virtuosic horn parts.
Similarly, the ‘Concerti a Due Lire’ and the Notturni were commissioned by Ferdinand IV of Naples for his own consumption: a great lover of the ‘lira organizzata’ – a development of the hurdy-gurdy – he contacted a number of composers in order to expand the very limited repertoire of this highly unusual instrument. In fact, so unusual was the lira that Haydn, fearing that his music would never be played outside of the court in Naples, soon made versions in which the lira parts were replaced by other instruments.
The result is to be heard here – glorious chamber music for various combinations of instruments, including flute, oboe, clarinet, horn, violin, viola, cello and double bass.
Haydn Sinfonietta Wien’s acclaimed recordings of these works were originally produced and released by the Koch/Schwann label, with the exception of Notturni Nos 2, 4, 5 and 8, which, although recorded during the same period, were never released. For this collection the original recordings have been remastered by BIS Records.
Up until the late 18th century, almost all music was written for a specific person or institution, and often with a specific occasion in mind.
But the works featured here are associated with their maker’s employer to an unusual degree: the Baryton Octets (and the Quintet Hob.X:10) were written for the private use of Prince Nikolaus Esterházy I, for performances that may have been heard by nobody but the musicians themselves. At such occasions, the part of the baryton, an instrument of the gamba family which was outmoded already at the time of composition, would be played by the Prince himself, while his favourite horn-player performed the highly virtuosic horn parts.
Similarly, the ‘Concerti a Due Lire’ and the Notturni were commissioned by Ferdinand IV of Naples for his own consumption: a great lover of the ‘lira organizzata’ – a development of the hurdy-gurdy – he contacted a number of composers in order to expand the very limited repertoire of this highly unusual instrument. In fact, so unusual was the lira that Haydn, fearing that his music would never be played outside of the court in Naples, soon made versions in which the lira parts were replaced by other instruments.
The result is to be heard here – glorious chamber music for various combinations of instruments, including flute, oboe, clarinet, horn, violin, viola, cello and double bass.
Haydn Sinfonietta Wien’s acclaimed recordings of these works were originally produced and released by the Koch/Schwann label, with the exception of Notturni Nos 2, 4, 5 and 8, which, although recorded during the same period, were never released. For this collection the original recordings have been remastered by BIS Records.
Awards
"With detailed notes from Huss and vivid, natural recorded sound, this superbudget-price compilation of recordings from the 1990s makes an attractive, offbeat contribution to the 2009 Haydn junketings. [...] The faster movements combine rhythmic verve, carefully judged instrumental balance and an infectious sense of enjoyment [...] Allegros are cheerful and compact, enlivened by some spectacular horn antics at both extremes of their compass. Most memorable, though, are the eloquent, often surprisingly intense Adagios. Again the playing is crisp and spirited, with the superb horn-players."
Richard Wigmore
October 2009
Music Web International
"The Haydn Sinfonietta Wien and Manfred Huss are an excellent team, and produce performances of inextinguishable verve and stunning technical élan. BIS’s packaging has a typically high class feel, as do the superb recordings, and so this box has to be considered a ‘must have’ for all Haydn fans and enthusiasts for the less well trodden byways of high-classical chamber music. [...] The Haydn Sinfonietta Wien gets stuck into these pieces with great gusto, and the effect is like having a blast of fresh air leaping from your loudspeakers."
Dominy Clements
May 2009