Day 51: Hmmm. I Liked This Because…?

HaydnCD51Wow. What a difference a day makes.

Or, should I say, “What a difference an Act makes?”

For some reason, I like Acts II and III of La Vera Costanza less than Act I.

I have no idea why.

It’s the same cast and musicians:

Rosina: Ingrid Kappelle soprano
Baroness: Ellen van Haaren soprano
Lisetta: Maja Roodveldt soprano
Count: Albert Bonnema tenor
Masino: Frank Fritschy tenor
Ernesto: Rein Kolpa tenor
Villotto: Julian Hartman bass
Catharijne Consort violin?
Frank van Koten

And the same performance.

Maybe it’s because the music is less Continue reading

Day 50: Filet of Cinnamon Roll

HaydnCD50Today’s CD is La Vera Costanza (no relation to George, I’m sure). It is an opera in three acts, with Libretto by Francesco Puttini, published in 1785. Haydn was 53.

This morning, I’m listening to Act I.

And I liked it from the first few notes.

In fact, all of Sinfonia was delightful, as was the follow-up: Menuetto. Haydn’s orchestral music is magical. Track 3 (“Introduzione: Che burrasca, che tempest”) gives us a preview of the voices and the storyline. (By the way, as near as I can figure, “Che burrasca, che tempest” is Italian for “That storm, that tempest.”)

Here’s the cast and a couple of the musicians featured in this Brilliant Classics recording:

Rosina: Ingrid Kappelle soprano
Baroness: Ellen van Haaren soprano
Lisetta: Maja Roodveldt soprano
Count: Albert Bonnema tenor
Masino: Frank Fritschy tenor
Ernesto: Rein Kolpa tenor
Villotto: Julian Hartman bass
Catharijne Consort violin?
Frank van Koten

The first think I notice about the cast is that there are a lot of tenors and sopranos. If the stage is what movies and TV crack it up to be, the drama amongst all of those singers must have been incredible.

Tempest, indeed.

The second thing I notice — after doing a Google search of their names — is that nearly all of them have web sites in Dutch only. From Continue reading

Day 49: The Creation (Part Two)

HaydnCD49This is the second part of Haydn’s “masterpiece” Die Schopfung (The Creation). It covers parts 2 & 3.

I don’t have much to add to what I posted yesterday. The performances are remarkable. It sounds like it took a master craftsman 2-3 years to compose this impressive oratorio. (By the way, if you do listen to The Creation, be prepared to get an earful of rolling Rs. This is opera, after all.)

Because it’s probably best appreciated in totality, I’ve offered another full performance of Haydn’s The Creation, courtesy of someone posting it to YouTube.

NOTE: This isn’t the performance to which I was listening today.

The clip below features Sally Matthews, soprano, Ian Bostridge, tenor, Dietrich Henschel, bass, and the London Symphony, conducted by Colin Davis.

Day 48: The Creation (Part One)

HaydnCD48Today’s musical selection is an oratorio titled Die Schopfung (“The Creation”), which — according to its entry on Wiki — is considered Haydn’s masterpiece…and a test of both his stamina and his faith in God.

Haydn was inspired to write a large oratorio during his visits to England in 1791–1792 and 1794–1795, when he heard oratorios of Handel performed by large forces. Israel in Egypt is believed to have been one of these. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style.

The work on the oratorio lasted from October 1796 to April 1798. It was also a profound act of faith for this deeply religious man, who appended the words “Praise to God” at the end of every completed composition. He later remarked, “I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work.” Haydn composed much of the work while at his residence in the Mariahilf suburb of Vienna, which is now the Haydnhaus. It was the longest time he had ever spent on a single composition. Explaining this, he wrote, “I spent much time over it because I expect it to last for a long time.” In fact, he worked on the project to the point of exhaustion, and collapsed into a period of illness after conducting its premiere performance.

Haydn was between 64 and 66 when he composed this Continue reading

Day 47: The Seasons (Fall, Winter)

HaydnCD47 Today’s musical selection is the conclusion (Fall, Winter) of the massive oratorio that covers a year’s worth of seasons.

A song cycle about the seasons is nothing new, of course. Antonio Vivaldi’s (1678 – 1741) Four Seasons is likely the most well known of the genre. Certainly, the beloved violin concerto is the most famous work from the Italian.

The totality of yesterday’s CD and today’s (the complete Four Seasons from Haydn) is two hours and twenty minutes of music. Frankly, that’s beyond big. That’s massive.

If Haydn had done nothing else in his long, illustrious career, The Four Seasons, alone, would have been worthy of high praise. It really is a fine, fine oratorio, with terrific performances all around especially from soprano Helen Donath and tenor http://en.wikipedia.org/wiki/Adalbert_Kraus.

But the instrumentation is superb as well.

And that’s why this works so well for me. If it had Continue reading

Day 46: The Seasons (Spring, Summer)

HaydnCD46There are more German words on the back of today’s CD sleeve than one is likely to hear in a movie about World War II.

Today’s Haydn composition is Die Jahreszeiten, which means The Seasons.

Apparently, according to said sleeve, this is just the “Beginning” of The Seasons, although I’m not sure what that means.

Just Spring? Just Winter?

Winter, Spring, Summer?

Googling is called for. (Actually Googling wasn’t needed. Ogling was. I just sifted through all of the German words and discovered that this recording covers Spring and Summer. That likely means the next CD will Continue reading

Day 45: The Sorrows of Mary

HaydnCD45Today’s CD is one 70-minute composition called Stabat Mater (Hob XX:BIS). It was composed in 1767. Haydn was 35.

The phrase “Stabat Mater,” according to its entry on Wiki,

Of two hymns, Stabat Mater Dolorosa (about the Sorrows of Mary) and Stabat Mater Speciosa (joyfully referring to the Nativity of Jesus), Stabat Mater usually refers to the first, a 13th-century Catholic hymn to Mary, variously attributed to the Franciscan Jacopone da Todi and to Innocent III.

The title of the sorrowful hymn is an incipit of the first line, Stabat mater dolorosa (“The sorrowful mother stood”). The Dolorosa hymn, one of the most powerful and immediate of extant medieval poems, meditates on the suffering of Mary, Jesus Christ’s mother, during his crucifixion.

By the way, there’s an entire page on Wikipedia devoted to Marian devotions, if you’re so inclined. From the Wiki article:

There are many Marian devotions, ranging from multi-day prayers such as Catholics’ Novenas, the veneration of icons in Eastern Christianity, and activities which do not involve prayers, such as the wearing of scapulars or maintaining a Mary garden.

Devotion to the Virgin Mary does not, however, amount to worship – which is reserved for God; e.g. both Catholics and the Eastern Orthodox view Mary as subordinate to Christ, but uniquely so, in that she is seen as above all other creatures.

So this was the world in which Franz Joseph Haydn walked. He was a devout Catholic.

I’m not fond of masses, as a general rule. Not even Haydn’s. They’re good, perhaps great. But I most often enjoy Continue reading

Day 44: That’s Just Große

HaydnCD44I can’t even pronounce the title of today’s CD.

It’s a German word that uses a symbol (or a letter) I don’t recognize: Große.

After a bit of Googling, I discovered that the word means grosse, which means — I suppose — “great.” Orgelmesse is a compound word that means “organ mass.”

So, Große Orgelmesse in E Flat is the Great Organ Mass.

In E Flat.

Great.

Except it’s not.

Not to my ears, anyway.

It’s a mass, all right. With a bit of organ thrown in. But it all just sort of lies there. Nothing grabs me by the lapels and shakes me from my stupor.

Here. Listen for yourself:

Große Orgelmesse in E Flat Hob XXII:4 was composed in 1770. Haydn was 38. Continue reading

Day 43: Big

HaydnCD43There’s an exchange in an early episode of The Andy Griffith Show in which Barney tells Andy about something “big” happening in Mayberry.

“Oh, this is big Andy, big big, really big, biggest thing ever happened in Mayberry,” he says.

After a bit of banter, Andy says something like, “There’s only one word to describe it — big.”

That’s how I describe Missa Sanctae Caeciliae in C HOB XXII:5: big.

So big, in fact, that the running time for Haydn CD 43 is an hour and 10 minutes. Just for this one mass.

There’s not really much else I can say about it. Its entry on Wikipedia does a good job of providing pertinent details:

[It] was originally written in 1766, after Haydn was promoted to Kapellmeister at Eszterháza following the death of Gregor Joseph Werner. The original title as it appears on the only surviving fragment of Haydn’s autograph score, that has been discovered around 1970 in Budapest, clearly assigns the mass to the pilgrimage cult of Mariazell, Styria. Until that discovery, the work was formerly known as Missa Sanctae Caeciliae, or in German Cäcilienmesse, a title probably attributed to the mass in the 19th century. Whether the alternative title refers to a performance of the piece by the St. Cecilia’s Congregation, a Viennese musician’s fraternity, on some St. Cecilia’s day (22 November), as has been suggested, remains speculation.

It is believed that the original manuscript was lost in the Eisenstadt fire of 1768, and that when Haydn rewrote the piece from memory, he may also have expanded it. It may have originally consisted of only Kyrie and Gloria, with the other parts added later. This Mass was known to Anton Bruckner.

Haydn was 34 in 1766. Who knows how old he was when he supposedly rewrote it from memory?

What I do know is that this is a very fine mass, with noteworthy performances by soprano Krisztina Laki, tenor Aldo Baldin, and the Kammerchor Stuttgart (chamber choir).

If you’d like to hear what I’m listening to this morning, click on the YouTube clip below. It’s the exact same performance.

I’m sure after you finish you’ll only have one word to describe this 70-minute composition.

Big.

Day 42: A Herd of Turtles

HaydnCD42Back at Denny’s this morning. I’m seeing the sames faces here. Just like at Mr. Burger, my usual breakfast hangout.

Well, usual when I eat breakfast with my wife. Not my usual when I write my blogs.

That spot is reserved for Panera Bread.

Seeing the same faces is comforting, no matter where those faces may be.

I guess the theme song to Cheers was right.

I really do want to go where everybody knows my name.

Another benefit to hanging out in places like this: I get to hear old timers say stuff my dad used to say. For example, the guy leaving just now said his good byes and, over his shoulder on his way out the door, said, “I’m off like a herd of turtles.” Continue reading