The upside of these self-imposed explorations of the complete works of famous composers is that I get to experience something very few ever do.
The downside, especially after a number of months (in this case over four…and counting!), is:
1. I run the risk of getting bored with a composer’s works (baryton trios, for example),
2. I discover that everything a composer did is not golden (in other words, he’s human),
3. I discover the flaws and foibles of a composer heretofore elevated to god-like status (see #2),
4. I find it difficult to write about each day’s audio fare without being repetitious or boring
Take today’s baryton trios, for example.
They’re actually quite good.
Tracks 7 and 8 (both from Baryton Trio No. 113 in D) are quite superb, indeed. Both tracks jumped out at me as I wrote this morning’s blog.
Most of today’s trios are what I’d consider excellent. In fact, I’d regard No. 113 as a “FAVORITE!” among Haydn’s baryton trios.
But what does that mean? What is favorite? What is not-favorite?
Ultimately, the hell difference does it make what I think of Haydn’s compositions?
Let me share something with you.
Zen is a practice that concerns itself with direct experience of what is, moment after moment after moment. If one wants to know what a carefully marinated, medium-rare steak tastes like one does not settle for the phrase “carefully marinated, medium-rare steak.” One finds such a thing and takes a bite. Ahh! Steak!
In the same way, if you want to know what Haydn sounds like, you do not read my feeble words (“good!” “bad!” “vibrant!” “boring!”) and leave it at that. No. You seek out Haydn’s recordings and experience them for yourself. Only then will you know Haydn.
This blog is for me to record my thoughts. If you (whomever “you” are) happen to stumble across my blog and enjoy it, wonderful. I’m honored you’d think that. But if you (the aforementioned unknown you) never read a word of what I write that’s wonderful, too.
Today’s baryton trios (starting with No. 111 in G and ending with No. 117 in F) were delightful.
And I couldn’t even tell you why. There’s no way to know how Haydn’s trios will affect me. There’s something about how these particular trios were composed (their key? their intricacies? their “feel”?) that struck me as pleasant and worthwhile from the first notes.
That’s why the entire CD warrants a FAVORITE! rating. (My favorite of the favorites appears to be No. 113 in D, with No. 111 in G coming in a close second.)
Here are the members of the Esterhazy Ensemble playing today’s Baryton Trios:
Michael Brussing baryton
Andras Bolyki viola
Maria Andrasfalvy-Brussing cello
Below is what I listened to today. NOTE: I don’t know if people didn’t keep track of such things back then, or if these are just too old. But the date of composition on these seems to be nebulous, anywhere from 1766 to 1776, give or take. Haydn was in his early thirties for most of these. Give or take.
Haydn Baryton Trio No. 111 in G
Haydn Baryton Trio No. 112 in D
Haydn Baryton Trio No. 113 in D
Haydn Baryton Trio No. 114 in D
Haydn Baryton Trio No. 115 in D
Haydn Baryton Trio No. 116 in G
Haydn Baryton Trio No. 117 in F
I only supplied my two favorites from today’s CD. If you want to hear the rest of what I heard, copy and past the above phrases into YouTube’s search bar. I’m sure someone has uploaded the compositions for your listening enjoyment.