Joseph HAYDN (1732-1809)
Haydn’s Music for England
CD1
Five Scottish Songs [8:18]
Piano Trio in A Hob XV:18 [18:04]
String Quartet in E flat Op 71 No 3 [21:28]
CD2
Scottish Song; The Lady’s Looking Glass; Country Dance [1:05]
London Trio II Hob IV:2 [6:49]
A Pastoral Song/The Mermaid’s Song [7:09]
Lord Cathcart’s Welcome Home [0:47]
London Trio III Hob IV:3 [3:29]
“O tuneful voice” [5:52]
Symphony No 94 in G “Surprise” (arr. Salomon) [22:54]
Judith Nelson (soprano); Paul Elliott (tenor); The Academy of Ancient Music
(Simon Standage, Monica Huggett (violins), Jan Schlapp (viola), Anthony Pleeth
(cello), Stephen Preston, Nicholas McGegan (flutes), Christopher Hogwood (fortepiano))
rec. Rosslyn Hill Chapel, London, September 1978
No texts included
DECCA ELOQUENCE 480 0388 [48:06 + 48:32]
You only have to read contemporary accounts to appreciate the extent of the
adulation of Haydn and his music from his first visit to London in 1791. Less
than a month after he arrived he met all the most prominent musicians staying
in London and was introduced to the Prince of Wales. Dr Burney described the
audience at his first public concert as showing “such a degree of enthusiasm
as almost amounted to a frenzy”. These discs include examples of many of the
types of music he went on to produce for his English audiences and friends.
I have to say that my own reaction by the end of these discs was little different
to that initial audience.
The first CD gets off to a good start with five of the arrangements of Scottish
songs he made for William Napier. Beethoven’s arrangements tend to be performed
more often and usually make a greater effect, but given playing and singing
of this degree of commitment and understanding each becomes a little gem of
imaginative response to the tunes by the composer. They are followed by the
Piano Trio in A, again played with both swagger and finesse, especially in
the wonderful gipsy-style finale. As Christopher Hogwood’s notes - presumably
from the original LP issue - explain, the string quartet Op. 71 No. 3 is different
in style from Haydn’s earlier quartets; more suited to public concerts. It
is given a suitably large-scale performance here, taking full advantage of
all its opportunities for display.
The first half of the second disc includes several short, pleasant, pieces
as well as two of the Trios for two flutes and cello written for the flautist
and composer Willoughby Bertie, the Earl of Abingdon. They are delightful
pieces to play or to listen to. The disc ends with Salomon’s arrangement of
the “Surprise” Symphony for flute, string quartet and piano. Salomon had paid
Haydn not merely for writing the London Symphonies but also for their copyright
so that he clearly wanted to get full value for his money. The real surprise
is however just how good the arrangements were, and how little of the substance
of the music is lost – no mean feat with such a master orchestrator as Haydn.
Like everything else on these discs it is played and recorded to perfection.
Here are two discs full of superb music, well played and recorded and with
interesting leaflet notes - but no texts for the vocal items. It is a pity
that fillers could not be found to increase the limited playing time, but
in the end it is the quality that counts and that is something these discs
have in abundance.
John Sheppard
Superb music, well played and recorded.