The Haydn Project

In celebration of its 25th anniversary season, the Emerson String Quartet turns its attention to Franz Joseph Haydn with this collection of some of the composer's best-known string quartets. Haydn is the natural choice for such a commemoration -- he established the string quartet as a genre -- and the Emersons, who play here with characteristic precision and intensity, waste no time finding the lyricism, wit, and pure joy in his wonderful music.

The program of seven works is organized chronologically, beginning with the Fifth Quartet from the breakthrough Opus 20, in which the composer first showed the profound artistic potential of the new genre. The following Quartet Op. 33 no. 2, called "The Joke," is the first of several with titles, this one derived from the work's humorous ending without an end. Listeners unfamiliar with its pause-filled finale will simply not know when it has finished. With the second disc, we encounter Haydn's quartets in full maturity, especially Op. 76 no. 2, the "Quinten" or "Fifths" Quartet, where a new experimental spirit can be heard, as well as premonitions of Beethoven, who studied with Haydn.

A third "bonus disc" offers an anthology of samples from the Emerson's extensive recording catalogue -- ranging from Mozart and Beethoven to Ives and Shostakovich. Their recording of the complete Shostakovich quartets won a 2001 Grammy Award. Curiously, the Emersons have not often recorded Haydn's quartets. This set, then, is not only a timely tribute to them; it's a crucial addition to their growing collection of superb recordings.

Haydn: String Quartets, Op. 33 Nos. 1-6 (complete)

“What is most impressive is the Borodin's sensitivity to the Haydnesque features that lend the music its special character, most notably its wit, in the sense of both humour and imagination...In the Borodin's superb accounts, we are reminded of all [Haydn's] virtues in a way that comes closer to the heart of the music than do most of the other [performances] I have heard.” --International Record Review, April 2011

“readings that are remarkable for their consistency of tone and security of technique. They rattle off fast movements with élan...and serve slow movements well with their rapt concentration” --Gramophone Magazine, July 2011

Haydn composed his six string quartets op.33 between 1778 and 1781. He wrote that he had composed them ‘in a new and special way’. This was a rather mischievous claim, as the quartets do not represent a revolutionary compositional advance, rather a shift in style towards intimacy and subtlely from the flamboyant op.20 set of nearly ten years earlier. It was, though, a rather good promotional and sales gimmick on Haydn’s part.

These quartets are the lightest and most humorous in nature of all his mature quartets and do break new ground in having scherzos in place of the old minuet. This new term and the nature of the scherzo would appeal in a few years time to Haydn’s young pupil from Bonn, Ludwig van Beethoven.

Good humour abounds throughout op.33, especially the repeated false ending to the finale of no.2, where Haydn was said to have made a bet with friends that there would be applause at several points before the work ended. The nickname ‘The Joke’ was quickly applied to this work.

Trumpet Concertos by Haydn, Albinoni, Neruda & Hummel

“…listeners will find in this 20-year old Norwegian a musician who plays with an especially beguiling, sweet and shimmering line, nonchalant technical authority and stylish understatement.” --Gramophone Magazine, March 2008

“- Helseth relishes Haydn’s epoch-making excursions into chromaticism with alacrity, especially in the slow movement, which she shapes with disarming naturalness. A splendid début disc. More please!“ " --International Record Review

Tine Thing Helseth (trumpet)
Norwegian Chamber Orchestra

The young trumpet virtuoso Tine Thing Helseth came to the attention of audiences and critics when she was awarded 2nd prize in the 2006 Eurovision Young Musicians finale in Vienna. With her debut CD, which includes a stunningly fresh new recording of the ever-popular Haydn concerto as well as terrific performances of works by Albinoni, Hummel and Neruda, she seems destined to take the world of classical music by storm.

Haydn: Early London Symphonies

Back from the wilderness of Sony's Essential Classics series, and remastered in nice, clear stereo along with Bernstein's set of Paris Symphonies for this same label, Szell's recordings of the first six London Symphonies represent the ultimate in big-band Haydn. And late Haydn should always be played with a big band: his own ensemble in London numbered some 60 players in a room that held 800. In other words, for one of today's typical concert halls he would have expected a full-sized, modern symphony orchestra, and that's just what he gets here.

Of course this is Szell, so the size of the ensemble doesn't entail any sacrifice of clarity. Indeed, these performances are miracles of balance and precision, but never at the expense of Haydn's energy and humor. Consider the slow movement of Symphony No. 93, which features the most obscene bassoon belch in recorded history, or Szell's uplifting handling of the minuets. The famous "Surprise" movement sounds like it was composed yesterday, and the symphony's finale blazes with excitement. There are delights everywhere, from the amazingly detailed counterpoint in the finale of No. 95 to the Mozartean grace of No. 98's slow movement. Just buy this while you can--it's a true classic.

--David Hurwitz, ClassicsToday.com

Haydn: Piano Sonatas Vol. 4

“this is among the finest accounts [of the Variations] on disc: searchingly nuanced from moment to moment yet never losing its grip on the work's tragic progress. Bavouzet's readings of the three selected Sonatas in this latest instalment of his ongoing series are all equally illuminating in different ways.” BBC Music Magazine, November 2012 *****

BBC Music Magazine
Instrumental Choice - November 2012

“Quite apart from his stylistic command and sheer delight in the music, Bavouzet’s mixing and matching of different periods in the composer’s awe-inspiring pianistic development ensures there is never a dull moment.” --Financial Times, 8th September 2012 ****

“This continuing series is turning into a real classic: Jean-Efflam Bavouzet has an infectious sense of the witty fun that underlies so many of Haydn's inventions, and the finale of the D major Sonata No 30 fairly fizzes with joy. But the real discovery here is a new version of the wonderful, touching Variations in F minor.” --The Observer, 16th September 2012

“With his Yamaha piano, Bavouzet’s crisp articulation — a constant delight — seeks to emulate the plucked action of the harpsichord, but he brings a singing legato line to Haydn’s melodies.” --Sunday Times, 16th September 2012

Fandango: Music by Boccherini, Haydn, Pujol & Houghton

Classical guitar virtuoso teams up with Melbourne’s hottest string quartet in a display of passion and style for which they are both renowned. Schaupp and the Flinders do the composers proud, the well-judged tonal and timbral balance as much as the cleanly expressive interpretations ensuring that, frozen/suspended as they are, these performances will withstand repeated listenings. --Limelight Magazine

Haydn, Hofmann & Mozart: Cello Concertos

“…lovely performances from a cellist who combines a winningly smooth cantabile with a focused light tone and incisive rhythmic precision. The Basle Chamber Orchestra gives support which is handsomely coloured and stylishly clean-lined… making them a good match for their soloist and helping to create a happy overall impression of talented young artists having fun together and avoiding the routine.” --Gramophone Magazine, March 2010

The Argentinean cellist Sol Gabetta devotes her new recording to concertos from the Viennese Classical period. Joined by the Chamber Orchestra of Basel, she has coupled Haydn’s famous C major Concerto with two rarities, one by Haydn's contemporary Leopold Hofmann and the other by Wolfgang Amadeus Mozart. Whereas Hofmann's concerto is an original work, the other concerto is an arrangement of Mozart's Oboe Concerto K314 by the Hungarian-American conductor Georg Szell. 

As Mozart left us not a single composition for solo cello, Szell collaborated with Mozart researcher Alfred Einstein to create a solo piece. However, Szell took the Andante from the Violin Concerto K470 for the slow movement.

Sol Gabetta's recording, on the other hand, includes a version of the Oboe Concerto's Andante specially prepared by the harpsichordist and pianist of the Basel Chamber Orchestra, Sergio Ciomei. Hofmann was a highly regarded composer in his day, considered the equal of Haydn and Gluck. His Cello Concerto in D Major is roughly contemporary with the C major Concerto by Haydn which also appears on this disc.

Haydn: Keyboard Concertos Hob XVIII

“Many concertos are attributed to Haydn but these three are undisputedly authentic. The keyboard part in No 4 falls in a narrow compass; Andreas Staier introduces variety by ornamenting the slow movement and decorating fermatas in all movements. His embellishments are very good indeed, even if he is ornate in places. (If you dislike ornament, you should choose the Andsnes, who sticks to the letter and does so most artistically.) A rarity is No 6 for violin and keyboard, its outer movements the least interesting with sequential passages. The emotive slow movement (mostly a conversation between the two soloists) redeems matters and gives Gottfried von der Goltz a chance to show his mettle as a sensitive violinist.

In the finest work, No 11, the orchestral exposition is an ideal Vivace, the first theme lilting over repeated quavers generating the right degree of forward tension, and the bass line given its full due, oboes and horns colouring the texture tellingly. A similar degree of perception, with Staier's contribution equally telling, is heard throughout. The recording is expertly balanced and tonally truthful. An outstanding disc.” --Gramophone Classical Music Guide, 2010

“this disc continually surprises and delights. Faultless.” --The Independent on Sunday, 16 January 2005 *****

“Andreas Staier has established himself as one of the foremost solo exponents of the baroque repertoire, here matching Haydn himself for musical wit, wisdom and joie de vivre.” --The Observer, 16 January 2005

Arias by Cimarosa, Haydn, Mozart and Salieri

BBC Music Magazine: Opera Choice - January 2012

“Reiss is a properly pert Despina (Cosi) and an affecting Susanna...Her attention to detail in the recitative is scrupulous...Reiss's diamond bright coloratura is a mighty weapon...All told, this is a beguiling combination of top-drawer musicianship and fresh ideas about opera in Enlightenment Vienna.” --BBC Music Magazine, January 2012 *****

“What a stimulating assemblage of arias, and in intelligent, standard-setting performances...Unexpected insights arrives at every turn...Reiss makes [Salieri and Cimarosa] feel like worthy companions, always looking to find their specific character and never falling into soubrette cuteness...My favourite moment is how wonderstruck her Susanna sounds while absorbing the beauties of the night in the Act 4 Figaro aria.” Gramophone Magazine, November 2011

“Reiss has an agile, bell-bright, fluty timbre that's well suited to the soubrette and coloratura repertoire here. She's best in the showy numbers - the glittering roulades of the Mozart concert aria 'Ah se in ciel' and Salieri's 'Tremo bell'idol mio' are bright and fresh. She also displays a lovely line in the short, sweet 'Quando la rosa'” Classic FM Magazine, December 2011 ***

MP3 320 · 122 MB

Dances from the Heart of Europe

'Turovsky and his Montréal players have proved in several previous releases that they are an excellent and responsive band… fifty-two tracks in all, and an intriguing and enjoyable disc. --BBC Music Magazine

'The performances by I Musici de Montréal and Yuli Turovsky are unfailingly stylish and perceptive… Heard as a whole or (preferably) in part, this is a collection that gives considerable pleasure.' --Gramophone Magazine

MP3 320 · 147 MB

Haydn: Piano Sonatas Vol. 1

“nothing, either in expression or tone, is ever forced. It helps that [Bavouzet's] modern grand (maker unspecified) has a relatively crisp lower register, and that the recorded sound rightly achieves spaciousness and intimacy...a wonderfully promising series.” --BBC Music Magazine, April 2010 ****

“Clarity of line is paramount in this music and that is what Bavouzet delivers: he views the sonatas with sobriety but by no means dispassionately...Discreet ornamentation adds allure to music that offers both majesty and sweetness, and ranges from the grand gesture to Haydn's trademark high jinks” --Gramophone Magazine, May 2010

“This first release in a long-term series offers four sonatas, dispatched with scintillating brightness and many ornamental trills...It’s impossible not to be impressed...by the panache of No 39 in D or the grand carnival of the relatively lengthy No 31 in A-flat.” --The Times, 12th March 2010

“however extensive his survey turns out to be, the results should be well worth hearing...Though he exploits all the tonal possibilities of the modern concert grand, Bavouzet also makes full use of the latest ideas on performance practice...It's the best kind of historically alert piano playing.” --The Guardian, 25th March 2010 ****

“The scherzando middle movement of the C sharp minor sonata (No 49) made me want to dance around the room to Bavouzet’s joyous playing. Unadulterated bliss.” --Sunday Times, 28th March 2010 *****

“[Haydn's sonatas] still have a Baroque feel which Bavouzet doesn’t seek to play down, and he conveys Haydn’s impish spirit with the utmost clarity.” --The Telegraph, 26th March 2010 ****

“The French pianist renowned for Debussy has now turned his attention to Haydn, and the results are effervescent and dazzling” --The Observer, 4th April 2010

“This beautifully recorded disc promises well for another classic Bavouzet set to complement his Debussy recordings.” --Classic FM Magazine, April 2010

MP3 320 · 149 MB

Haydn: Piano Sonatas Vol. 2

“Bavouzet is perhaps the ideal pianist for Haydn: his clarity of touch, quickness of wit and sensitivity to different soundworlds make him an empathetic interpreter...[he] makes the most of the contrasts between the pieces...The pianist is very much alive to their unfailingly fresh invention, delivering it all apparently effortlessly and without exceeding the necessary 18th-century parameters on the modern grand piano” --Classic FM Magazine, June 2011 ****

“Bavouzet more than holds his own and, time and again, seems to offer a fresh ear to these sonatas, as if this is as much his great adventure as ours.” --Gramophone Magazine

“These performances sound natural, appropriate and in perfect structural and expressive proportion...They are the work of an insightful musician of profound culture and wide interests, whose intellectual and emotional identification with Haydn is unreserved, and whose playing, beautifully captured in technical terms, is a delight to listen to.” --International Record Review, April 2011

“In the second volume of his complete Haydn cycle [Bavouzet] shines particularly in sonatas 48 and 50, the sprightliest on the CD, both with lovely reflective slow movements. Bavouzet offers the crispest of trills, a sprinkling of the fantastic, and a tender heart.” --The Times, 16th April 2011 ****

“His playing in this second installment is quite as exemplary in touch, phrasing, characterisation and continuity, while the recorded sound is again intimate yet unconstricted...Bavouzet brings a fizzing vivacity to the first movement of Sonata No. 48 in C...And in the solemn neo-baroque central movement of No. 50 in D (c.1778), his control of sonority and voicing of inner parts has a measured grandeur that is quite marvellous.” --BBC Music Magazine, May 2011 ****

MP3 320 · 154 MB

Haydn: Cello Concertos; Sinfonia Concertante

´"This disc is a pleasure on several accounts. First, because it contains appealing and appropriate repertoire: Haydn's long-lost Cello Concerto in C, discovered in 1961; the delightful Cello Concerto in D; [...] and the ever-popular Sinfonia Concertante for Violin, Cello, Oboe and Bassoon. Second, cellist Steven Isserlis's playing is alert, sensitive, and joyous." --Highbeam.com

MP3 320 · 164 MB

Joseph Haydn Concertos

"Brautigam's instrument sounds particularly well-chosen for this music. It has a quick action and a wide dynamic range that makes the fast movements really sparkle, but it also allows sufficient legato to project the slow movements with an aptly singing tone. It's worth pointing out in this respect that three of the four middle movements (Concertos Nos. 2-4) are Adagio or slower, and Brautigam shapes them with remarkable taste and finesse. This disc constitutes a terrific adjunct to the complete sonata cycle. Truly, we are spoiled for choice. Fabulous!" --David Hurwitz, ClassicsToday.com 

Sheer delight!

Only the D Major, Hob.XVIII/11 has been known to me for many decades (Wanda Landowska's irresistible verve on harpsichord) but this brings the newer historical knowledge to bear, marvelously realized by Brautigam and Mortensen, with the expert period instrument group Concerto Copenhagen. Balance is perfectly natural, the fortepiano a little quiet for even a small period orchestra, as is so inevitably in live performance too. The slow movement is duly affecting between the fast Vivace and sparkling Rondo all'Ungarese.

The other authentic keyboard concertos of Haydn here (the rest of the twenty-one of them were for organ and often played during Mass - not so austere as in northern Germany!) are unaccountably overlooked. Haydn did not play them himself and the notes writer speculates that he did not seek to compete with Mozart in that area. --Peter Grahame Woolf, Classicalnet

MP3 320 · 163 MB

F.J. and J.M. Haydn: Flute Concertos & Scherzos

Pahud is a highly sensitive and accomplished player whose silken tone, faultless breath control, and exemplary good taste bring rich rewards.

This is an exceptionally satisfying program of charming, unaffected music by the Haydn brothers, and by one of their most successful Viennese contemporaries, Leopold Hoffmann.

Some initial explanation is called for here: The D-Major Flute Concerto traditionally ascribed to Joseph Haydn is known to have been written during the early 1780s, and was indeed listed in one of his several thematic catalogs. But this work has long since disappeared without a trace, and the one recorded here, while formerly also attributed to Haydn, has now been positively identified as the work of Leopold Hoffmann (1738-93). 

Those requiring a brief but informative evaluation of Hoffmann's career should read Dr. Allan Badley's booklet essays supplied with any of the recent Naxos discs devoted to Hoffmann's music in the series "The 18th Century Concerto."

In any case, such long-standing confusion would doubtless have pleased Haydn greatly—there was, it would seem, no love lost between these two composers, and Haydn once wrote of his colleague as "a braggart who believes that he alone has achieved Parnassus, and who seeks to undercut me in all matters." But to set matters straight, particularly in the context of this release, Breitkopf's catalog of 1765 does make mention of the six "Scherzandi," confirming them as indeed the work of Joseph himself, and this set is included, with flute concertos by Michael Haydn and Leopold Hoffmann, on the recording considered here.

The outstanding performers are flutist Emmanuel Pahud and 15 musicians drawn from the ranks of Berlin's principal orchestras, who come together as the Haydn-Ensemble Berlin under the direction of their founder, the oboist Hansjörg Schellenberger. Pahud seems in every way to be a highly sensitive and accomplished player whose silken tone, faultless breath control, and exemplary good taste bring rich rewards here. True enough, the performing style used here tends toward modernism, in keeping with the instruments employed of course, but the precision and élan of this playing is a joy throughout, and this disc may be instantly recommended. Suffice it to say that Robin Golding 's erudite booklet note furnishes useful background to these delightful works, though I doubt you'll be able to resist the seductive appeal of this lovely music-making long enough to read it thoroughly! Superb. -- Michael Jameson, FANFARE

MP3 320 · 172 MB

Haydn, Mozart, Boccherini, Tartini: Works for Cello & Strings

Founded by cellist and conductor Yuli Turovsky, I Musici de Montréal is a chamber orchestra of 15 musicians that performs a vast repertoire extending from the Baroque to the Contemporary, and is among the most important touring orchestras in Canada.

“The Incredible String Band” --The Independent, London

“I Musici de Montréal is a decidedly virtuoso group” --South China Morning Post, Hong-Kong

“Whiplash precision and tension” --Stereo Review, New York

MP3 320 · 123 MB

Haydn: Piano Sonatas Vol. 3

“This third disc in Jean-Efflam Bavouzet's ongoing exploration of Haydn's Keyboard Sonatas is the best yet. In this first two instalments, the lucidity of touch, and depth of insight were outstanding. To this he brings a more consistent use of enlivening decoration in repeats, and a still firmer grasp of the long-breathed paragraphing behind Haydn's neatly demarcated sentences.” --BBC Music Magazine, November 2011 *****

“Bavouzet shows exquisite taste, always making us aware that behind Haydn’s classical lines lies a hugely inventive personality.” --Financial Times, 3rd September 2011 ****

“Bavouzet employs the full range of available ornamentation in his mission to present the clearest, richest musical argument possible. Repeats are enlivened with everything from trills and mordants through to micro-cadenzas...Cleanly precise, sure-fingered yet beautifully delicate, Bavouzet warms the heart with his humour and gentle passion. A recording worth rushing to the shops for. Bavouzet plays these inventive masterpieces with real love.” --Classic FM Magazine, November 2011 *****

“If, like me, you have been badly missing Alfred Brendel in Haydn since his retirement, let us celebrate a special moment: Volume 3 of Jean-Efflam Bavouzet's Haydn establishes him as a worthy successor...Do please listen to him.” --Gramophone Magazine, December 2011

MP3 320 · 166 MB