Repertoire: The IDEAL Haydn Oratorios
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- čas přidán 16. 07. 2024
- If we don't use the term too strictly, we can say that Haydn wrote five oratorios, and they extend across his entire career, from the 1760s to the early 1800s. All of them are magnificent, and they offer a welcome opportunity to hear Haydn working on a broad canvas, with momentous subjects. Here is an IDEAL selection--five excellent performances, with no weak links.
- Hudba
Haydn’s choral works are earth shattering. Greatness.
Fun, insightful, useful. Thanks!
My favorite period Seasons is unquestionably Rene Jacob's for its uninhibited joy, excitement, vivid tone painting. Jacobs' other work sometimes annoys me but not here.
My favorite modern instrument version is in English, the Colin Davis version with the BBC Symphony, the one with Harper and Shirley-Quirk. Pacing is ideal, though not as unbuttoned as Jacobs can be. Davis was so good with Haydn and this recording is nearly contemporary with his great Philips Messiah. If one can find it, Beecham's stereo big band version is fun and elegant, but with some cuts and his idiosyncratic text, both verbal (his own translation) and musical.
In German, modern instruments, absolutely, Dave is right about the Boehm.
Thank you for expanding my knowledge of Haydn and his masterpieces. A great way to begin the weekend, I have heard the creation which is amazing. I will give the seasons and stabat mater a shot, Haydn has become one of my favorites composers.
Another super vlog here Dave. Watched this on Friday evening and yesterday I managed to find a cd of the Pinnock Stabat Mater in a local second hand sale. Great timing!
This I’ll be hearing, asap!
I was delighted that your ideal list of Haydn oratorios included the three less popular works, all of which belong to the composer's top drawer. Your choice of the Hengelbrock "Creation" reminded me that among the many recordings you have inspired me to purchase, the Hengelbrock/Balthasar-Neumann Choir set has given me perhaps the most enjoyment. Many thanks for that. My personal pick for the "Creation" has never wavered from Bernstein's first recording--thrills, spills, chills and all. What a romp it is. I do enjoy the Böhm "Seasons" a lot for its grandeur and splendid singing. Böhm was anything but a stereotypical "cranky old German," and his best work had enormous vitality and splendor, even if his tempos are slower in Haydn and Mozart than is fashionable today.
However my earlier preference for Böhm's "Seasons" has more recently been displaced by Solti's wonderful late recording which displays a joyful abandon we don't always associate with that conductor. The singing, if anything, is even better than on the Böhm recording. But both are great. Now what about Haydn operas? They've never caught on with me, but you might be able to convince this listener to try again.
Thank you for the useful tips! It's good of you to mention a period instrument recording of The Creation. I've been thinking about getting to know one. So far my favorite "Creation" is the one by Leonard Bernstein with Bavarian Radio Symphony Orchestra and Choir.
Great intro to the Haydn oratotios I only heard of but never listened to . I look forward to exploring the Stabat, Mater, Tobias' Return, and the Seven Last Words oratorio version. As for The Season's horn calls: many years ago, I walked in to the wonderful Berkeley, CA, record shop-cum-cafe The Musical Offering, and was shattered by horn calls I never had heard before (I did not expect to make such a grand entrance...:-) ). I asked what this music and who its composer was. The salesperson's reply: Haydn, The Seasons, recorded by Rene Jacobs and his friends in Freiburg. Needless to say I left the store with this recording, not before celebrating this feat by sitting down and sipping a cappuccino while engulfed in Haydn's magnificent music. Tempi passati ... full of wonderful memories of The Musical Offering. Thankfully, the store-cafe-bistro still exists today. Anyone reading this and about to visit Berkeley: please DO make your pilgrimage to this unique shop (and hop into the bookstore next door too!). A special note to UC Berkeley post-graduate students: this is the perfect environment - music-, beverage-, and food-wise - to discuss one's doctoral thesis with professor and/or peers.
I used to hang there too when I was at Stanford. There was nothing like it. I had friends who worked there.
The Musical Offering is still here! And still offering a wonderful collection of records and CDs. I recently picked up the classic Bohm Seasons as a starter for someone new to this oratorio.
Absolutely love Böhm’s Seasons…great all round, but especially for the heavenly voice of Gundula Janowitz. She shines in this.
Gundula Janowitz is my favorite lyric soprano of all time.
Thank you for kicking off with Haydn's Stabat Mater. I must admit I have spent evenings and afternoons listening to various Stabat Mater and Requiem recordings of various composers in the company of my best friend quite some years ago. And we really enjoyed the Pinnock recording when it was released and I still loving introducing people to this work. Thank you for unleashing some fond memories.
Did Hadyn take any time to eat. Man, that guy was prolific! And he did it all without any modern conveniences. He used an outhouse. Lovely.
I'm sure his royal patronage helped immensely.
Some words of unrestrained recommendation:
If you think you know what coloratura singing is about just wait til you've heard Barbara Hendricks in Raffaelle's aria "Anna, m'ascolta!" on Dorati's "Il returno di Tobia" where she apart from dazzling pyrotechnics demonstrates her unique gift of possessing a timbre that is both seducingly sexy and childishly innocently at the very same time. Now that adds some intricate layers of significance....
And Dorati is just sooooo perfect in this music 😍
And Yeah! Another Inga Nielsen discovery that I didn't know about as well as laurels to Johannes Mannow - the Jeremy Irons baritone lookalike.
Thank you Maestro Hurwitz!
@igorgregoryvedeltomaszewsk :: This is one of Haydn's greatest vocal compositions. Barbara Hendricks & Della Jones are superb. Della Jones is a very frustrating inducing singer. She's too stingy in the lower-range of her voice, I think, in too many of her trouser roles ... but here, as _Anna,_ Dorati doesn't let her get away with her conservative management of her formidable chest voice and her virtuoso singing was outstanding.
Barbara Hendricks and Carreras are the best in recitatives. Her voice may be "small", but the expressiveness of her voice is mesmerizingly beautiful.
My ideal of the later three: Beecham's Seasons in English is a lot of fun, I like Davis too. Creation, I have to go with Karajan. 7 last words: I'm partial to the Jurowski performance on the LPO label.
Guess I gotta learn the other two.
May we please have a repertoire list of Haydn's masses (at least the last six or so)?
I'm absolutely in love with Il Ritorno di Tobia. One of the best pieces I've ever heard, and much more interesting musically and thematically than the other two oratorios, in my opinion. If there is an interest, I uploaded some videos that combine classical art based on the Tobit story with some arias and a chorus taken from that AMAZING Naxos recording.
@markkanga8799 I’m in complete agreement with you on this! Tobia is a masterwork
@@doktorlehar Glad to hear!! It's really such an overlooked work, and it's of such profound and enormous beauty and inspiration. I agree with Naxos' notes for their recording that it is "among the better-kept secrets of music history."
Solti did with Chicago The Seasons
I had both versions at home. Bohm.and Solti
I had a preference for Solti
It's very good.
Dave what do you think about spering's creation on naxos ? I find it the right compromise between period instrument practices and modern instruments.
I've already talked about it. It's great.
Thanks Dave- I’ll have to check out some of these recordings I haven’t heard. Can certainly vouch for Pinnock’s Stabat Mater. What about Applausus? Isn’t that an oratorio? I think a newer recording of this came out in the last year or so, but I haven’t heard it.
It's a cantata.
Got you. It’s a very long cantata though!
Is there any bad recordings of this work? I was looking at Guilini's/PO DG recording
@@rsmickeymooproductions4877 Giuliani recorded Applausus?! I have a recording on the Op111 label which is ok but a bit of a stopgap. Maybe you’re referring to the Creation or similar?
@@murraylow4523 I was referring to Stabat Mater
Did you do a talk just on The Creation? I was looking for it, but didn't manage to find it. I guess I'll look harder.
Not yet.
Couldn't agree more about the Bohm recording of The Seasons: it's one of my favourite choral recordings - and the work's essential modernity. (Though The Representation of Chaos at the opening of The Creation is another Haydn harbinger of modernity.)
Frankly, I prefer the The Seasons to The Creation: I find the second half of the latter drags a little until you get to the final chorus.
I have a soft spot for Bernstein's recording of The Creation with the Bavarian Radio Symphony on DG - even if the tempi are rather self-consciously slow to modern ears.
Have you heard Paul McCreesh / the Gabrieli Consort's recordings of the works? The Creation is on DG and the The Seasons is (I think) on Winged Lion (which I think is Gabrieli's own label). I quite enjoy them both - as I do most of McCreesh / Gabrieli's work; possibly because at least they can play loud - unlike most period instrument people!
Apparently McCreesh has actually tried to do an actual authentic approach by using gigantic orchestras and choruses. I wonder what Dave thinks of them. I know he loves the Hogwood Creation which follows the same approach