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Détails sur le produit

  • Interprète: Ariadne Daskalakis
  • Compositeur: Joseph Haydn
  • CD (7 août 2008)
  • Nombre de disques: 1
  • Label: Naxos
  • ASIN : B000VKM840
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 200.167 en Musique (Voir les 100 premiers en Musique)
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Digital Booklet: Haydn, J.: Trumpet Concerto / Horn Concerto No. 1 / Keyboard Concerto in D Major / Double Concerto in F Major (Bruhl)
Digital Booklet: Haydn, J.: Trumpet Concerto / Horn Concerto No. 1 / Keyboard Concerto in D Major / Double Concerto in F Major (Bruhl)
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Descriptions du produit

Description du produit

Fast 30 Jahre lang, von 1761-1790, stand Haydn im Dienste der ungarischen Fürstenfamilie Esterházy von Galántha. Da Haydn keine Laufbahn als Solist verfolgte, ist es vielleicht zu verstehen, dass er nur gut 20 Instrumentalkonzerte schrieb. Er konnte seinen Stil in dieser Gattung nicht in dem Maße entwickeln und pflegen, wie er es in der Sinfonie und dem Streichquartett tat. Seine Konzerte entstanden in unregelmäßigen Abständen zwischen 1756 und 1796, die meisten vor 1770.Für solistische Blasinstrumente komponierte Haydn mindestens sechs Konzerte, jedoch sind die meisten dieser Werke verschollen. Das Hornkonzert und das Trompetenkonzert sind die einzigen authentischen Bläserkonzerte Haydns, die sich, beide in der Handschrift des Komponisten, erhalten haben. Das Klavierkonzert und das Doppelkonzert entstanden in Haydns früher Schaffensphase eine Zeit, aus der nur wenig über die Zusammenhänge zwischen Biographie und Werk des Komponisten bekannt ist. Möglicherweise entstand das Klavierkonzert D-Dur Hob. XVIII:2 schon Mitte der 1750er Jahre; erstmals nachgewiesen ist es 1767. Stilistisch sind die frühen Konzerte geprägt durch den Umbruch vom Generalbaß- zum melodiebetonten Oberstimmensatz, der für die Konzertsatzform, wie sie durch Vivaldi und Bach etabliert war, gravierende Konsequenzen hatte. Wie vor ihm die Bachsöhne, setzte sich auch Haydn mit der Konzertsatzform auseinander und suchte nach neuen, flexibleren und durchlässigeren Formen als dem klar abgegrenzten Wechsel von stationären Tutti-Ritornellen und figurenreichen, modulierenden Soloteilen der Konzerte Vivaldis.


Striking athletecism, musical insight, expressive embellishment and elegiac lyricism. --The Strad on Ariadne Daskalakis

The Cologne Chamber Orchestra] plays on modern instruments but observes historical performance practice. Its sparkling performances, under Helmut Muller-Bruhl, of three of Haydn's lesser-known symphonies can be highly recommended. --The Sunday Telegraph

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Par BCh78 le 7 août 2013
Format: CD Achat vérifié
Ce CD est de très bonne qualité. Très agréable.Réception toujours aussi rapide et parfaitement protégé je recommande l'achat sans hésitation.
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Amazon.com: 3.5 étoiles sur 5 2 commentaires
3 internautes sur 4 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Almost ... 23 septembre 2009
Par Gio - Publié sur Amazon.com
Format: CD Achat vérifié
Three of the four Haydn compositions on this CD are well-enough played to be enjoyable, and the price is certainly right! On the other hand...

The Horn Concerto in D major is an awful performance. I hope I never forget to skip those three tracks whenever i chance to play this CD again. The modern french horn played by Dmitri Babanov is a muffled travesty of a 'corno da caccia'. I have to admit that the revival of the historical Baroque natural horn hasn't been as fabulously successful as the revival of the Baroque trumpet or bassoon. The players haven't proven their case 100%. But there's no excuse for performing 18th C horn parts with so little sensitivity to the timbres and articulations that would make this music thrilling.

The Cologne Chamber Orchestra was founded in the 1920s. It's another ensemble that professes these days to perform in a "historically informed' style on modern instruments. That decision may be forgivable for appearances in modern concert halls, but 'you can't keep your cake and eat it, too" as people say; on this CD, the two concertos for keyboard demonstrate the futility of such an effort. On the Harpsichord Concerto in D major, the orchestra tromps all over the harpsichord, both in simple dynamics and in lead-heavy timbre. The effect is to suggest that Haydn was deluded even to suppose that a harpsichord could hold its own in a concerto format, but in fact the composition is carefully crafted to expose the harpsichord at its elegant best. An authentic performance of this piece is a balmy pleasure.

The Double Concerto in F major for Violin and Fortepiano is better balanced and on the whole more satisfactory in interpretation, but still short of my expectations. Harald Hoeren has a precise, witty touch on the fortepiano; he makes as convincing a case for that instrument as any I've heard. Ariadne Daskalakis unfortunately plays a particularly wiry-sounding metal-strung violin. Their duets sound oddly anachronistic to me. The orchestra has blessedly few passages in which to overwhelm the soloists.

The trumpet for which Haydn composed his popular Trumpet Concerto in E flat major, in 1796, was not the piston-valved trumpet played by Jürgen Schuster on this CD. Neither was it the 'natural' trumpet of the earlier 18th C. As the CD notes make amply clear, it was essentially a Baroque trumpet with finger holes covered by simple keys, not valves at all, operated by the trumpeter's left hand to raise or lower a pitch in the regular overtone series by a semitone. This is close to the usual "Baroque trumpet" played today by German and Swedish trumpeters, though they use simple holes in the tubing without any kind of keys. It doesn't sound much like a modern trumpet, either in timbre or in articulations; trills in particular sound prominently different. Trumpeter Schuster actually plays his part in this concerto rather tastefully and musically. One can listen to it with enjoyment, but still it's not "the real thing." Dare I say that the valved trumpet was a calamity for the instrument, turning it from a thrilling virtuoso's horn with voice-like qualities into a blaring novelty in the string-dominated orchestra? If you want to challenge my opinion, first listen to some of the five volumes of "The Art of the Baroque Trumpet", also on Naxos, played by Niklas Eklund. Now that's an instrument of Music!
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Haydn's Trumpet Concerto and More 13 octobre 2009
Par Robin Friedman - Publié sur Amazon.com
Format: CD
Because Haydn's concertos do not constitute the strongest part of his output, it is important to begin this review with the composer at his best. Of the four works included on this CD of Haydn concertos, only one is top drawer, but it is a masterpiece of the form. This CD features Haydn's trumpet concerto together with three additional concertos written much earlier in his career. Helmut Muller-Bruhl conducts the Cologne Chamber Orchestra with a variety of soloists. These are not period performances; the Orchestra performs on modern instruments but in a historically informed way. This is a recent recording, dating from 2007. Muller-Bruhl has recorded the complete Haydn concertos in a six-CD compilation on Naxos in addition to his highly-regarded recordings of many Haydn symphonies.

Haydn wrote his trumpet concerto in E flat major in1796 in Vienna. By this time, Haydn had returned from his second trip to London, and his entire symphonic output was behind him. He composed the work for the inventor of a newfangled trumpet with five keys, which was an early attempt to give the performer a means of controlling pitch other than with his breath. The invention proved unsuccessful, and the contemporary valve trumpet did not come into use until about 1813. But Haydn's concerto uses the possibility of the instrument in a manner that has survived all technological changes. Unlike most of Haydn's concertos it is a virtuosic work full of fanfare, color, and range. It uses rapid-fire notes and features passages in the upper register of the trumpet. Besides the two flashy outer movements, the concerto features a lovely, meditative slow movement. As Karl Geiringer wrote in his famous study,"Haydn: A Creative Life in Music" (p 324); " With youthful enthusiasm the aged composer threw himself into the novel task, creating the finest solo concerto of his whole career and proving once more his flexibility and ability to absorb new ideas." Trumpeter Jurgen Schuster offers a fine performance of this much-loved work.

The remaining three concertos on this CD all were composed early in Haydn's career. Each of them has lovely features, but the concertos tend to lack the virtuosic solo performances that became the hallmark of the genre. They are more in the nature of ensemble music.

The best of the three works is the concerto in D major for horn, composed in 1762. This work was composed for an early version of the horn in which the performer had only limited ability to control the pitch of the instrument. Much of Haydn's concerto emphasizes the upper register of the horn. This is a melodious, expressive piece with good balance between the orchestra and the soloist. Haydn uses calls and fanfare, and many trilled passages on the horn. In particular, the concerto features a moving adagio between the two lively outer movements. Geiringer aptly said of this work ( p.235) that "the expressive music displays all shades of emotion, from powerful energy to tender longing." Dmitri Babanov performs this work on a modern French horn.

The remaining two works are early indeed, probably dating from Haydn's days as a freelance composer in Vienna in the late 1750s. The Keyboard concerto in D major likely was originally written for organ but is performed on this CD by Harald Hoernen on the harpsichord. This is a baroque-styled work which reminded me of Haydn's earliest symphonies. I found the recording well-balanced between orchestra and soloist. The solo line consists largely of runs and strumming passages in the right hand while the left hand tends to duplicate the lower parts in the orchestra. The work includes a lengthy slow movement and a sprightly rhythmic finale.

The final work on this CD, the double concerto for violin and keyboard, also likely dates from the late 1750s. The keyboard part is of limited range, suggesting again that it was initially composed for the organ. The main attraction of this work is the use of the fortepiano played by Hoeren together with violinist Ariadne Daskalakis. The fortepiano his a light, hollow, staccato sound which fits this music well. For the most part, the violinist in this piece follows the lead of the keyboard player. In turn, the keyboard soloist sometimes carries the melody, but he also acts as a fill-in with the orchestra. I enjoyed in particular the slow movement of this piece which features the soloists generally alternating with each other over a walking, pulsating accompaniment from the orchestra.

Listeners interested in the early Haydn in addition to the grand trumpet concerto will enjoy this CD.

Robin Friedman
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