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Haydn - where to start?

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3.8K views 49 replies 25 participants last post by  Phil Classical Purist  
#1 ·
I'm working on my first Haydn sonata. I don't know what's the deal with Classical composers writing millions of sonatas and symphonies. You would think that listening through 108 symphonies and 60+ sonatas is already mental enough, but no, you also have dozens of different interpretations to consider...

So to all Haydn enthusiasts, where do I start with Haydn's music?
 
#9 ·
I'm learning Haydn's Sonata no 48/xvi 35, assigned by my teacher. Whatever composer I'm learning to play, I always listen through the composer's works to get a better musical understanding. I've already listened to a couple of recordings of this sonata. I'm just not familar with the rest of Haydn's works.
 
#4 ·
Take your time, Haydn wrote all of these during a full lifetime, you don't need to experience his whole life in one weekend.

Even many of his symphonies come 3 to a disc, I recommend not listening to them like that, listen to just one of those works. Think about it a bit, maybe play it again. generally this is a problem with classical music in general, everything comes in these giant box sets now. For instance you could get Antal Doráti's complete Haydn, but you would get overwhelmed fast, because Doráti devoted much of his life to performing Haydn.

Smaller sets may help maybe Pinnock's Sturm und Drang or Jochum's London set, but again take your time. Harnoncourt is a good choice also.

I also recommend concerti because Haydn was good at them, the 1st cello concerto is famous for a reason, it is great. He wrote really nice for trumpet and horn too.

There are a lot of great string quartets and piano trios too. For the string quartets, I have been listening to Quatuor MosaĂŻques, Auryn Quartet, Festetics Quartet and the London Haydn Quartet. For the piano trios, Florestan Trio and Beaux Arts Trio are good.
 
#5 ·
The name symphonies. That gives a nice cross-section of his symphonies. I had the most fun with his early symphonies. There was a lot of humor and original ideas in it.

And don't blame Haydn. He was employed and was commissioned to write another new symphony. His boss played the instrument Baryton. Haydn had to write a lot for that instrument - at a not too difficult level (19 cd's of Baryton music....)
 
#6 · (Edited)
  • 1st Cello Concerto /Kanta (has a creative cadenza in the 2nd movement)
  • Piano Sonata 62 in E Flat Major /Kissin
  • Trumpet Concerto /Smedvig
  • Nelson Mass /Willcocks. This is sublime.
  • Symphony 82, 'The Bear' /Bernstein
  • 6 String Quartets, 'The Russian Quartets', op.33, for example with the Lindsay Quartet or the Borodin Quartet or the Angeles Quartet
  • Symphony 22 'Philosopher' /Marriner
 
#7 ·
Welcome to Haydn.
I would always start with the symphonies.
My very first Haydn record (from over 50 years ago, but still in my collection) is this one:

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It presents the two symphonies I would recommend starting with, the famous "Surprise" Symphony No. 94 in G Major, and the almost as well known "Clock" Symphony No. 101 in D Major. These are two of the "London Symphonies", which provide a good start for a survey of Haydn. Yes, he did write a lot of symphonies. I'm one of those who wishes he had written even more. But the two here recommended will give you a valid introduction into Haydn and his music, and if you like these there are so many more to explore.

You likely won't find this particular recording handy, but there are many recordings of these two symphonies, and many of them in better sound and better performance. Try Antal Dorati's recordings, or those by Adam Fischer, or Leonard Bernstein .... So many.

Here's something more -- Haydn wrote a wonderful Trumpet Concerto.

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It's one of those works that is virtually unforgettable once heard. Alison Balsom does a good job with this concerto, as does Wynton Marsalis in his recording.

Image


Finally, there is a string quartet you must hear: String Quartet In C Major, Op. 76 No. 3 "Emperor". My favorite recording features the Angeles String Quartet, but there are many other great interpretations. And if you like this, you'll find dozens more to explore.

Haydn remains one of (if not "the") my favorite composers, and I wouldn't want to be without his music. Explore, and enjoy.
 
#11 ·
Mass No. 11 in D minor / Missa in Augustiis / Mass for Troubled Times ("Lord Nelson")

Symphony No. 104 ("London")

String Quartet No. 62 in C major ("Emperor")


I'm thinking that you might be interested in his best piano sonatas though. And there's a lot of 'em (62, I think).

Try these:

Piano Sonata No.50 in D Major
Piano Sonata No.62in Eb Major
Piano Sonata No.60 in C Major
Piano Sonata No.33 in c minor
Piano Sonata No.54 in G Major
 
#15 ·
London Symphonies: Some will recommend the "sturm und drang" symphonies, or even the earlier Paris symphonies, but these where Haydn's last works in the genre and the culmination of his lifelong development of the art form, after he'd already absorbed the influences from contemporaries like Mozart. They're grand, large scale works (by classical era standards) and really diverse in their techniques and range of expression. Lots of great performances but probably my favorite set is Colin Davis with the Concertgebouw on Phillips.

Op. 76 String Quartets: As with the London Symphonies these were the culmination of his work in the string quartet genre. Even more than the symphonies Haydn's true metier was the string quartet, and his work in the genre is of a stunningly consistently high quality. There really are no bad (and very few sub-par) Haydn string quartets, but as with the Londons every work in Op. 76 has its own individualistic character, and they're all brilliant. Would highly recommend the Takacs Quartet recording of these works on Decca.

Die Schopfung (The Creation): One thing that makes Haydn somewhat "difficult" compared to other great composers is that he rarely rigorously strove to write "masterpieces." By that I mean that unlike works such as Beethoven's 9th Symphony, Mozart's Don Giovanni, Bach's St. Matthew's Passion, etc. there aren't many works in Haydn where he seemed to be trying to write "the music of the cosmos." Most Haydn is more human, humane, and down to earth. The one exception is The Creation, and it's as fine a choral work (an oratorio) as anyone ever wrote. Lots of great performances of this one too, but probably my favorite is Gardiner on Archiv.

Piano Sonatas 50-52: Haydn wasn't quite as prolific, innovative, or experimental in this genre compared to the symphony or string quartet, but again his last works find him looking forward more than most of his contemporaries. I really like Marc-Andre Hamelin in these works, but I'm sure there are many other worthwhile recordings as most great pianists have tackled them.

I would also highly recommend sampling the piano trios (The Beaux Arts trio is pretty definitive in these), masses (there's an excellent complete set with Richard Hickox on Chaconne), and a selection of the concertos (especially the famous trumpet concerto).
 
#23 ·
"Haydn 104 1st movement analysis lyrics" might make Haydn approachable for newcomers.
II: www.youtube.com/watch?v=7quIHlP0qPY
IV: www.youtube.com/watch?v=33zKM_m7y9g

as with the Londons every work in Op. 76 has its own individualistic character
Even then, I feel, with the second movements of No.4 and No.6, for example, one of them is a bit redundant.

Hanslick: "In the first place, on account of nearly one hundred years of unrivaled attention, Haydn's quartets are so deeply rooted in our blood . . . that we feel . . . that we are encountering an old friend. Furthermore, it was part of the historical character of the Haydn era that his quartets represented much more the common elements of a genre than a differentiated sharply defined individuality. It is revealing that one always refers to 'a Haydn quartet' whereas one is precise with regard to the specific work one is talking about in the case of Beethoven. . . . The reasons do not lie exclusively with the fundamentally different personalities of the two masters. The manner of composition was entirely different in their respective times. Anyone who wrote more than one hundred symphonies and came close that that in terms of quartets could not possibly invest in each of these works a distinct richness of individuality."
 
#24 ·
I second this. I fell in love with his string quartets the first time I heard them and they remain among my very favorites.

The rest of his music took me much longer to appreciate. Only in the last year or so have I come around to the symphonies and only after finding alternatives to the Colin Davis recordings people usually recommend.
 
#20 ·
Haydn can be a bit overwhelming just due to the sheer volume of his works. I'm mainly a Piano listener and I have about half of the sonatas. I have maybe 15-20 of the symphonies and maybe 20 or so quartets. I'm kind of a completist with Composers solo piano output but not sure I will get the rest of the sonatas. I haven't heard any Symphonies I didn't like. Have to revisit the Quartets since I'm not a big Quartet guy but maybe they will finally click for me
 
#31 ·
An excellent symphony sampler is available from Decca/Eloquence with Neville Marriner conducting ASMF which contains all the named symphonies. The nice thing about it is that the names (almost never given by Haydn) give you a nice hook on which to hang your listening hat. The other nice thing is ASMF is a smaller ensemble turning in sprightly performances, but without being hard driven like some HIP ensembles. It's a life enhancing set.

I don't see why you can't start with The Creation for his choral music. It's very pictorial music, so easy to see what he's getting at. And the Creation of Light is justly famous: a deceptively simple idea, but it's still breathtaking. The first audiences in Vienna were cheering when they heard it. (Dorati/Brighton for traditional or Christophers/H&H Society Boston for HIP)

Until I got to know Haydn better I found his quartets and trios a bit samey. So I'll recommend a unique work in all music: the Seven Last Words. It comes in orchestral, choral and a version for string quartets. Get the string quartet version: it's the most intimate and intense. (Casals Quartet)

Since you have a particular interest in his Sonatas, I second the recommendation for Brendel's set. However, Leif Ove Andsnes made a wonderful recording including 47, 49 and 50, just nicely skirting the one you're learning. So it might be stylistically and compositionally informative.
 
#32 ·
Haydn, like every other composer of his time, used "types" of movements.
I don't hear this in op.76 but e.g. in op.20 the slow movements of 4 and 6 are both similar as "violin arias". They are still clearly different from each other and in no way redundant but in comparison the slow movements of op.20 1+2 don't seem so easily identifiable as "types".
There is nothing at all wrong with that; the famous andante from Mozart's concerto K 467 is also an instrumental aria, other slow movements share common features of "romance" (simple, regular song-like themes in a slow walking pace, like Mozart' d and c minor concertos or Haydn's military symphony).
Even in Beethoven I'd say that the finales of the sonatas opp.2/2, 7, 22 seem all of the same type that might be called "rondo grazioso".
 
#33 · (Edited)
Haydn, like every other composer of his time, used "types" of movements.
I don't hear this in op.76 but e.g. in op.20 the slow movements of 4 and 6 are both similar as "violin arias". They are still clearly different from each other and in no way redundant but in comparison the slow movements of op.20 1+2 don't seem so easily identifiable as "types".
There is nothing at all wrong with that;
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Image

To me, this is a bit more than a matter of such "types". Passages mostly consisting of melody and harmonization with voices in stepwise motion. I-V7-I progressions, but the impressions they create are similar, due to the movement of voices, exactly the same at least in the first bar. (The lower strings doing the inversion of the passage of the 1st violin.)
This returns several times in the movements (in different keys, after each section of "decorative passage-work"), so it's something I can't just ignore by thinking "only their openings are similar". There's of course nothing wrong with that. I was just responding to Yojimbo's comment that every work in Op.76 "has its own individualistic character".
I know of course they're different works. (But I mean that "being different" and "having individualistic character" are not the same). I regard the one from No.6 more highly. That's all. (Perhaps "redundant" was too strong a term.)
 
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#34 ·
My recommendations for The Perfect Haydn Start would be a setting in three genres:

Piano Sonata no. 37 in D Major
String Quartet in C Major, HobIII/32, Op. 20/2
Symphony no. 101 D Major, The Clock

Listen to these and try to tell me the guy wasn’t absolutely brilliant and on the level of Mozart and Beethoven.
 
#37 ·
London (Bernstein) and Paris symphonies are a good place to start if you're really looking to dig into the symphonies - but I suggest also starting with his string quartets, which are arguably his single greatest achievement. Would suggest the op. 64 (Medici or Hagen quartet are both good versions) and the op. 76 (suggest the Takacs quartet version) quartets as a starting point - some really brilliant stuff here.
 
#39 · (Edited)
Below is a list of my favorite Franz Josef Haydn recordings in 10 different categories: which comprises a good selection of Haydn's most essential works, as well as other worthwhile pieces that I'd recommend to explore, over time. If interested, start with any category or combination of categories you wish. Note that I've mostly listed both modern and period instrument recordings for each work, so that you can see which style or approach you prefer. Bear in mind that the 18th century style & musical conventions performed by the period instrument ensembles are closer to what Haydn knew & would have expected to hear & had in mind when he composed these works. In other words, he tailored his scores specifically to their sound capabilities.

I. Piano Sonatas--played on a modern piano. Glenn Gould and Alfred Brendel's approaches to Haydn are quite different, and it's valuable to hear both. But while either pianist makes a good place to start, Brendel is probably the less controversial of the two. However, that doesn't mean you'll like his recordings better.

1. 11 Piano Sonatas, Alfred Brendel, box set, Philips:

2. The Six Last Piano Sonatas--Glenn Gould, CBS/Sony

If you wish to start with more recent recordings, or want to explore further than Gould and/or Brendel, I'd strongly recommend the following three recordings as well:

--My audiophile pick: Piano Sonatas Nos. 31, 33, 47 & 59, Enrique BagarĂ­a, piano, Eudora Records, hybrid SACD:

--Piano Sonatas Nos. 19 & 46, Ivo Pogorelich, piano, DG Digital:

--Six Piano Sonatas--Nos. 39, 40, 41, 44 46, 47, Einav Yarden, piano, Challenge Classics, hybrid SACD--these recordings also have very good sound and offer exceptional playing:

Later, if you eventually wish to explore this music on period pianos, Malcolm Bilson, & Christine Schornsheim make good choices. But I probably wouldn't recommend starting with historical fortepianos, unless you find that you're especially drawn to their sound (some people are):

--My top pick: Malcolm Bilson, Five Keyboard Sonatas on a Schanz Fortepiano:

Sonata in C Major, Hob. XVI. 50: I. Allegro

If you then want to tackle even more, among box set surveys of Haydn's Complete Piano Sonatas, I'd recommend looking into John McCabe's excellent survey on piano (along with Ilse von Alpenheim's, if you can find it), and Christine Schornsheim's survey played on a variety of historical instruments that she chose according to the period when the piano sonatas were written in Haydn's life.

II. Piano Trios - pianist Rudolf Serkin once said that Haydn's piano trios on are the same sublime level as Mozart's Piano Concertos. That is very high praise of course, and I totally agree with him.

--9 Piano Trios, played by the Beaux Arts Trio--these nine piano trios were selected from the Beaux Arts Trio's complete box set survey, and issued on 2 hybrid SACDs by the Pentatone label. This set makes a great introduction, if you don't wish to buy the group's complete box set initially. Plus, Pentatone's hybrid SACD format remasters work very well with the old Philips quadraphonic or quadro recordings:

Image



This individual Philips release of the Piano Trios Nos. 28-31 is another excellent place to start:



--The Complete Piano Trios played by Beaux-Arts Trio--there are many other fine recordings of these works, on both period and modern instruments, but the complete Beaux Arts Trio's survey won a well deserved rosette award from the Penguin Guide many years ago, and as noted, they still make an excellent introduction to this music. It's just great music making:


If, later on, you wish to explore this music on period instruments, the complete survey by Trio 1790 makes a reliable introductory choice.

--Trio 1790 (on period instruments):

III. String Quartets--I'm with Merl on the Op. 76 and Op. 77 String Quartets being excellent places to start. However, the Op. 20, Op. 33, Op. 64 and Op. 71 sets make good choices too. Here are some string quartet groups that are excellent in this repertory, but you will need to do some sampling in order to decide if you prefer hearing these works on modern or period instruments. I'll provide Youtube links to some of my personal favorites, but feel free to pick and choose as you wish. You might also consult Merl's SQ blog on TC to get further ideas and suggestions:

1. On modern instruments:

--Takacs Quartet--Op. 71, Op. 76, Op. 77, Op. 103, Decca and Hyperion (different personnel):

--Orlando Quartet--Op. 64 nos. 4-6 (partial) , Op. 76 nos. 4 & 6 (partial) on Philips. Both are desert island Haydn discs in my collection.



--Parkanyi Quartet--Op. 33, Op. 54--Praga label, these recordings are available on either CD or hybrid SACD (which I prefer sound wise, even on a conventional player). The Parkanyis are the former Orlando Quartet reformed, with a new cellist:

--Prazak Quartet--Op. 71, Op. 77, Op. 103, Praga

--Kodaly Quartet--this group's superb recordings are available as a complete boxed set cycle, or individually by opus number, on the Naxos label--the Kodaly's survey would be my top pick among complete Haydn SQ cycles (though the Auryn Quartet's survey is excellent too):


--Tokyo Quartet--Op. 76, Op. 50, CBS/Sony

--Chiligirian Quartet--Op. 71, Chandos

--Gewandhaus-Quartett--selected quartets, NCA on CD or hybrid SACD

Others like the Buchberger SQ and the Leipzig String Quartet, whose Haydn recordings I don't know as well.

2. On modern strings using period bows (which offers the best of both worlds to some listeners):

--Cuarteto Casals--Op. 33, Harmonia Mundi:

3. On period strings and bows:

--L'Archibudelli--the last three string quartets--Op. 77, Op. 103--this is another favorite disc of mine:

--Quatour MosaĂŻques--Opuses. 20, 33, 64. 76, 77, & 103--an excellent, but incomplete survey:



--Schuppanzigh-Quartet--various selected quartets in 3 volumes: this would be one of my top recommendations on period or modern instruments, and since they give you a wide range of quartets to explore from the various opuses, the Schuppanzighs (and/or Quatour MosaĂŻques) make a good place to start for period instrument performances:


--Apponyi Quartet--Op. 33--this is a more spunkily played set, but it's a favorite:

--Chiaroscuro Quartet--Op. 33, Op. 76--these two sets are relatively new to me, but they're first rate:


--Festetics Quartet--complete box set--this would be my top pick among complete box set cycles on period instruments; though I don't prefer this set to the Kodaly Quartet's complete cycle on modern instruments:


IV. Symphonies

A. The 'London" Symphonies Nos. 93-104:

1. On modern instruments:

--Concertgebouw Orchestra, Amsterdam, Sir Colin Davis, Philips:

--New York Philharmonic, Leonard Bernstein, Columbia/Sony--these are older recordings than Davis's, from the 1960s:

2. On period instruments:

--Orchestra of the 18th Century, Frans BrĂĽggen, Philips:

--Le Petite Bande, Sigiswald Kuijken, Deutsches Harmonia Mundi:

--Symphonies Nos. 94 "Surprise" and No. 96 "Miracle", The Academy of Ancient Music, Christopher Hogwood, L'Oiseau-lyre: this recording won a well deserved Rosette award from the old Penguin Guide:

--Symphonies Nos. 100 & 104, The Academy of Ancient Music, Christopher Hogwood--another superb single album from Hogwood to consider:

Giovanni Antonini's current ongoing complete Haydn Symphony cycle is also worth considering, but it won't be finished until 2032.

B. The 6 "Paris" Symphonies Nos. 82-87,

1. On period instruments, I'd recommend either Frans BrĂĽggen or Sigiswald Kuijken, though I've not heard William Christies' recent set:

--Orchestra of the Age of Enlightenment, Sigiswald Kuijken:

--Orchestra of the 18th Century, Frans BrĂĽggen:

2. On modern instruments:

--The Academy of St. Martin-in-the-Fields, Sir Neville Marriner:

--New York Philharmonic Orchestra, Leonard Bernstein:

C. Two extra "named" symphonies that are worth getting to know: Symphonies No. 44 "Mourning", and No. 49 "La Passione":

1. On period instruments,

--Arion Baroque Orchestra, Gary Cooper

or the recordings by Sigiswald Kuijken, Trevor Pinnock, or Frans BrĂĽggen...


2. On modern instruments,

--Academy of St. Martin-in-the-Fields, Sir Neville Marriner--this album also received a well deserved Rosette award from the old Penguin Guide:


--Orchestra of St. John's, Smith Square, London, John Lubbock

If I were pressed to pick a complete box set of Haydn Symphonies 1-104 played on modern instruments, I'd probably choose Adam Fischer's Nimbus (& Brilliant) cycle with the Austro Hungarian Haydn Orchestra; although like most box sets, it has its pros and cons (though they're mostly pros). Sir Neville Marriner's box set survey of the 29 "named" symphonies is also enjoyable and very well played, and the most recent release by the Australian Eloquence label offers a handful of extra "unnamed" symphonies that were not included in Marriner's original Philips box set:


V. Scherzandi, Divertimenti, Concertos for 2 Lire Organizzate, etc.

On period instruments:

--"Music for Prince Esterhazy and the King of Naples", Haydn Sinfonietta Wien, Manfred Huss, BIS box set:

--The Linde Consort, on Virgin Classics (originally released by EMI):

--L'Archibudelli, Sony:

VI. Concertos,

On period instruments:

Cello Concerto Nos. 1 & 2

--Christophe Coin, period cello, Academy of Ancient Music, Christopher Hogwood, L'Oiseau-lyre:


--Jean-Guiden Queyras, period cello, Freiburger Barockorchester, Petra MĂĽllejans: this is another top version that is a favorite of mine:


--Trumpet Concerto No. 1, etc., The English Concert, Trevor Pinnock, Archiv:

--Keyboard Concertos, Andreas Staier, fortepiano, Freiburger Barockorchester, Gottfried von der Goltz:


--Violin Concerti, Simon Standage, period violin, The English Concert, Trevor Pinnock:


VII. Choral Works:

A. The Masses

1. On modern instruments:

--My top pick on modern instruments: St. John's College Choir, Sir George Guest (originally released by the Argo label):

--Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston, L'Oiseau-lyre:

The following box set includes 13 Mass recordings by Guest and Preston (and Marriner in the oratorios), in Ambient Surround Imaging or AMSI remasters, & it's a very enjoyable box set:


2. On period instruments:

--This disc makes a very good place to start on period instruments, or otherwise: Missa In Angustiis "Nelson Mass", Hob. XXII:11 In D Minor, The English Concert & Choir, director, Trevor Pinnock, Archiv:

--6 Great Masses, The English Baroque Soloists, Monteverdi Choir, John Eliot Gardiner, Archiv:

--Tafelmusik, Bruno Weil - the complete Masses, etc. Sony:

B. Stabat Mater - Hob. XXbis for soloists, choir & orchestra

1. On modern instruments:

--Arleen Augér, Anthony Rolfe Johnson, The Argo Chamber Orchestra, Laszlo Heltay:

2. On period instruments:
--The English Concert & Choir Director: Trevor Pinnock, Archiv:

C. Te Deum

On period instruments:

--The English Consort and Choir, director, Trevor Pinnock, Archiv:

VIII. Oratorios

A. Die Jahreszeiten, or "The Seasons"

1. On modern instruments:

--The St. Paul Chamber Orchestra, The Minnesota Chorale, Joel Revzen--unfortunately, this doesn't seem to be on YouTube anymore:
Amazon.com

2. On period instruments:

--My top pick: Freiburger Barockorchester, Rene Jacobs, Harmonia Mundi:

B. Die Schöpfung, or "The Creation"

1. On modern instruments:

--Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum, Philips:

2. On period instruments--My top three picks:

--Les Arts Florrisants, William Christie, Erato:

·--Cappella Coloniensis, Tölzer Knabenchor, Bruno Weil, hybrid SACD--given the superb audiophile sound from Ars Produktion and the excellent solo singing on Weil's version, this might be my top pick, overall, but Christie and McCreesh are hard to beat too:

--The Gabrieli Consort & Players, Paul McCreesh, Archiv:

IX. Cantatas & Arias

--Arleen Augér, soprano, Handel and Haydn Society, Christopher Hogwood, L'Oiseau-lyre:

X. The Songs/Lieder

--The Complete Songs: Elly Ameling, soprano, Jörg Demus, piano, Philips:


--Selected Lieder: Arleen Auger, soprano, Walter Olbertz, piano, Berlin Classics:

There's no need to be in a rush. Enjoy the process of discovery at your own pace, one work at a time. Hope that helps.
 
#40 ·
Below is a list of my favorite Franz Josef Haydn recordings in 10 different categories: which comprises a good selection of Haydn's most essential works, as well as other worthwhile pieces that I'd recommend to explore, over time. If interested, start with any category or combination of categories you wish. Note that I've mostly listed both modern and period instrument recordings for each work, so that you can see which style or approach you prefer. Bear in mind that the 18th century style & musical conventions performed by the period instrument ensembles are closer to what Haydn knew & would have expected to hear & had in mind when he composed these works. In other words, he tailored his scores specifically to their sound capabilities.

I. Piano Sonatas--played on a modern piano. Glenn Gould and Alfred Brendel's approaches to Haydn are quite different, and it's valuable to hear both. But while either pianist makes a good place to start, Brendel is probably the less controversial of the two. However, that doesn't mean you'll like his recordings better.

1. 11 Piano Sonatas, Alfred Brendel, box set, Philips:

2. The Six Last Piano Sonatas--Glenn Gould, CBS/Sony

If you wish to start with more recent recordings, or want to explore further than Gould and/or Brendel, I'd strongly recommend the following three recordings as well:

--My audiophile pick: Piano Sonatas Nos. 31, 33, 47 & 59, Enrique BagarĂ­a, piano, Eudora Records, hybrid SACD:

--Piano Sonatas Nos. 19 & 46, Ivo Pogorelich, piano, DG Digital:

--Six Piano Sonatas--Nos. 39, 40, 41, 44 46, 47, Einav Yarden, piano, Challenge Classics, hybrid SACD--these recordings also have very good sound and offer exceptional playing:

Later, if you eventually wish to explore this music on period pianos, Malcolm Bilson, & Christine Schornsheim make good choices. But I probably wouldn't recommend starting with historical fortepianos, unless you find that you're especially drawn to their sound (some people are):

--My top pick: Malcolm Bilson, Five Keyboard Sonatas on a Schanz Fortepiano:

Sonata in C Major, Hob. XVI. 50: I. Allegro

II. Piano Trios - pianist Rudolf Serkin once said that Haydn's piano trios on are the same sublime level as Mozart's Piano Concertos. That is very high praise of course, and I totally agree with him.

--9 Piano Trios, played by the Beaux Arts Trio--these nine piano trios were selected from the Beaux Arts Trio's complete box set survey, and issued on 2 hybrid SACDs by the Pentatone label. This set makes a great introduction, if you don't wish to buy the group's complete box set initially. Plus, Pentatone's hybrid SACD format remasters work very well with the old Philips quadraphonic or quadro recordings:

Image



This individual Philips release of Piano Trios Nos. 28-31 is another excellent place to start:



--The Complete Piano Trios played by Beaux-Arts Trio--there are many other fine recordings of these works, on both period and modern instruments, but the complete Beaux Arts Trio's survey won a well deserved rosette award from the Penguin Guide many years ago, and as noted, they still make an excellent introduction to this music. It's just great music making:


If, later on, you wish to explore this music on period instruments, Trio 1790 makes a reliable introductory choice.

--Trio 1790 (on period instruments):

III. String Quartets--I'm with Merl on the Op. 76 and Op. 77 String Quartets being excellent places to start. However, the Op. 20, Op. 33, Op. 64 and Op. 71 sets make good choices too. Here are some string quartet groups that are excellent in this repertory, but you will need to do some sampling in order to decide if you prefer hearing these works on modern or period instruments. I'll provide Youtube links to some of my personal favorites, but feel free to pick and choose as you wish. You might also consult Merl's SQ blog on TC to get further ideas and suggestions:

1. On modern instruments:

--Takacs Quartet--Op. 71, Op. 76, Op. 77, Op. 103, Decca and Hyperion (different personnel):

--Orlando Quartet--Op. 64 nos. 4-6 (partial) , Op. 76 nos. 4 & 6 (partial) on Philips. Both are desert island Haydn discs of mine.



--Parkanyi Quartet--Op. 33, Op. 54--Praga label, these recordings are available on either CD or hybrid SACD (which I prefer sound wise, even on a conventional player). The Parkanyis are the former Orlando Quartet reformed, with a new cellist:

--Prazak Quartet--Op. 71, Op. 77, Op. 103, Praga

--Kodaly Quartet--this group's superb recordings are available as a complete boxed set cycle, or individually by opus number, on the Naxos label--the Kodaly's survey would be my top pick among complete Haydn SQ cycles (though the Auryn Quartet's survey is excellent too):


--Tokyo Quartet--Op. 76, Op. 50, CBS/Sony

--Chiligirian Quartet--Op. 71, Chandos

--Gewandhaus-Quartett--selected quartets, NCA on CD or hybrid SACD

Others like the Buchberger SQ and the Leipzig String Quartet, whose Haydn recordings I don't know as well.

2. On modern strings using period bows (which offers the best of both worlds to some listeners):

--Cuarteto Casals--Op. 33, Harmonia Mundi:

3. On period strings and bows:

--L'Archibudelli--the last three string quartets--Op. 77, Op. 103--this is another favorite disc of mine:

--Quatour MosaĂŻques--Opuses. 20, 33, 64. 76, 77, & 103--an excellent, but incomplete survey:



--Schuppanzigh-Quartet--various selected quartets in 3 volumes: this would be one of my top recommendations on period or modern instruments, and since they give you a wide range of quartets to explore from the various opuses, the Schuppanzighs (and/or Quatour MosaĂŻques) make a good place to start for period instrument performances:


--Apponyi Quartet--Op. 33--this is a more spunkily played set, but it's a favorite:

--Chiaroscuro Quartet--Op. 33, Op. 76--these two sets are relatively new to me, but they're first rate:


--Festetics Quartet--complete box set--this would be my top pick among complete box set cycles on period instruments; though I don't prefer this set to the Kodaly Quartet's complete cycle on modern instruments:


IV. Symphonies

A. The 'London" Symphonies Nos. 93-104:

1. On modern instruments:

--Concertgebouw Orchestra, Amsterdam, Sir Colin Davis, Philips:

--New York Philharmonic, Leonard Bernstein, Columbia/Sony--these are older recordings than Davis's, from the 1960s:

2. On period instruments:

--Orchestra of the 18th Century, Frans BrĂĽggen, Philips:

--Le Petite Bande, Sigiswald Kuijken, Deutsches Harmonia Mundi:

--Symphonies Nos. 94 "Surprise" and No. 96 "Miracle", The Academy of Ancient Music, Christopher Hogwood, L'Oiseau-lyre: this recording won a well deserved Rosette award from the old Penguin Guide:

--Symphonies Nos. 100 & 104, The Academy of Ancient Music, Christopher Hogwood--another superb single album from Hogwood to consider:

Giovanni Antonini's current ongoing complete Haydn Symphony cycle is also worth considering, but it won't be finished until 2032.

B. The 6 "Paris" Symphonies Nos. 82-87,

1. On period instruments, I'd recommend either Frans BrĂĽggen or Sigiswald Kuijken, though I've not heard William Christies' recent set:

--Orchestra of the Age of Enlightenment, Sigiswald Kuijken:

--Orchestra of the 18th Century, Frans BrĂĽggen:

2. On modern instruments:

--The Academy of St. Martin-in-the-Fields, Sir Neville Marriner:

--New York Philharmonic Orchestra, Leonard Bernstein:

C. Two extra "named" symphonies that are worth getting to know: Symphonies No. 44 "Mourning", and No. 49 "La Passione":

1. On period instruments,

--Arion Baroque Orchestra, Gary Cooper

or the recordings by Sigiswald Kuijken, Trevor Pinnock, or Frans BrĂĽggen...


2. On modern instruments,

--Academy of St. Martin-in-the-Fields, Sir Neville Marriner

--Orchestra of St. John's, Smith Square, London, John Lubbock

V. Scherzandi, Divertimenti, Concertos for 2 Lire Organizzate, etc.

1. On period instruments:

--"Music for Prince Esterhazy and the King of Naples", Haydn Sinfonietta Wien, Manfred Huss, BIS box set:

--The Linde Consort, on Virgin Classics (originally released by EMI):

--L'Archibudelli, Sony:

VI. Concertos,

On period instruments:

--Cello Concerto Nos. 1 & 2 - Christophe Coin, Baroque cello, Academy of Ancient Music, Christopher Hogwood, L'Oiseau-lyre:


--Trumpet Concerto No. 1, etc., The English Concert, Trevor Pinnock, Archiv:

VII. Choral Works:

A. The Masses

1. On modern instruments:

--My top pick: St. John's College Choir, Sir George Guest (originally released by the Argo label):

--Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston, L'Oiseau-lyre:

2. On period instruments:

--This disc makes a good place to start: Missa In Angustiis "Nelson Mass", Hob. XXII:11 In D Minor, The English Concert & Choir, director, Trevor Pinnock, Archiv:

--6 Great Masses, The English Baroque Soloists, Monteverdi Choir, John Eliot Gardiner, Archiv:

--Tafelmusik, Bruno Weil - the complete Masses, etc. Sony:

B. Stabat Mater - Hob. XXbis for soloists, choir & orchestra

1. On modern instruments:

--Arleen Augér, Anthony Rolfe Johnson, The Argo Chamber Orchestra, Laszlo Heltay:

2. On period instruments:
--The English Concert & Choir Director: Trevor Pinnock, Archiv:

C. Te Deum

On period instruments:

--The English Consort and Choir, director, Trevor Pinnock, Archiv:

VIII. Oratorios

A. Die Jahreszeiten, or "The Seasons"

1. On modern instruments:

--The St. Paul Chamber Orchestra, The Minnesota Chorale, Joel Revzen--unfortunately, this doesn't seem to be on YouTube anymore:
Amazon.com

2. On period instruments:

--My top pick: Freiburger Barockorchester, Rene Jacobs, Harmonia Mundi:

B. Die Schöpfung, or "The Creation"

1. On modern instruments:

--Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum, Philips:

2. On period instruments--My top three picks:

--Les Arts Florrisants, William Christie, Erato:

·--Cappella Coloniensis, Tölzer Knabenchor, Bruno Weil, hybrid SACD--audiophile sound from Ars Produktion:

--The Gabrieli Consort & Players, Paul McCreesh, Archiv:

IX. Cantatas & Arias

--Arleen Augér, soprano, Handel and Haydn Society, Christopher Hogwood, L'Oiseau-lyre:

X. The Songs/Lieder

--The Complete Songs: Elly Ameling, soprano, Jörg Demus, piano, Philips:


--Selected Lieder: Arleen Auger, soprano, Walter Olbertz, piano, Berlin Classics:

Hope that helps.
What an awesome effort by you to put all this together. I completely agree with Serkin's assessment of the Piano trios as well. Very comprehensive reference that I'm sure the OP will get a ton of value out of.
 
#41 · (Edited)
Thanks, KenL. I appreciate your kind words & support! Personally, I think it's one of the best posts I've written on TC so far. The list is not so long that it's unmanageable, at least, over time (though it's not exactly short either), and it's chock full of a variety of first rate Haydn recordings that are deeply musical and very recommendable.

So, if I may say so myself, I think it's an excellent list to build a strong Haydn collection from.
 
#42 ·
Thanks, KenL. I appreciate your kind words & support! Personally, I think it's one of the best posts I've written on TC so far. The list is not so long that it's unmanageable, at least, over time (though it's not exactly short either), and it's chock full of a variety of first rate Haydn recordings that are deeply musical and very recommendable.

So, if I may say so myself, I think it's an excellent list to build a strong Haydn collection from.
I would agree!
 
#45 · (Edited)
Yes, my previous list is "comprehensive", but, as noted, it was intended more as an introductory list geared towards building a basic Haydn collection.

However, in an effort to provide you with a basic list, I skimped on the Haydn Concerti section. & since that's the category you now seem to be exploring, here's a more filled out Concerti section (to add to the two recordings already mentioned; plus, I'll also edit the Concerti section in my previous post a bit since I still can).

I. Cello Concertos Nos. 1 $ 2:

In addition to the excellent Coin/Hogwood period recording, there's also a remarkable period recording by cellist Jean-Guihen Queyras, with the Freiburger Barockorchester, conducted by Petra MĂĽllejans that I'd strongly recommend too (and should have mentioned). It also may be a little better recorded than the Coin/Hogwood account, which of course I like too:


In addition, I should mention that the two Cello Concertos have been very popular with cellists over the decades, and there are many 'classic' versions played on a modern cello--by cellists such as Jacqueline Du Pré, Mstislav Rostropovich, Maurice Gendron, Yo-Yo Ma, Heinrich Schiff, etc., and a famous historical recording by Emmanuel Feuermann.

--This recording is probably my top pick on a modern cello (though I like Du Pré too, see below): Mstislav Rostropovich, Academy of St. Martin-in-the-Field, Iona Brown:


While cellist Jacqueline Du Pré is more romantic and fully characterized in her interpretation than the period and HIP versions (which I tend to prefer because, style wise, the Baroque cellists and period ensembles are closer to Haydn's "classical" intentions, IMO). But Du Pré is worth hearing, nonetheless, IF you wish to explore these works in greater depth,

--Jacqueline Du Pré, cello
English Chamber Orchestra (Hob.VIIb:1), Daniel Barenboim
London Symphony Orchestra (Hob.VIIb:2), Sir John Barbirolli

as is the legendary 1935 historical account of the Cello Concerto in D Major from cellist Emanuel Feuermann, with Sir Malcolm Sargent conducting, but again, you'll immediately hear how much more romantic the interpretation is,


I also neglected to mention Haydn's Violin Concerti and Piano Concerti on my previous post. To remedy that, here are some period and modern instrument suggestions for these works to add to my previous list, if you'd like to explore the Concerti category further; although I wouldn't claim that all these concerti are essential Haydn, but some of them are:

I. Violin Concerti

1. On modern instruments,

--Salvatore Accardo, violin, English Chamber Orchestra, Philips two for one bargain issue:

--Christian Tetzlaff, violin, Royal Northern Sinfonia, Heinrich Schiff conductor (coupled with cellist Truls Mørk's excellent recording of the two Cello Concertos):
Violin Concerto in A Major, Hob. VIIa:3: I. Moderato

2. On period instruments,

--Simon Standage, violin, The English Concert, Trevor Pinnock, Archiv:
Haydn: Violin Concerto in C Major, Hob. VIIa No.1 - I. Allegro moderato

--Elizabeth Wallfisch, violin, Orchestra of the Age of Enlightenment (which come coupled with Haydn's Sinfonia Concertante in a two for one bargain Erato reissue, along with some of the middle period symphonies):

Violin Concerto in G Major, Hob. VIIa:4: I. Allegro moderato

II. Piano Concerti

1. On a modern piano and instruments,

--Arturo Benedetti Michelangeli, piano, ZĂĽrcher Kammerorchester, Edmond de Stoutz:
Keyboard Concerto in D Major, Hob. XVIII:11: I. Vivace

--The Complete Piano Concertos: Matthias Kirschnereit, piano, WĂĽrttembergisches Kammerorchester, Berlin Classics:

Piano Concerto in G Major, Hob.XVIII:4: I. Allegro

--The Complete Piano Concertos: Philippe Entremont, piano, Wiener Kammerorchester, Teldec: Technically speaking, Entremont isn't quite the pianist that Kirschnereit is, yet there is, at times, a greater romantic warmth in his interpretations, and I especially enjoy his slow movements for that reason. But in the outer movements, Kirschnereit's technique is a little more nimble and agile than Entremont's; though I'm not saying that Entremont has a bad technique, either, no, he plays very well:

Piano Concerto in F major Hob.XVIII No.3 : I Allegro

2. On a period fortepiano and instruments,

--My top pick, easily: Andreas Staier, fortepiano, Freiburger Barockorchester, Gotfried von der Goltz, Harmonia Mundi:
Concerto pour Pianoforte et Cordes en Sol Majeur, Hob. XVIII:4: I. Allegro

--11 Keyboard Concerti (for harpsichord, piano and organ): Christine Schornsheim, New Dusseldorf Court Music, Mary Utiger--again, as in her complete cycle of the Haydn Piano Sonatas, Schornsheim plays on instruments that are more suitable to the time period of each work's composition in Haydn's life. Which makes for an interesting CD:

Keyboard Concerto in C Major, Hob.XVIII:1: I. Moderato

--Ronald Brautigam, Concerto Copenhagen, Lars Ulrik Mortensen, BIS:
Keyboard Concerto in D Major, Hob. XVIII:11: I. Vivace
 
#46 ·
I am a big, big Haydn fan. There have been so many great suggestions already that I won't try to add to them . The one thing I'll underline is just how enthusiastic and knowledgable Haydn fans tend to be. Once you get into him, he's so much fun, and such a great and inventive craftsman, that one just keeps listening.
Well, Ok, I'll admit that my own favorite Haydn genres are the symphonies and string quartets. You can't go wrong with the London Symphonies 93-104 or the later string quartets, which are culminations of his long career, but the earlier ones are terrific too, especially the op. 20 quartets. I also like Haydn's masses, which are probably the most enjoyable church music ever written.
As for performances, the standard of Haydn performance is generally very high. Whatever recordings you get hold of are likely to be satisfying.
 
#47 · (Edited)
I am enjoying many of Antonini's recordings from his Haydn 2032 project - to record all his symphonies.
Excellent recordings. Midi/Matin/Le Soir in particular impress.

Edit: The live concerts are free on YouTube and the website above. This makes my wallet happy too.