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Joseph Haydn – Orlando Paladino

Joseph Haydn – Orlando Paladino

Recorded at the Grande Salle, Epalinges, Switzerland in June 1976

About this opera:
The Philips series, conducted by Antal Dorati, was an eye-opener and by general consent Orlando Paladino was the masterpiece. It is an opera in three acts by Joseph Haydn which was first performed at Eszterháza on 6 December 1782. The libretto by Nunziano Porta is based on another libretto, Le pazzie d’Orlando, by Carlo Francesco Badini (set by the composer P.A. Guglielmi in 1771), itself inspired by Ariosto’s epic poem Orlando furioso. The opera was described as a dramma eroicomico and the plot mixes heroic and comic elements. It was Haydn’s most popular opera during his lifetime.
Haydn contributed an exceptionally inventive and varied score to a libretto that was not written specifically for him but for the Italian composer Pietro Alessandro Guglielmi. It is of course built on the “Chanson de Roland”, written around 1100. During the Renaissance Boiardo extended the story in his unfinished poem “Orlando inammorato” and Ariosto went one step further in his “Orlando furioso”. Both Lully and Handel wrote operas on the subject, in 1685 and 1733 and so came Guglielmi’s “Le pazzie di Orlando”, performed in London in 1771, where he explored the humorous side of the subject. The text Haydn set was further developed but is in the main the same story as Guglielmi’s. It was performed at Esterháza in 1782, 1783 and 1784 and after that was a resounding success in Central Europe, being played during the composer’s lifetime in Bratislava, Prague, Brünn (Brno), Vienna, Budapest, Mannheim, Frankfurt, Cologne, Graz, Nuremberg, Berlin, Hanover, Bremen, Leipzig, Munich, Augsburg, Königsberg, Hamburg, Breslau and Dresden. Eventually it disappeared from view, only to be revived in our time. There is no evidence that Mozart or Da Ponte knew the work but there are similarities between Orlando and Don Giovanni. Don Ottavio could be modelled on Medoro, Donna Anna could be a younger sister of Angelica and Leporello has learnt a thing or two from Pasquale, who boasts about his travels around Europe in a kind of catalogue aria, Ho viaggiato in Francia, in Spagna. This buffo character has another aria, demonstrating his musical capacity, imitating instruments in the Maestro di Cappella manner, known from works by both Cimarosa and Paër.

The Artists:

Track List:

01. Sinfonia (3:53)
02. 1. Akt – (Introduzione) Eurilla, Licone, Rodomonte – Il lavorar l’e pur la brutta cosa (3:27)
03. 1. Akt – (Recitativo) Rodomonte, Licone, Eurilla – Presto rispondi, indegno (1:53)
04. 1. Akt – (Aria) Eurilla – Ah se dire io vi potessi (3:28)
05. 1. Akt – (Recitativo) Rodomonte, Licone – Non perdiamo piu tempo (0:40)
06. 1. Akt – (Aria) Rodomonte – Temerario, senti e trema (3:05)
07. 1. Akt – (cavatina) Angelica – Palpita ad ogni istante (5:11)
08. 1. Akt – (Recitativo) Angelica – Angelica infelice (1:30)
09. 1. Akt – Sinfonia (0:28)
10. 1. Akt – (Recitativo) Alcina, Angelica – Che brami dalla fata¿ (1:49)
11. 1. Akt – (Aria) Alcina – Ad un guardo, a un cenno solo (3:48)
12. 1. Akt – (Recitativo) Angelica, Medoro – D’Alcina i detti (1:35)
13. 1. Akt – (Aria) Medoro – Parto. Mah, oh dio, non posso (6:30)
14. 1. Akt – (Cavatina) Pasquale – La mia bella m’ha detto di no (1:35)
15. 1. Akt – (Recitativo) Pasquale, Rodomonte, Eurilla – Pasquale disgraziato (1:50)
16. 1. Akt – (Aria) Pasquale – Ho viaggiato in Francia, in Spagna (3:04)
17. 1. Akt – (Recitativo) Medoro, Angelica – Si, regina, ho deciso (0:47)
18. 1. Akt – (Aria) Angelica – Non partir, mia bella face (5:10)
19. 1. Akt – (Recitativo) Medoro – In odio al mio bel nume (0:34)
20. 1. Akt – (Recitativo, accompagnato) Orlando – Angelica, mio ben (5:06)
21. 1. Akt – (Aria) Orlando – D’Angelica il nome (3:30)
22. 1. Akt – (Recitativo) Pasquale, Rodomonte, Orlando, Eurilla – D’evitare i rumor dicea Catone (1:44)
23. 1. Akt – (Finale I) Orlando, Eurilla, Pasquale – Presto rispondi, indegna (2:08)
24. 1. Akt – (Finale I) Angelica, Pasquale, Eurilla, Rodomonte – Sento nel seno, oh dio (4:15)
25. 1. Akt – (Finale I) Medoro, Angelica, Eurilla, Pasquale – Chi mi salva o tien nascoso (3:42)
26. 1. Akt – (Finale I) Alcina, Rodomonte, Angelica, Eurilla, Medoro, Pasquale – Van timore il cor ti muove (2:00)
27. 1. Akt – (Finale I) Angelica, Eurilla, Medoro, Pasquale, Alcina, Rodomonte – Ferma, ferma Belzebu! (3:35)
01. (Recitativo) Orlando, Rodomonte, Eurilla – Sempre, sempre presente (1:27)
02. (Aria) Rodomonte – Mille lampi d’accese faville (2:04)
03. (Recitativo) Medoro, Eurilla – In questo solitario orrido luogo (1:48)
04. (Aria) Medoro – Dille che un infelice (5:20)
05. (Cavatina) Pasquale – Vittoria, vittoria! (1:36)
06. (Recitativo) Eurilla, Pasquale – Vuo divertirmi adesso (1:28)
07. (Duetto) Eurilla, Pasquale – Quel tuo visetto amabile (3:24)
08. (Aria) Angelica – Aure chete (5:16)
09. (Recitativo) Alcino – D’Angelica le smanie (1:01)
10. (Recitatico accompagnato) Angelica, Medoro – Fra queste selve invan (5:11)
11. (Duetto) Medoro, Angelica – Qual contento io provo in seno (3:56)
12. (Recitativo)Medoro, Angelica, Orlando, Alcina – Ma no perdiamo, oh cara (3:45)
13. (Aria) Orlando – Cosa vedo, cosa sento (3:04)
14. (Recitativo) Pasquale, Eurilla – Con quest’abito addosso (1:45)
15. (Aria) Pasquale – Ecco spiano (4:26)
16. (Recitativo) Rodomonte, Alcina, Eurilla – Angelica, dov’e (1:18)
17. (Finale II) Orlando, Pasquale, Alcino – Nel solitario speco (5:50)
18. (Finale II) Angelica, Medoro, Eurilla, Rodomonte, Pasquale, Alcina – Per quest’orrido sentieri! (6:07)
19. (Finale II) Orlando, Rodomonte, Angelica, Alcina, Eurilla, Medoro, Pasquale – Dove son (4:10)
01. (Aria) Caronte – Ombre insepolte (2:43)
02. (Recitativo) Alcina, Caronte – Nella mente d’Orlando (1:17)
03. (Recitativo accompaganto) Orlando – Sogno¿ veglio¿ cos’e¿ (2:20)
04. (Aria) Orlando – Miei pensieri, dove siete (3:34)
05. (Recitativo accompagnato) Caronte, Orlando – L’irremeabil onda: (Recitativo) Angelica, Medoro, Orlando, Rodomonte, Pas (1:36)
06. Combattimento (1:03)
07. (Recitatico accompagnato) Angelica – Implacabili numi (4:13)
08. (Aria) Angelica – Dell’estreme sue voci dolenti (4:26)
09. (Recitativo) Alcina, Angelica, Rodomonte, Orlando, Medoro, Pasquale, Eurilla – Non tormentari piu (3:44)
10. (Coro) Tutti – Son confuso e stupefatto (2:43)

Stereo, ADD, mp3, 320 kbps, 147:58 minutes, 513.89 Mb. Covers, info & synopsis included.

Part1 —  Part2 —  Part3 —  Part4 —  Part5


Joseph Haydn – L’Isola Disabitata (Eszterházy Opera Cycle)

Joseph Haydn –  L’Isola Disabitata

Recorded at The Grand Salle, Epalinges, Switzerland on May 1977

About this Opera:
L’isola disabitata (“The Desert Island”), Hob. 28/9, is an opera (azione teatrale in due parte) by Joseph Haydn, his tenth opera, written for the Eszterházy court and premiered December 6, 1779. The libretto by Pietro Metastasio was previously set by Giuseppe Bonno and subsequently used by Manuel García. Nino Rota has set excerpts to music as well. Haydn’s work has long been remembered for its dramatic Sturm und Drang ouverture, but the rest of the opera did not see print until H. C. Robbins Landon’s 1976 rental edition. A new edition by Tom Busse is to be published on the net in October 2007. The piece is striking for using orchestral accompagnati throughout. There is also a libretto of the same title by Carlo Goldoni (using the pen name Polisseno Fegeio), set by Giuseppe Scarlatti in 1757; it concerns a Chinese woman and Dutch sailors and was revived in 1760 (and again in Vienna in 1773) under the title La cinese smarrita.

The Artists:

Track List:
1. Parte Prima: Sinfonia (8:08)
2. parte prima: Recitativo (Qual contrasto non vince) (3:20)
3. parte prima: Recitativo (Ah germana! Ah Constanza!) (7:32)
4. parte prima: No.1. Aria (Se non piange un’infelice) (4:40)
5. parte prima: Recitativo (Che ostinato dolor!) (2:22)
6. parte prima: Recitativo (Ma sarà poi, Gernando) (3:56)
7. parte prima: No.2. Aria (Chi nel cammin d’onore) (3:55)
8. parte prima: Recitativo (Che fu mai quel ch’io vidi?) (1:39)
9. parte prima: No.3. Aria (Fra un dolce deliro) (4:12)
1. parte seconda: Recitativo (Ah presaga fu l’alma) (6:47)
2. parte seconda: No.4 Aria (Non turbar quand’io mi lagno (4:30)
3. parte seconda: Recitativo (Non s’irriti fra’ primi) (6:02)
4. parte seconda: No.5. Aria (Come il vapor s’ascende) (3:41)
5. parte seconda: No.6. Aria (Ah, che invan per me pietoso) (4:50)
6. parte seconda: Recitativo (Giacché da me lontana) (0:23)
7. parte seconda: No.7 Aria (Giacché il pietoso amico) (7:38)
8. parte seconda: Recitativo (COnstanza…Constanza?) (3:47)
9. parte seconda: No.8. Quartetto (Sono contenta appieno) (10:39)

Stereo, mp3, 320 kbps, ADD, 82:01 minutes. Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3

Joseph Haydn – The Seasons

Joseph Haydn –  The Seasons

Recorded at the Grosser Saal, Musikverein in Viena between April and May 1967.

About this work:
The Seasons (German: Die Jahreszeiten) is an oratorio by Joseph Haydn (H. 21/3). Haydn was led to write The Seasons by the great success of his previous oratorio The Creation (1798), which had become very popular and was in the course of being performed all over Europe. The libretto for The Seasons was provided to Haydn, just as with The Creation, by Baron Gottfried van Swieten, an Austrian nobleman who had also exercised an important influence on the career of Mozart. Van Swieten’s libretto was his own rendering into German of extracts from the long English poem “The Seasons” by James Thomson (1700-1748), which had been published in 1730. The composition process was arduous for Haydn, in part because his health was gradually failing and partly because Haydn found van Swieten’s libretto to be rather taxing. Haydn took two years to complete the work. The premiere, in Vienna on April 24, 1801, was considered a clear success, but not a success comparable to that of The Creation. In fact, this has been the critical verdict on The Seasons ever since, and to this day it is performed considerably less often than the earlier oratorio. It is widely felt that the blame lies not with Haydn, who remained at the height of his powers musically, but with the libretto. Oratorios typically are written on weighty subjects, such as episodes and characters from the Christian religion or heroes of classical mythology, but the libretto of The Seasons is mostly about the weather and about everyday life. The stirring final solo and chorus, which take up weightier matters (the meaning of life, the last trumpet, the eternal afterlife), might be taken to show what a remarkable work Haydn could have composed had he had access to a more serious libretto. Like The Creation, The Seasons is a bilingual work. Since Haydn was very popular in England (particularly following his visits there in 1791-2 and 1794-5), he wished the work to be performable in English as well as German. Van Swieten therefore retranslated the Thomson original back into English, fitting it to the rhythm of the music. The resulting English text has not always proven satisfying to listeners; for example, one critic writes, “Clinging to [the] retranslation, however, is the heavy-handed imagery of Haydn’s sincere, if officious, patron. Gone is the bloom of Thomson’s original. The Seasons is written for a fairly large late-Classical orchestra, a chorus singing mostly in four parts, and three vocal soloists, representing archetypal country folk: Simon (bass), Lucas (tenor), and Hanne (soprano). The solo voices are thus the same three as in The Creation.
There is some evidence that Haydn himself was not happy with van Swieten’s libretto, at least one particular aspect of tone-painting it required, namely the portrayal of the croaking of frogs, which is found during the serene movement that concludes Part II, “Summer”. The version of the anecdote given below is from the work of Haydn scholar H. C. Robbins Landon. In 1801, August Eberhard Müller (1767-1817) prepared a piano version of the oratorio’s orchestra part, for purposes of rehearsal and informal performance. Haydn, whose health was in decline, did not take on this task himself, but he did look over a draft of Müller’s work and wrote some suggested changes in the margins. Amid these changes appeared an off-the-cuff complaint about van Swieten’s libretto: This whole passage, with its imitation of the frogs, was not my idea: I was forced to write this Frenchified trash. This wretched idea disappears rather soon when the whole orchestra is playing, but it simply cannot be included in the pianoforte reduction. Robbins Landon continues the story as follows: “Müller foolishly showed the passage in the enclosed sheet, quoted above, to the editor of the Zeitung fur die elegante Welt,[3] who promptly included it in support of his criticism of Swieten’s wretched libretto. Swieten was enraged, and [Haydn’s friend] Griesinger reported that His Excellency “intends to rub into Haydn’s skin, with salt and pepper, the assertion that he [Haydn] was forced into composing the croaking frogs.” A later letter of Griesinger’s indicates that the rift thus created was not permanent. The term “Frenchified trash” was almost certainly not a gesture of contempt for France or French people; Haydn in fact had friendly relationships with French musicians (see, e.g. Paris symphonies). Rather, Haydn was probably referring to an earlier attempt by van Swieten to persuade him to set the croaking of the frogs by showing him a work by the French composer André Grétry that likewise included frog-croaking.

Track List:
01. Mirad como el duro invierno se va (Bajo) (5:41)
02. Ven dulce primavera (Coro) (3:48)
03. Por fin los rayos del Sol (Bajo) (0:35)
04. Con alegría trabaja el labrador (Bajo) (3:46)
05. El labrador ha hecho su parte (Tenor) (0:33)
06. Se propicio dulce cielo (Tenor-Coro) (6:07)
07. Nuestras plegarias son escuchadas (Soprano) (1:00)
08. Oh, tan amable la primavera (Soprano-Tenor-Coro) (5:04)
09. Gracioso Dios de luz y vida (Sop-Ten-Bajo-Coro) (5:03)
10. Su rostro cubierto de rocío (Tenor-Bajo) (3:47)
11. Desde el redil el pastor las guía (Bajo) (3:06)
12. El Sol remonta (Sop-Ten-Bajo-Coro) (4:34)
13. Todo se anima en el campo (Bajo) (1:32)
14. La naturaleza sucumbe bajo el peso (Tenor) (3:18)
15. Bienveindas sois, umbrosas arboledas (Soprano) (3:52)
16. Que placentero a los sentidos (Soprano) (4:44)
17. Mirad, la oscuridad emerge de las arboledas (Baj-Ten-Sop) (2:30)
18. Oh, la tormenta se aproxima (Coro) (3:54)
19. Las oscuras nubes se separan (Tenor-Soprano) (4:20)
01. Los variados retoños (2:50)
02. Así la naturaleza recompensa ( Trio-Coro) (6:16)
03. Mirad ahora los avellanos (Trio) (1:06)
04. Vosotras alegres y bellas, venid (Tenor-Soprano) (7:34)
05. Donde estuvieron las generosas cosechas (Bajo) (0:58)
06. Mirad las vastas praderas (Bajo) (3:14)
07. Aquí el cerco se cierras sobre la liebre (Tenor) (0:42)
08. Escuchad, las montañas resuenan (Coro) (4:03)
09. El viñedo muestra su abundancia (Soprano) (1:07)
10. Hurra, aquí llega el vino (Coro) (6:22)
11. Introduccion (2:32)
12. Ya zozobra el pálido año (Bajo-Soprano) (2:19)
13. La luz y la vida languidecen (Soprano) (1:42)
14. De cristal se cubre el lago (Tenor) (1:31)
15. El viajero se detiene perplejo (Tenor) (4:05)
16. Como llega la noche (Trio) (1:17)
17. Gira, gira pequeña rueca (Soprano-Coro) (3:17)
18. Una doncella de un señor (Soprano) (3:32)
19. Del este llega (Bajo) (0:39)
20. 43. I – Piensa en esto, insensato (Bajo) (4:01)
21. Entonces rompe el alba gloriosa (Trio-Coro) (5:36)

The Players:

Stereo, ADD, mp3, 320 kbps, 300.09 Mb, 2 hours 11 minutes. Covers & info included.

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Joseph Haydn – L’Infedeltà Delusa (Eszterhaza Opera Cycle)

Joseph Haydn –   L’Infedeltà Delusa

Recorded at The Grand Salle, Epalinges, Switzerland on June 1980

About this opera:
L’infedeltà delusa (“Deceit Outwitted”), Hob. 28/5, is an operatic burletta per musica by Joseph Haydn. The Italian libretto was by Marco Coltellini, perhaps reworked by Carl Friberth who also took part in the first performance.
The earliest recorded performance, which may have been the premiere, was at Eszterháza on 26 July 1773. This was the name day of the Dowager Princess Estaházy and this date is given in the printed libretto. It was revived for the visit of Empress Maria Theresa on 1 September 1773, and again on 1 July 1774.

Track List:
01. Ouverture (6:20)
02. 1. Akt – (Introduzione) – Bella sera (9:33)
03. 1. Akt – (Recitativo) – Si figliola (1:31)
04. 1. Akt – (Aria) – Quando viene a far l’amore (5:46)
05. 1. Akt – (Recitativo) – Povera me! povero Nanni! (1:17)
06. 1. Akt – (Aria) – Che imbroglio è questo! (3:56)
07. 1. Akt – (Recitativo) – Ora intendo cos’è (0:34)
08. 1. Akt – (Aria) – Non v’è rimedio (3:54)
09. 1. Akt – (Aria) – Come piglia si bene la mira (7:02)
10. 1. Akt – (Recitativo) – Cappita! Or ora è notte! (1:11)
11. 1. Akt – (Duetto) – Son disperato (4:37)
12. 1. Akt – (Aria) – Chi s’impaccia di moglie cittadina (7:16)
13. 1. Akt – (Recitativo) – È qui l’amico (3:51)
14. 1. Akt – (Finale) – O piglia questa (4:23)
01. atto secondo No.15. Recitativo (O fratel mio) (5:16)
02. atto secondo No.16. Aria (Ho un tumore in un ginocchio) (6:24)
03. atto secondo No.17. Recitativo (Che ne dite?) (2:22)
04. atto secondo No.18. Aria (Tu sposarti alla Sandrina?) (5:42)
05. atto secondo No.19. Recitativo (Che faccenda è cotesta?) (1:55)
06. atto secondo No.20. Aria (Trinche vaine allegramente) (1:38)
07. atto secondo No.21. Recitativo (Ora ho scoperto tutto) (3:13)
08. atto secondo No.22. Aria (Oh che gusto!) (4:12)
09. atto secondo No.23. Recitativo (Vieni, sbrigati Nanni!) (0:31)
10. atto secondo No.24. Aria (Ho tesa la rete) (5:22)
11. atto secondo No.25. Recitativo (Tira in qua quella tavola) (1:59)
12. atto secondo No.26. Aria (È la pompa un grand’imbroglio) (5:15)
13. atto secondo No.27. Recitativo (Servo di Vosustrissima) (1:05)
14. atto secondo No.28. Finale (Nel mille settecento) (5:23)

The Players:

Stereo, ADD, mp3, 320 kbps, 281.12 Mb, 1 hours 50 minutes. Covers, info & synopsis included.

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Joseph Haydn – The Creation

Joseph Haydn –  The Creation

Recorded at the Jesus-Christus-Kirche, Berlin betwen February 1966 and April 1969.

About this work:
The Creation (German: Die Schöpfung) is an oratorio written between 1796 and 1798 by Joseph Haydn (H. 21/2), and considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis. Haydn was inspired to write a large oratorio during his visits to England in 1791–1792 and 1794–1795, when he heard oratorios of Handel performed by large forces. Israel in Egypt is believed to have been one of these. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. The work on the oratorio lasted from October 1796 to April 1798. It was also a profound act of faith for this deeply religious man, who appended the words “Praise to God” at the end of every completed composition. He later remarked, “I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work.” Haydn composed much of the work while at his residence in the Mariahilf suburb of Vienna, which is now the Haydnhaus. It was the longest time he had ever spent on a single composition. Explaining this, he wrote, “I spent much time over it because I expect it to last for a long time.” In fact, he worked on the project to the point of exhaustion, and collapsed into a period of illness after conducting its premiere performance. Haydn’s original autograph score has been lost since 1803. A Viennese published score dated 1800 forms the basis of most performances today. The ‘most authentic’ Tonkünstler-Societat score of 1799, with notes in the composer’s hand, can be found at the Vienna State Library. There are various other copyist scores such as the Estate, as well as hybrid editions prepared by scholars during the last two centuries. The text of The Creation has a long history. The three sources are Genesis, the Biblical book of Psalms, and John Milton’s Genesis epic Paradise Lost. In 1795, when Haydn was leaving England, the impresario Johann Peter Salomon (1745–1815) who had arranged his concerts there handed him a new poem entitled The Creation of the World. This original had been offered to Handel, but the old master had not worked on it, as its wordiness meant that it would have been 4 hours in length when set to music. The libretto was probably passed on to Salomon by Thomas Linley Sr. (1733–1795), a Drury Lane oratorio concert director. Linley (sometimes called Lidley or Liddel) himself could have written this original English libretto, but scholarship by Edward Olleson, A. Peter Brown (who prepared a particularly fine “authentic” score) and H. C. Robbins Landon, tells us that the original writer remains anonymous. When Haydn returned to Vienna, he turned this libretto over to Baron van Swieten. The Baron led a multifaceted career as a diplomat, librarian in charge of the imperial library, amateur musician, and generous patron of music and the arts. He is largely responsible for recasting the English libretto of The Creation in a German translation (Die Schöpfung) that Haydn could use to compose. He also made suggestions to Haydn regarding the setting of individual numbers. The work was published bilingually (1800) and is still performed in both languages today. Haydn himself preferred for the English translation to be used when the work was performed for English-speaking audiences. Van Swieten was evidently not a fully fluent speaker of English, and the metrically-matched English version of the libretto has given rise to criticism and various attempts at improvement. Indeed, the English version is sufficiently awkward that the work is sometimes performed in German even in English-speaking countries. One passage describing the freshly-minted Adam’s forehead ended up, “The large and arched front sublime/of wisdom deep declares the seat”. The discussion below quotes the German text as representing van Swieten’s best efforts, with fairly literal renderings of the German into English.
The Creation is set for three vocal soloists (soprano, tenor, and bass), four-part chorus (soprano, alto, tenor, bass), and a large Classical orchestra consisting of 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and the usual string sections of first and second violins, violas, cellos, and double basses. For the recitatives a harpsichord or fortepiano is also used. There seems little doubt that Haydn wanted a big sound (by the standard of his day) for his work. Between the private premieres for nobles and the public premiere in 1799, Haydn added extra instrumental parts to the work. The forces for the public premiere numbered about 120 instrumentalists and 60 singers. The three soloists represent angels who narrate and comment on the successive six days of creation: Gabriel (soprano), Uriel (tenor), and Raphael (bass). In Part III, the role of Adam is usually sung by the same soloist as sings Raphael, and the roles of Gabriel and Eve are also taken by the same singer (this was the practice Haydn followed); however, some conductors prefer to cast each of the five roles with a different soloist. The choral singers are employed in a series of monumental choruses, several of them celebrating the end of one particular day of creation. The orchestra often plays alone, notably in the episodes of “tone-painting”: the appearance of the sun, the creation of various beasts, and above all in the overture, the famous depiction of the Chaos before the creation.
The first performances in 1798 were sponsored by a group of noble citizens, who paid the composer handsomely for the right to stage the premiere (Salomon briefly threatened to sue, on grounds that the English libretto had been translated illegally). The performance was delayed until late April—the parts were not finished until Good Friday—but the completed work was rehearsed before a full audience on April 29. The first public performance the next day was a private affair, but hundreds of people crowded into the street around the Schwarzenberg Palace to hear this eagerly anticipated work. Admission was by invitation only. Those invited included wealthy patrons of the arts, high government officials, prominent composers and musicians, and a sprinkling of the nobility of several countries; the common folk, who would have to wait for later occasions to hear the new work, so crowded the streets near the palace that some 30 special police were needed to keep order. Many of those lucky enough to be inside wrote glowing accounts of the piece. In a letter to the Neue teutsche Merkur, one audience member wrote: “Already three days have passed since that happy evening, and it still sounds in my ears and heart, and my breast is constricted by many emotions even thinking of it.” The first public performance at Vienna’s Burgtheater on 19 March 1799 was sold out far in advance, and Die Schöpfung was performed nearly forty more times in the city during Haydn’s lifetime. It had its London premiere the next year, in an English translation, at the Covent Garden Theatre. The last performance Haydn attended was on March 27 1808, just a year before he died: the aged and ill Haydn was carried in with great honour on an armchair. According to one account, the audience broke into spontaneous applause at the coming of “light” and “Papa” Haydn, in a typical gesture weakly pointed upwards and said: “Not from me—everything comes from up there!”. Remarkably, The Creation was also performed more than forty times outside Vienna during his lifetime: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States. A typical performance lasts about one hour and 45 minutes.

Track List:
01. The First Day: Einleitung. Die Vorstellung des Chaos (Largo) (7:05)
02. The First Day: Im Anfange schuf Gott Himmel und Erde… (2:58)
03. The First Day: Nun schwanden vor dem heiligen Strahle (4:01)
04. The Second Day: Und Gott machte das Firmament (1:50)
05. The Second Day: Mit Staunen sieht das Wunderwerk… (2:00)
06. The Third Day: Und Gott sprach: Es sammle sich das Wasser (0:45)
07. The Third Day: Rollend in schäumenden Wellen (4:12)
08. The Third Day: Und Gott sprach: Es bringe die Erde Gras hervor (0:37)
09. The Third Day: Nun beut die Flur das frische Grün (5:34)
10. The Third Day: Und die himmlischen Heerscharen… (0:14)
11. The Third Day: Stimmt an die Saiten (1:58)
12. The Fourth Day: Und Gott sprach: Es sei’n Lichter… (0:41)
13. The Fourth Day: In vollem Glanze steiget jetzt (2:55)
14. The Fourth Day: Die Himmel erzählen die Ehre Gottes (4:09)
15. The Fifth Day: Und Gott sprach: Es bringe das Wasser in der Fülle hervor (0:22)
16. The Fifth Day: Auf starkem Fittiche schwinget… (7:38)
17. The Fifth Day: Und Gott schuf groBe Walfische (2:39)
18. The Fifth Day: Und die Engel rührten ihr’… (0:27)
19. The Fifth Day: In holder Ammut stehen/Der Herr ist groB in seiner Macht (7:39)
01. The Sixth Day: Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe (0:30)
02. The Sixth Day: Gleich öffnet sich der Erde Schoss (3:01)
03. The Sixth Day: Nun scheint in vollem Glanze der Himmel (3:45)
04. The Sixth Day: und Gott schuf den Menschen (0:48)
05. The Sixth Day: Mit Würd’ und Hoheit angetan (3:58)
06. The Sixth Day: Und Gott sah jedes Ding (0:27)
07. The Sixth Day: “Vollendet ist das grosse Werk” / “Zu Dir, o Herr, blickt alles auf” / “Vollendet ist das groBe Werk” (9:13)
08. Aus Rosenwolken bricht (4:51)
09. Von deiner Güt’, o Herr und Gott (10:00)
10. Nun ist die erste Pflicht erfültt (2:50)
11. Holde Gattin, dir zur Seite (7:04)
12. O glückliches Paar, und glücklich immerfort (0:27)
13. Singt dem Herren alle Stimmen! (4:02)

The Players:

Stereo, ADD, mp3, 320 kbps, 253.76 Mb, 1 hours 48 minutes. Covers & info included.

Part1 —–  Part2 —–   Part3

Josep Haydn – Violin & Cello Concertos

Josep Haydn – Violin & Cello Concertos

Recorded in the United Kingdom on January 1972 (Cello Concertos) and May 1980 (Violin Concertos)

About this work:
It’s amazing how great musicians come in pairs–think of Bach and Handel, Haydn and Mozart–and often with complimentary abilities. Mozart was the ultimate concerto composer, Haydn the great symphonist. And yet each composed fine–indeed sublime–works in the other’s “territory.” Haydn’s Violin Concertos are early works, but they have always been favoured by violinists on account of their gracefully-written and elegant solo parts, to say nothing of their perfect suitability for performance by amateurs and chamber orchestras. Salvatore Accardo performs these charming pieces with consummate taste as well as a healthy dose of energy.

Track List:

The Players:

Stereo, ADD, mp3, 320 kbps, 346.311 Mb, 2 hours 22 minutes. Covers & info included.

Part1 —–  Part2 —–   Part3 —–   Part4

Joseph Haydn – L’Incontro Improvviso (Eszterhaza Opera Cycle)

Joseph Haydn – L’Incontro Improvviso

Recorded at The Grand Salle, Epalinges, Switzerland on September 1977 (opera) and June 1980 (arias).

About this Opera:
L’incontro improvviso (The unexpected encounter) is an opera in three acts by Joseph Haydn first performed at Eszterháza on 29 August 1775 to mark the four-day visit of Archduke Ferdinand, Habsburg governor of Milan and his consort Maria Beatrice d’Este. The opera is designated a dramma giocoso (a comic opera) and is an example of the then Austrian fascination with Turkish subjects.
The libretto by Carl Friberth was adapted and translated from the French opera-comique by Louis Hurtaut Dancourt, and previously set by Gluck in 1764 as the La rencontre imprévue. In keeping with Italian practice, Friberth constructed longer buffo finale texts at the end of Acts I and II.
Although not Haydn’s greatest success in the operatic field, L’incontro improvviso does include some high-class and varied music. As well as the ‘Turkish’ music, amusing scenes for Osmin and Calandro, the ‘painting’ aria in the last act where Ali describes the contents of a picture with orchestral help, and another aria “Senti, al buio pian” for Osmin with orchestral colouring, there is Italian lyricism evident in arias for Ali (“Deh! se in ciel pietade avete”) and Rezia (“Or vicina a te”). Act II has two powerful arias for sopranos; Haydn detached Rezia’s “Or vicino a te” and published separately in 1783. The superb first act “Mi sembra un sogno” contrasts a trio for female voices with muted violins, cors anglais and horns is a highlight.
The work is scored for an orchestra consisting of 2 oboes (doubling cors anglais), 2 bassoons, 2 trumpets, 2 horns, timpani, percussion, violins I & II, viola, cello, bass and continuo.
It is not known if any further performances followed the Eszterháza production, although a German translation was made for Bratislava. Danish musicologist Jens Peter Larsen discovered the autograph score in Leningrad in 1954, and the opera was subsequently broadcast in Russian in 1956. It was first staged in the UK at the Camden Festival in 1966. The first complete recording was made by Philips in 1980 in association with the Radio Suisse Romande and the European Broadcasting Union, conducted by Antal Dorati.

Track List:
01. No.1 – Ouverture (7:48)
02. Atto primo: No.2: Introduzione (Che bevanda) (5:18)
03. Atto primo: No.3. Recitativo (Ancor io la mia parte farò) (0:25)
04. Atto primo: No.4. Canzonetta (L’amore è un gran briccone) (1:27)
05. Atto primo: No.5. Recitativo (Eccoci finalmente) (0:42)
06. Atto primo: No.6. Aria (Castagno, castagna) (3:09)
07. Atto primo: No.7. Recitativo (Che il diavolo vi porti) (1:38)
08. Atto primo: No.8. Aria (Noi pariamo santarelli) (4:40)
09. Atto primo: No.9. Recitativo (Via dunque, sior buffone!) (0:54)
10. Atto primo: No.10. Aria. (Quanto affetto mi porprende) (5:58)
11. Atto primo: No.11. Recitativo (Care, entrambe amiche mie) (0:51)
12. Atto primo: No.12. Terzetto (Mi sembra un sogno) (7:59)
13. Atto primo: No.13. Recitativo (Indarno m’affanno di veder Osmin) (3:56)
14. Atto primo: No.14. Aria (Deh! se in ciel pietade avete) (5:16)
15. Atto primo: No.15. Recitativo (Per ora insegnameti il secreto) (0:58)
16. Atto primo: No.16. Duetto (Castagno, castagna) (2:03)
17. Atto primo: No.17. Recitativo (Osmin! Io ti conosco) (1:48)
18. Atto primo: No.18. Aria (Che siano i Calandri) (3:57)
19. Atto primo: No.19. Recitativo (È quello, che sta con il Calandro?) (1:34)
20. Atto primo: No.20. Aria (Siam femmine buonine) (4:38)
21. Atto primo: No.21. Recitativo (Venite, signor) (0:25)
22. Atto primo: No.22. Finale (Sangue d’un ginocchio storto!) (5:22)
01. Atto secondo: No.23. Recitativo (Che ne dite, signor) (1:24)
02. Atto secondo: No.24 (Canzonetta (Quivi in un seren gentile) (4:51)
03. Atto secondo: No.25. Recitativo (Prendi, Osmin) (1:05)
04. Atto secondo: No.26. Aria (Ho promesso oprar destrezza) (5:12)
05. Atto secondo: No.27. Recitativo (Giusti Cieli! Che miro?) (2:00)
06. Atto secondo: No.28 Canzonetta (Non piangete, putte care) (2:05)
07. Atto secondo: Recitativo (Ma come arrivaste qui in Cairo?) (1:18)
08. Atto secondo: No.29. Aria (Or vicina a te) (5:16)
09. Atto secondo: Recitativo (Prence, siete in cima) (0:30)
10. Atto secondo: No.30. Aria (Il guerrier con armi avvolto) (5:13)
11. Atto secondo: No.31. Recitativo (Felice amanti, andate) (0:40)
12. Atto secondo: No.32. Aria (Ad acquistar già volo) (5:12)
13. Atto secondo: No.33. Recitativo (Dico e ridico) (1:37)
14. Atto secondo: No.34. Canzonetta (Il Profeta Maometto) (1:10)
15. Atto secondo: No.35. Recitativo (Bravo, fratello!) (1:04)
16. Atto secondo: No.36. Aria (Senti, al buio pian pianino) (4:09)
17. Atto secondo: No.37. Recitativo (Come già dissi) (1:28)
18. Atto secondo: No.38. Duetto (Son quest’occhi un stral d’Amore) (7:09)
19. Atto secondo: No.39. Finale (È in ordine la festa) (3:30)
20. Atto secondo: No.39. Finale (Deh! Fuggite in quest’istante) (5:35)
01. Atto terzo: Recitativo (Amico! Eccoci dunque nelle vostre mani) (3:08)
02. Atto terzo: Canzonetta (S’egli è vero) (8:00)
03. Atto terzo: Recitativo (Principessa amabile!) (2:33)
04. Atto terzo: Aria (Ecco un splendido banchetto) (3:38)
05. Atto terzo: Recitativo (Straniero! Voi già siete tutti scoperti) (3:13)
06. Atto terzo: Intermezzo (0:47)
07. Atto terzo: Recitativo (Ah signor!) (1:37)
08. Atto terzo: Coro (Finale: Or gli affanni son svaniti) (4:29)
09. Tre airie e terzetto: Ifigenia in Tauride (Traetta): Ah, tu non senti, amico (2:18)
10. Tre airie e terzetto: Ifigenia in Tauride (Traetta): QUa destra omicida (3:53)
11. Tre airie e terzetto: Acide e Galaeta (Haydn): Tergi i vezzosi rai (6:16)
12. Tre airie e terzetto: I finti eredi (Sarti): Se tu mi sprezzi, ingrata (5:51)
13. Tre airie e terzetto: La Circe, ossia L’isola incantata (Pasticcio): Lavatevi presto (8:40)

The Players:
Orchestre de Chambre de Lausanne
Antal Dorati: conductor

Stereo, ADD, mp3, 320 kbps, 458.91 Mb, 3 hours 36 minutes. Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3 —–  Part4 —–   Part5