June 1, 2014

  • Violin Concerti by Haydn

     

    Haydn: Violin Concertos; Salomon: Romance
    Concerto Koln/Midori Seiler, violin
    Brilliant Classics 94748
    Total Time:  67:59
    Recording:   ****/****
    Performance: ****/****

    Most music lovers are familiar with the symphonies of Franz Joseph Haydn (1732-1809).  No lover of Classical period music should be without a few of those works from throughout the composer’s long career in their music libraries.  They are without a doubt some of the most fascinating works of the period providing a unique window on the development of the symphonic form, orchestra, and the transition from Baroque to Classical style.  While his symphonies are more common appearances in the concert hall, it has only been relatively recently that his concerti are as championed; though those for the cello and a few of the piano concerti make occasional appearances.  The violin concerti are a bit more difficult to encounter.  Some of this is due to the inability to attribute some of the pieces with Haydn’s name as being by the composer.  However, there are at least four that have proven to be by the composer, one lost to time.

    For this program, period violinist Midori Seiler has brought all three of these works together allowing audiences to hear these works collectively with period forces.  So it is worth noting that these are all “period instrument” performances.  Seiler plays a 17th-Century Guarneri violin which may seem odd at first, but is certainly more than appropriate for the Haydn pieces here.  All three concertos are thought to have been composed in the 1760s.  Two of them are thought to have been completed by 1769 and a further one by 1771.  This places all of them in that interesting transitional period of the Rococo and one would expect these concerti to bear some Baroque-like traits in the music.  This is especially true of the outer movement of these concertos with their amazing virtuosic demands on the soloist, which most likely was Haydn himself at the time, and where the cadenzas tend to be a bit more elaborate.  The central movements feature a more operatic arioso quality exploring more lyrical aspects of the instrument.  Of course, there are plenty of “surprise” moments as Haydn loves to play small tricks where ideas may be suddenly pulled back, or may suggest folk influences.  The monothematic nature of the opening movements tends to mimic that found in the symphonies of the time with the soloist providing an almost Vivaldi-like series of solo comments upon this material.  The accompaniment then becomes a series of chord movements adding extra vitality and drive to support the soloist.  The use of sequences to move through harmonic progressions is a wonderfully adapted approach often making the pieces have a foot in two stylistic periods.  The full range of the violin is exploited very well in these works.  And, each seems to tackle a different way to write for the instrument both in terms of technique, and in terms of possible form for the movements themselves.  It is just what makes listening to Haydn such an amazing delight.

    As a little encore, Seiler includes a Romanze by Johann Peter Salomon.  This is the same Salomon who brought Haydn to London which resulted in the composition of the last 12, and some of the more celebrated, symphonies by the composer.  Likely composed in the mid-1790s, the piece makes a fitting work to conclude this program and allows for a further rarity for music lovers as much of Salomon’s music has survived.  This is a rather gorgeous little work full of Classical poise and Romantic suggestiveness.

    Seiler is a noted 18th Century performance artist, though she has also recorded later repertoire.  Her commitment is apparent everywhere in these works as she makes a very good case for these concerti.  The music is well-performed and stylistically is spot on for Haydn, though a couple of slides suggest a slightly more Romantic intrusion at times.  Those less familiar with period instrument sound may need to get used to a perceived “thinner” quality to the sound (something only heightened by the digital reproduction), but this does become easier to overcome.  Seiler understands how such a composer was essentially creating and discovering ways to incorporate older styles while subtly moving his own music forward in the essential backwater of the Esterhaza court.  The results allow for the opportunity to further appreciate early Haydn.  It is equally instructive to hear these works alongside some of the early symphonies (like the oft-performed symphonies 6 through 8).   One cannot help but think that there may be even some local folk melody inflection along the way with the sometimes dance-like quality of the melodic lines.  The present disc is easily recommended for those looking to enhance their appreciation of one of the great composers of the 18th Century.