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4474134-09A1a4-Booklet-CD98.626 2.K ach intensiver Auseinandersetzung mit dem er „kritische Bericht“, dieser Inbegriff Symbole werden zu Akteuren eines unserer Nsinfonischen Werk Mozarts und Beethovens Dgeduldigsten Forscherfleißes, begegnet Imagination entspringenden Theaters und habe ich meine Liebe zu Haydns Musik zugege- abseits seines Fachbezirks vielfachem Unver- treten, vielleicht auch nur für ein paar Minu- benermaßen erst relativ spät entdeckt. Seither ist ständnis. All diese Hieroglyphen und Linea- ten, wieder ins Rampenlicht einstiger Pracht es mir ein Anliegen, „Papa Haydn“ den Zopf abzu- mente, die vom Schreiber X zur Quelle Y, & Herrlichkeit. Wer war denn wohl der Ko- schneiden, den ihm das 19. und 20. Jahrhundert von zweifelhaften Wasserzeichen zu unech- pist, wer waren die fleißigen Leute, die dem haben wachsen lassen. Die Gesamteinspielung der ten Tintensorten führen – diese kryptischen Hofkapellmeister des Fürsten Nikolaus von Haydn-Sinfonien ist für meine Musiker und mich Überlieferungsnachweise und Stammbäume, Eszterházy bei seiner unablässigen Produkti- eine höchst interessante Aufgabe und eine große fachlich korrekter als „Stemmata“ bezeich- on zur Hand gingen? Für wen notierte Herausforderung, bietet sich doch mit diesem ehr- net: Müssen wir uns wirklich jede noch so „Schreiber F“, wenn ihm noch ein paar geizigen Projekt die einmalige Chance, die Ent- hypothetische Frage stellen lassen, ehe uns Nachtstunden blieben, einen zweiten Stim- wicklung der klassischen Sinfonie hautnah nachzu- die Kontaktaufnahme mit dem eigentlichen mensatz? Wie viele Kreutzer mag er dafür erleben. In Zeiten musikalischen (und gesellschaft- Notentext gestattet wird? bekommen, wen davon möglicherweise er- DEUTSCH lichen) Wandels war Haydn Stürmer, Dränger, Das hängt von der eigenen Art der Be- nährt haben? War’s seine Fehlsichtigkeit, Sucher und Finder zugleich. Dies dem heutigen trachtung ab. Sind uns die exakt kartogra- dass ihm so viele Schreibfehler unterliefen, Hörer zu vermitteln, ihn mit dem Expe rimentator phierten Wegenetze durch Geschichte und oder lag’s an der Kombination einer unge- Joseph Haydn und mit der Kühnheit und der Gegenwart der Tonkunst nichts als zweidi- schneuzt blakenden Kerze mit der ständigen Schönheit seiner affektgeladenen Kon trast-Musik mensionale Verzeichnisse auf bekannterma- Sorge, es könne ihm jemand – schlimmsten- DEUTSCH bekannt zu machen, sehen wir als unsere Aufgabe ßen apathisch-erzgeduldigem Papiere, dann falls der freundliche Chef selbst – auf die an. möcht’ uns das wohl so dürr und statistisch Werksspionage kommen und ihn submissest Unseren Interpretationen liegen die Erkennt- erscheinen wie die „Staatshandbücher des bei Seiner Durchlaucht verpetzen ...? Wie oft nisse der historischen Aufführungspraxis zu Grun- Königsreichs Hannover“, für deren Besitz der mochte sich unter dieser, gewiss nicht im Höhe: 120 mm de. In Besetzungsfragen orientieren wir uns an den Sammler Walter Eggers in den frühen fünfzi- tiefsten Seelenfrieden vollzogenen und auch Bedingungen, die Haydn vorfand bzw. erwarten ger Jahren zu fast jeder Schandtat bereit durch hundert Rosenkränze nicht abzube- konnte. Im Gegensatz zu den „modernen“ Streich- war.1) Doch wenn es uns – wie dieser hinrei- tenden Diebsgeschichte die widerspenstige und Holzblasinstrumenten habe ich mich im Falle ßend gezeichneten Romanfigur – gelingen Feder gespreizt haben? der Blechbläser für historische Instrumente ent- sollte, dem flächigen Register mit der dritten In Kursen fürs „kreative Schreiben“ emp- schieden. Besonders deren Klang entspricht Dimension vollblütigen Interesses zu begeg- fiehlt man derlei dem hoffnungsvollen Ele- Haydns Vorstellungen weit mehr als der heutiger nen („Madamina“), dann geschieht doch ven. Warum sollten wir uns also nicht auch Instrumente. Ähnliches gilt auch für die Pauke, bei nichts anderes als bei jeder Auseinanderset- mal die Hetze des Endvierzigers Joseph der wir ein Instrument verwenden, welches mit zung mit den gleichermaßen dürren, hinge- Haydn vor Augen führen, der gerade (1776) Kalbsfell bezogen ist. stanzten schwarzen Punkten, Balken, Linien zum fürstlichen Hofoperndirektor und -im- Ich freue mich, für „unseren Haydn“ in hänssler und Buchstaben, aus denen sich immer und presario befördert worden war und jetzt, ge- CLASSIC einen ebenso kompetenten wie engagier- immer wieder das Erlebnis der Musik räum- wissermaßen an einer Tour, neben seinen ten Partner gefunden zu haben. Thomas Fey lich und zeitlich erhebt. Siglen, Signaturen, schon bisher nicht gerade schmächtigen 2 3 98.626_Innenseiten_© 2.indd 2-3 Breite: 121 mm Breite: 121 mm 03.03.11 11:22 2.K ach intensiver Auseinandersetzung mit dem er „kritische Bericht“, dieser Inbegriff Symbole werden zu Akteuren eines unserer Nsinfonischen Werk Mozarts und Beethovens Dgeduldigsten Forscherfleißes, begegnet Imagination entspringenden Theaters und habe ich meine Liebe zu Haydns Musik zugege- abseits seines Fachbezirks vielfachem Unver- treten, vielleicht auch nur für ein paar Minu- benermaßen erst relativ spät entdeckt. Seither ist ständnis. All diese Hieroglyphen und Linea- ten, wieder ins Rampenlicht einstiger Pracht es mir ein Anliegen, „Papa Haydn“ den Zopf abzu- mente, die vom Schreiber X zur Quelle Y, & Herrlichkeit. Wer war denn wohl der Ko- schneiden, den ihm das 19. und 20. Jahrhundert von zweifelhaften Wasserzeichen zu unech- pist, wer waren die fleißigen Leute, die dem haben wachsen lassen. Die Gesamteinspielung der ten Tintensorten führen – diese kryptischen Hofkapellmeister des Fürsten Nikolaus von Haydn-Sinfonien ist für meine Musiker und mich Überlieferungsnachweise und Stammbäume, Eszterházy bei seiner unablässigen Produkti- eine höchst interessante Aufgabe und eine große fachlich korrekter als „Stemmata“ bezeich- on zur Hand gingen? Für wen notierte Herausforderung, bietet sich doch mit diesem ehr- net: Müssen wir uns wirklich jede noch so „Schreiber F“, wenn ihm noch ein paar geizigen Projekt die einmalige Chance, die Ent- hypothetische Frage stellen lassen, ehe uns Nachtstunden blieben, einen zweiten Stim- wicklung der klassischen Sinfonie hautnah nachzu- die Kontaktaufnahme mit dem eigentlichen mensatz? Wie viele Kreutzer mag er dafür erleben. In Zeiten musikalischen (und gesellschaft- Notentext gestattet wird? bekommen, wen davon möglicherweise er- DEUTSCH lichen) Wandels war Haydn Stürmer, Dränger, Das hängt von der eigenen Art der Be- nährt haben? War’s seine Fehlsichtigkeit, Sucher und Finder zugleich. Dies dem heutigen trachtung ab. Sind uns die exakt kartogra- dass ihm so viele Schreibfehler unterliefen, Hörer zu vermitteln, ihn mit dem Expe rimentator phierten Wegenetze durch Geschichte und oder lag’s an der Kombination einer unge- Joseph Haydn und mit der Kühnheit und der Gegenwart der Tonkunst nichts als zweidi- schneuzt blakenden Kerze mit der ständigen Schönheit seiner affektgeladenen Kon trast-Musik mensionale Verzeichnisse auf bekannterma- Sorge, es könne ihm jemand – schlimmsten- DEUTSCH bekannt zu machen, sehen wir als unsere Aufgabe ßen apathisch-erzgeduldigem Papiere, dann falls der freundliche Chef selbst – auf die an. möcht’ uns das wohl so dürr und statistisch Werksspionage kommen und ihn submissest Unseren Interpretationen liegen die Erkennt- erscheinen wie die „Staatshandbücher des bei Seiner Durchlaucht verpetzen ...? Wie oft nisse der historischen Aufführungspraxis zu Grun- Königsreichs Hannover“, für deren Besitz der mochte sich unter dieser, gewiss nicht im Höhe: 120 mm de. In Besetzungsfragen orientieren wir uns an den Sammler Walter Eggers in den frühen fünfzi- tiefsten Seelenfrieden vollzogenen und auch Bedingungen, die Haydn vorfand bzw. erwarten ger Jahren zu fast jeder Schandtat bereit durch hundert Rosenkränze nicht abzube- konnte. Im Gegensatz zu den „modernen“ Streich- war.1) Doch wenn es uns – wie dieser hinrei- tenden Diebsgeschichte die widerspenstige und Holzblasinstrumenten habe ich mich im Falle ßend gezeichneten Romanfigur – gelingen Feder gespreizt haben? der Blechbläser für historische Instrumente ent- sollte, dem flächigen Register mit der dritten In Kursen fürs „kreative Schreiben“ emp- schieden. Besonders deren Klang entspricht Dimension vollblütigen Interesses zu begeg- fiehlt man derlei dem hoffnungsvollen Ele- Haydns Vorstellungen weit mehr als der heutiger nen („Madamina“), dann geschieht doch ven. Warum sollten wir uns also nicht auch Instrumente. Ähnliches gilt auch für die Pauke, bei nichts anderes als bei jeder Auseinanderset- mal die Hetze des Endvierzigers Joseph der wir ein Instrument verwenden, welches mit zung mit den gleichermaßen dürren, hinge- Haydn vor Augen führen, der gerade (1776) Kalbsfell bezogen ist. stanzten schwarzen Punkten, Balken, Linien zum fürstlichen Hofoperndirektor und -im- Ich freue mich, für „unseren Haydn“ in hänssler und Buchstaben, aus denen sich immer und presario befördert worden war und jetzt, ge- CLASSIC einen ebenso kompetenten wie engagier- immer wieder das Erlebnis der Musik räum- wissermaßen an einer Tour, neben seinen ten Partner gefunden zu haben. Thomas Fey lich und zeitlich erhebt. Siglen, Signaturen, schon bisher nicht gerade schmächtigen 2 3 98.626_Innenseiten_© 2.indd 2-3 Breite: 121 mm Breite: 121 mm 03.03.11 11:22 Pflichten auch noch für die regelmäßige Ver- wissen Behagen feststellen dürfen. Haydn englischer Kollege verzichtete bei der Publi- auch hier die langsame Einleitung wohl sorgung der Bühne verantwortlich war? scheint, als er die hier zur Debatte stehende kation der Nr. 62 auf den ersten (mit dem nachgeliefert und die größere Besetzung Dass es in diesem Trubel
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