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HAYDN Symphonies Vol HAYDN Symphonies Vol. 8 Nos. 23,24.& 61 . Northern Chamber OreBiestra Ward Joseph Haydn (1732 - 1809) Symphony No. 24 in D Major Symphony No. 23 in G Major Symphony No. 61 in D Major Joseph Haydn was born in the village of Rohrau in 1732, the son of a wheelwright. Trained at the choir-school of St. Stephen's Cathedral in Vienna, he spentsome years earning a living as best he could from teaching and playing the violin or keyboard, and was able to learn from the old musician Porpora, whose assistant he became. Haydn's first appointment was in 1759 as Kapellmeister to a Bohemian nobleman, Count von Morzin. This was followed in 1761 by employment as Vice-Kapellmeister to one of the richest men in the Empire, Prince Paul Anton Esterhazy, succeeded on his death in 1762 by his brother Prince Nikolaus. On the death in 1766 of the elderly and somewhat obstructive Kapellmeister, Gregor Werner, Haydn succeeded to his position, to remain in the same employment, nominally at least, for the rest of his life. On the completion of the magnificent palace at Esterhaza, under the new prince, a complex of buildings emulating the palace of Versailles, constructed on the site of a former hunting-lodge set on the Hungarian plains, Haydn assumed command of an increased musical establishment. Here he had responsibility for the musical activities of the palace, which included the provision and direction of instrumental music, opera and theatre music, and music for the church. For his patron he provided a quantity of chamber music of all kinds, particularly for the Prince's own peculiar instrument, the baryton, a bowed string instrument with sympathetic strings that could also be plucked, only of use, Dr. Burney remarked, to a solitary castaway on a desert island. On the death of Prince Nikolaus in 1790, Haydn was able to accept an invitation to visit London, where he provided music for the concert season organized by the violinist-impresario Salomon. A second successful visit to London in 1794 and 1795 was followed by a return to duty with the Esterhazy family, the new head of which had settled principally at the family property in 8.550723 2 Eisenstadt, where Haydn had started his career. Much of the year, however, was to be spent in Vienna, where Haydn passed his final years, dying in 1809, as the French armies of Napoleon approached the city yet again. Whether Haydn was the father of the symphony is a question best left to musical genealogists. His career, however, spanned the period during which the classical symphony developed as the principal orchestral form. He himself certainly played a major part in this development, from his first symphony some time before 1759 to his final series of symphonies written for the greater resources of London in 1794 and 1795. The London symphonies were preceded by similar works for Paris and a much larger body df compositions of more modest scorina for the orchestra at Esterhaza and at Eisenstadt, manv of the last calling fora keyboard continuo, at least with the relatively small& number of string players available. Symphonies Nos. 23 and 24 were written in 1764 for performance before Prince Nikolaus at Eisenstadt, where the Esterhazy palace boasted a reception hall that could have held some four hundred people, although such numbers would not have been present at what was a purely domestic entertainment for the Prince, members of his family and entourage, and his guests. These symphonies form part of a group of eight symphonies written in 1764 and 1765. Symphony No. 23 in G major opens with a triple time Allegro, a lively and cheerful movement. It is followed by a slow movement scored for strings. To this the use of suspensions adds an element of poignancy, as the momentary discords are resolved. The Menuetis a canon between upper and lower parts, with a Triothat has motivic connections with the Menuetthatframes it. The last movement makes use of dynamic contrasts, ending with a reduction of volume, instead of the expected emphatic conclusion. In Symphony No. 24 in D major Haydn shows once more his ability to produce, even at this early stage of his career as a composer, music of infinite variety and invention, within existing formal limitations. The opening Allegro makes initial use of the wind and string timbres available in a sonata-allegro movement that has its moments of strongerfeeling in the central development. The slow movement makes use of the flute in a part apparently written for the Esterhazy flautist Franz Sigl, for whom Haydn also wrote a flute concerto, now lost. Here he exploits the abilities of the player, allowing him a brief cadenza. The following ~enuetisrepeated after a ridi in which the flute again has a part to play. The two oboes of the orchestra return for a final movement of dramatic contrasts. Symphony No. 61 in D major belongs to a slightly later period of Haydn's life. It was written in 1776, at a time when Prince Nikolaus Esterhazy's interests in theatre and opera predominated, with visiting theatre-troupes working at Esterhaza and a marionette theatre established there in 1773. Haydn provided music for operas on special occasions, but the seasonal presence of actors and the requirements of the marionette theatre involved the provision of incidental music for a variety of German plays, including translations of Shakespeare. Although the material Symphony No. 61 cannot be directly associated with any of the plays known to have been performed at Esterhazy, it belongs to a group of symphonies that do make use of incidental music originally intended to accompany drama. These include Symphony No. 60, 11 distrafto, using music for Jean Franqois Regnard's play Le distrait and Symphony No. 63, La Roxelane, with music composed for Favart's Les trois sultanes. The vigorous opening Vivace of Symphony No. 61 is followed by a moving Adagio and a cheerful Menuet, with the customary repetition after a contrasting Trio. There is a particularly theatrical final movement that seems to tell its own story. Northern Chamber Orchestra, Manchester Formed in 1967, the Northern Chamber Orchestra in Manchester has established itself as one of England's finest chamber ensembles. Though often augmented to meet the requirements of the concert programme, the orchestra normally contains 24 musicians and performs both in concert and on disc without a conductor. Their repertoire ranges from the baroque era to music of our time, and they have gained a reputation for imaginative programme planning. Concerts take the orchestra throughout the North of England and it has received four major European bursaries for its achievements in the community. With a series of recordings for Naxos the orchestra makes its debut on disc. Nicholas Ward Nicholas Ward was born in Manchester in 1952, the son of parents who had met as members of the Halle Orchestra. In consequence music played an important part in his life from childhood, allowing him, after less successful attempts as a pianist, to learn the violin and, at the age of twelve, to form his own string quartet. This last continued for some five years, until he entered the Royal Northern College of Music in Manchester, where he studied with Yossi Zivoni and later, in Brussels, with Andre Gertler. In 1977 Nicholas Ward moved to London, where he joined the Melos Ensemble and the Royal Philharmonic, when the orchestra worked under Antal Dorati as its Principal Conductor. He became co-leader of the City of London Sinfonia in 1984, a position followed by appointment as leader of the Northern Chamber Orchestra, of which he became Music Director two years later, directing from the violin. In this form the orchestra has won high regard for its work both in the concert hall and the broadcasting studio. Joseph Haydn Symphonien Nr. 24, Nr. 23 und Nr. 61 Leicht konnte man sich durch die schier unvorstellbareZahl an Syrnphonien, die Joseph Haydn im Laufe seiner langen und brillanten Karriere geschaffen hat, zu der irrigen Annahme verleiten lassen, es waren Werke darunter, die aus einer bloOen Routine heraus entstanden seien. Tatsachlich aber wird man keine einzige Komposition finden, die nicht mit einer gewissen individuellen Note ausgestattet ist: ob Haydn in der Syrnphonie Nr. 60 "Der Zerstreute" plotzlich abbrechen und neu stimmen IaOt; ob er in der beruhmten Abschiedssyrnphonie (Nr. 45 fis-moll) das Orchester nach und nach von der Buhne schbkt; oder schon in einer seiner friihesten Syrnphonien den Kontrabassisten ganz unvermittelt zu halsbrecherischen Fiauren" auf dem sperrigen instrument zwingt. Das mogen nun besonders drastische MaOnahmen sein. Doch oft genug begnugt sich Joseph Haydn rnit dezent-hurnorigen Elernenten. Was mag ihn beispielsweise bewogen haben, fur die Symphonie Nr. 24 D-dur einen Adagio- Satz fur Flote und Streicher zu komponieren? Weder im ersten Allegro noch im Finale wird der Spieler beschaftigt, und irn Trio des Menuetts beschrankt sich sein Part auf die einfache Verdopplung der ersten Violinen. GewiO, der Flotist muO ein Virtuose seines Faches gewesen sein, wie die konzertante Adagio- Stimme verrat; doch warurn hat ihn Havdn dazu verdarnmt, wahrend der halben Symphonie stkusitzen? Aus demselben Jahr wie die D-dur-Symphoniestammt auch die Symphonie Nr. 23 G-dur. die ~rinzi~iellmit derselben Besetzuna (ie zwei Oboen und Horner sowie ~treicher):alle;dings ohne obligat wartenden Flotisten auskommt. Die Anordnung der Satze geschieht nach dem inzwischen etablierten Standard: Allegro - Andante - Menuett - Finale, doch just im SchluOsatz muO sich der Horer auf eine weitere Pointe gefaOt rnachen. Denn das Sechsachtel-Presto gehort zwar in die Kategorie der sogenannten Jagdstucke; wo sonst aber mit frohlichem Halali musiziert wird, beschranken sich hier die Einwurfe der Blaser auf einfache, laute Akkordwiederholungen, wohingegen die Streicher eine durchweg sehr leise Jagd auffuhren - mit dem Endeffekt, daO ein uberaus dezentes Pizzikato das verwunderte Publikum in die Stille entlaOt.
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