Haydn’s six Op. 20 string quartets are milestones in the history of the genre. He wrote them in 1772 for performance by his colleagues at the Esterházy court and, unusually, not specifically for publication. Each one is a unique masterpiece and the set introduces compositional techniques that radically transformed the genre and shaped it for centuries to come. Haydn overturns conventional instrumental roles, crafts remarkably original colours and textures, and unlocks new expressive possibilities in these works which were crucial in establishing the reputation of purely instrumental music. The range within the quartets is kaleidoscopic. From the introspective, chorale-like slow movement of No. 1 via the terse and radical quartet No. 3 in G minor to the comic spirit of the fourth in D major, each of the quartets inhabits a distinct musical world. For many, this is some of the greatest music Haydn ever wrote. Playing these seminal works is one of the world’s finest young ensembles, the Doric String Quartet.
The London symphonies, sometimes called the Salomon symphonies after the man who introduced London to Joseph Haydn, were composed by Joseph Haydn between 1791 and 1795. They can be categorized into two groups: Symphonies Nos. 93–98, which were composed during Haydn's first visit to London, and Symphonies Nos. 99–104, composed in Vienna and London for Haydn's second visit.
Every London Symphony, apart from one (No. 95), has a slow introduction to the first movement.
This 37-disc box set is the only brand new and fully digital recording of the complete symphonies of Haydn. Performed by the Stuttgarter Kammerorchester (Stuttgart Chamber Orchestra) and conducted by Dennis Russell Davies, the recordings were done live in connection with concerts of the whole cycle. The series received fantastic reviews by the press, and The Stuttgart Chamber Orchestra was awarded the European Chamber Music Prize in 2008. Available at a fantastic price, the set is released to tie in with the 200th anniversary of the composer’s death in 2009.
Co-chief conductors Riccardo Minasi and Maxim Emelyanychev take turns on the podium leading this period-instrument band in a rousing collection of concertos by Haydn. Il Pomo d'Oro has been hailed "a wonderful ensemble, and Minasi an outstanding musician" capable of "bringing the house down with his virtuosity" (The Guardian). Emelyaychev's award-winning harpsichord joins Minasi's violin in the soloists' spotlight, along with the distinguished natural horn of Johannes Hinterholzer. The concertos are complemented by Haydn's Symphony No 83 (known as The Hen, because of the ‘clucking’ figures on the strings in its second movement) and his Keyboard Fantasia Hob.XVII:4.
Brett Dean is not shy about revealing what his music is ‘about’. Whether inspired by certain individuals (as in Epitaphs), or by an ecological or human disaster (as in his String Quartet No. 1, on the now all too topical plight of refugees), Dean’s works are usually – perhaps invariably – driven by extra-musical narratives. Rather than tease out any innate structural puzzles or tensions, his music typically falls into short little dramatic narratives – no movement on this disc lasts as long as eight minutes, many of them rather less than five. The most obviously successful work here is Quartet No. 2, ‘And once I played Ophelia’, effectively a dramatic scena. Its soprano soloist is no mere extra voice (as in Schoenberg’s Second Quartet) but the leading protagonist. Allison Bell’s genuinely affecting performance is backed by the Doric Quartet’s expressionist scampering and sustained harmonies, the strings occasionally coming to the fore in the manner of a Schumann-style song postlude.