200 Years, Anniversary Joseph Haydn (1732-1809)

haydnmania: the 2009 anniversary

Archive for February, 2009

haydn reloaded II – a modern painter’s view

Maybe you ask yourself, what kind of portrait should this be?
The Austrian painter Andreas Roseneder (alias “René Desor”, here his blog) was in search of clues to between Haydn’s and today’s “affecting” surrounding –  after numerous visits at the Esterházy Castle in Eisenstadt with his Leica.  His new artworks are the result of a 2 years research about Haydn and the people and faces around him: a contemporary view in brilliant artwork quality, made with the newest materials (the paintings here are made with a special kind of acrylic and vinylic colors).
If you visit Esterházy Castle have a look at the “visages” up at the wall of the Castle and courtyard there!




pictures © Andreas Roseneder, 2007+2008

You feel encircled by curious, funny faces that make grimaces and all are different! Already Joseph Haydn was surrounded by this grimaces when he lived and worked there for 30 years. Andreas Roseneder was inspired by those faces,  remarkable characters to his “haydn_ sketch series”.
(more about the “haydn _portrait series”, the “haydn_muses series” of Andreas Roseneder soon!)


related article: “haydn reloaded” (with a picture of the “haydn-portrait series” of Andreas Roseneder

“Haydn explosive” – extraordinary tribute to the former employee

the brochure-cover in the style of “tableau vivant”: “Haydn explosive”, © Esterházy Foundation (picture is a link to the big image, have a look!)
The picture shows some of the protagonists/artists of “Haydn explosive”, e.g. the man with the guitar is the famous Jazz-musician Wolfgang Muthspiel, ….

The Esterházy Private Foundation, successor of the employers of Joseph Haydn (- first Prince Paul Anton Esterházy, later Nikolaus I. Esterházy), the Esterházy management tributes their former employee with extraordinary concerts, exhibitions and a symposion in this year.
What inspired me at once was the – in the truest sense of the word fantastic – advertising concept of “Haydn explosive”:
I became hooked on more pictures like those in the official Esterházy Program!


The Esterhazy Foundation (domiciled in Eisenstadt and owner of the Esterházy Castle there) has become pioneer and a model for contemporary, modern presentations and events during the recent years. For the first time there is a big culture organizer in Burgenland (East Austria), able to keep up with the innovative “global players” and open minded in their culture work – in comparison to the, more conservative (“business as usual”), official Haydnfestival in Eisenstadt.
Paul Esterházy featured Joseph Haydn, who walked on new ways with his music (that’s a way we call “contemporary” today, yes!) – his successors feature today’s contemporary art!
Thats the way it should be!
“..That’s the way (aha)… I like it (aha) …!!!..”

“Haydn Explosive. A European career at the court of the Esterházy Princes”
programs, dates, locations, information: here

the Haydn-podcast

Austria’s cultural Broadcasting Station “Ö1” offers a “Haydn-Podcast”: documenting Joseph Haydn’s stations in life.
You may follow Joseph Haydn’s journey through Europe in 44 parts during the anniversary-year 2009.
– here the iTunes-Podcast-link “Seeking Haydn”

Haydn, the avantgardist

Not only Mozart, also the music publishers and organizers at Haydn’s lifetime knew immediately that there was a composer on completely new ways.
“Nobody can do almost everything as well as Haydn”, Mozart said. For Mozart Haydn was his great role model. (he dedicated 6 string-quartetts to Haydn, more)
Even the implementation of joke  and humor into the music, the evolution of the string quartet and the symphony composition characterized the genius of Haydn.
Generations had – and will have – fun with Haydn’s musically jokes, e.g. with the “Farewell-Symphony”.

…not just the father of the symphony and of the string quartet!

Thomas Quasthoff Haydn. Italian Arias (Deutsche Grammophon)

Thomas Quasthoff "Haydn. Italian Arias" (Deutsche Grammophon)

With his album “HAYDN. italian Arias” Grammy® award “Singer of the Year” 2006 Thomas Quasthoff wants to rehabilitate Haydn as an opera composer with a recital of arias drawn from his stage works. As such, it is intended to do justice to the whole range of Haydn’s abilities as a pioneering music dramatist.

Haydn himself wrote no fewer than seven full-length operas during the years when the theatre was fully operational: L’incontro improvviso (1775), Il mondo della luna (1777), La vera costanza (1779, rev. 1785), L’isola disabitata (1779), La fedeltà premiata (1781), Orlando paladino (1782), a “dramma eroicomico” that was successful far beyond the confines of Eszterháza and, last but not least, Armida (1783), the only genuine opera seria in this group of seven works. Prior to this, Haydn had also set musical comedies for special occasions. In 1791, he also wrote L’anima del filosofo (Deutsche Grammophon) for the reopening of the King’s Theatre in London, but the opera had to wait until 1951 for its first staged performance, when the role of Eurydice was sung by Maria Callas. But the Eszterháza operas form the nucleus of his writing for the theatre. They are worthy of staging alongside the works of his famous Italian contemporaries. As Thomas Quasthoff notes: “It is genuinely fascinating to observe how Haydn is on the one hand indebted to the traditions associated with the genre, while on the other consciously going his own way by setting the text with unusual subtlety and precision. Above all, however, these arias are glorious music that give me more and more pleasure each time I sing them.” (Deutsche Grammophon)

Order link:
Thomas Quasthoff : Haydn Italienische Arien