200 Years, Anniversary Joseph Haydn (1732-1809)

haydnmania: the 2009 anniversary

Archive for conductor

Il mondo della luna – premiere

picture: ©Theater an der Wien

Have you ever flown to the moon thanks to nothing more than the power of your own imagination? In the summer of 1777, Joseph Haydn sent the guests at the prince’s wedding in Esterházy Palace into the fantastic universe with the aid of their imagination, some 190 years before the first moon landing. For “Il mondo della luna” he turned to a source that had already been successfully used for a number of operas and was written originally by the Italian comic poet Carlo Goldoni. Haydn created a work focusing on human longings, the fabled moon and a world turned on its head.

Ecclitico is in pursuit of Clarice while Ernesto loves her sister Flaminia. But Buonafede, the father of the two young ladies and an amateur astronomer, is strictly opposed to these matches. He is also suspicious of the growing affection his servant Cecco is showing towards the maid Lisetta, especially since he has his own designs on her. But the young lovers refuse to give in to pressure. They trick the moonstruck Buonafede into believing he has been transported to the moon. A journey of discovery into outer space and the joys of love merge in the family garden into an increasingly manic muddle. The result: a bull’s eye! At the end a triple wedding is in the offing!

In Haydn’s musical evocation of the surface of the moon, there are fragrant flowers and lush woodland instead of rocks and dust, birdsong and lyrically brilliant arias instead of silence. Haydn was internationally renowned for his operas all his life and was even invited to undertake spectacular journeys to England. No wonder, because this score by the wittiest composer of Viennese classical music is simply bursting with creativity and is perfect for becoming “moonstruck”!

Il mondo della luna

composer: Joseph Haydn, in 1777
libretto: Carlo Goldoni
conductor: Nikolaus Harnoncourt
director: Tobias Moretti
orchestra: Concentus Musicus Vienna ( N. Harnoncourt’s orchestra)
Premiere: Sat, 05.12.2009 – 7:00 p.m.

at “Theater an der Wien”

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the Haydn Church

Here a video introducing the Haydn Church in Eisenstadt, where Haydn worked – and, at least is buried in the “Haydn Mausoleum”:

Sir Simon Rattle about Joseph Haydn’s music

Enjoy listening (it’s audio with pictures – no video at all!) to Sir Simon Rattle’s explanatory notes to Joseph Haydn’s music, especially the Symphony No 88.

“… For me he’s the greatest underrated composer who’s ever been…” … “I’m crazy about this music ..”

J.H.’s “La fedeltà premiata” now at the Opera in Zürich

Adam Fischer

Adam Fischer

Adam Fischer (picture), founder of the “Austro-Hungarian Haydn Orchestra” and familiar to all Haydn works, is the musical director of Haydn’s opera “La fedeltà premiata” which  is now played at the Zürich Opera house.

zuerich_oper1

The Zürich-production is a very modern version of Haydn’s opera, which he composed once for the Opera House at Schloss Eszterháza, where it was played for the first time on 25 February 1781.

zuerich_oper

Haydn: “…Now something about Paris. They were very surprised that my vocal composition should be so exceedingly complaisant; but I was not at all surprised, as they have not yet heard anything. If they were only to hear my operetta “L’isola disabitata” and my last opera for Shrovetide, “La fedeltà premiata”, I assure you that nothing has yet been heard like them in Paris, and perhaps not even in Vienna. My misfortune is only that I have to stay in the country..” — Joseph Haydn, 27 May 1781

link: Opera Zürich (Switzerland)

originality due to isolation – Nikolaus Harnoncourt about Haydn

These days Nikolaus Harnoncourt‘s statement about Joseph Haydn was published.  He said, that Haydn was always willing to risk the newest. The reason was the isolation and originality of Haydn. He was not influenzed by others – the Esterházy Castle in Eisenstadt (where Haydn lived for 30 years) was far away from any scenery – and therefore Joseph Haydn didn’t have to continue any method or habit.

Harnoncourt also said that Haydn had his own ( excellent & international !) orchester and his own audience, so he was extremely independent.
Haydn was an exception owing to those circumstances.

Nikolaus Harnoncourt himself became tasted by Haydn’s music in his student years. Even his parents liked to play chamber music of Haydn. When Nikolaus Harnoncout founded the Concentus with his wife they had just Haydn on their first program!

How would he describe Haydn? – he was asked.

“…If someone has an idea of Haydn, then I would describe Haydn as one of the few musical universal genius. And the second sentence would be: With an extra bit of humour,” said Harnoncourt.

Harnoncourt conducts Haydn (2009, vienna) – video:


tipp
Spring begins (on saturday, 21 march 09) with a special Haydn-evening at “3sat”-TV
with
“Joseph Haydn: my language is understood throughout the world” (at 20.15 p.m.) and

Joseph Haydn’s  “Te Deum für Fürst Nikolaus Esterhazy” C-Dur HOB 23 (at 23.05 p.m.)

(3sat on Satelite: “ASTRA” (1F) auf 19,2 Degree East, Transponder 10, vertical Polarisation, Frequenz 11,347 Ghz, Stereo 7.02 / 7.20, Monoton on 6.50 )

links:
Nikolaus Harnoncourt conducts the Haydn-Anniversary-Opening (warning: no tickets available !!!), here the program on his personal website
wiki

Haydn at Esterházy theatre

Haydn directing a performance of his opera Lincontro improvviso in the Esterházy theatre in 1775. ©The Bridgeman Art Library

Haydn directing a performance of his opera L'incontro improvviso in the Esterházy theatre in 1775. ©The Bridgeman Art Library

Haydn’s “Nikolaimesse” live with Welser-Möst

On Sunday, 16 November 2008 one of the worlds most famous music directors – and the designated new general music director of the “Wiener Staatsoper” – Franz Welser Möst will conduct the “Nikolaimesse” from Joseph Haydn in Vienna’s Augustiner Church.
As Welser-Möst mentioned “… without their religious background works e.g. from Haydn, Schubert, Beethoven and Bruckner are not understandable…”. He stands up for the church (sacred) music and is the patron for the rescue of the music in St. Augustin which was in a financial risk.
I found a very “pleasant” statement of Welser-Möst on youtube: