Joseph Haydn (1732-1809)
was incredibly prolific as a composer writing in just about every genre. I
suppose it is inevitable that many of his works suffer a degree of neglect,
particularly in the concert hall. Haydn’s violin concertos have certainly fared
better on disc than in concert with a number of fine recordings available.
Isabelle Faust http://artsmg.com/Strings/IsabelleFaust/index.html is
a name that deservedly attracts attention when any new release by her appears.
Certainly I was anxious to hear her new recording of the Haydn concertos for
Pan Classics www.facebook.com/PanClassics
where she is joined by the Münchener
Kammerorchester www.muenchener-kammerorchester.de
conducted by Christoph Poppen www.christophpoppen.com
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| PC 10353 |
Haydn almost certainly wrote his C major and A major violin concertos
for the Konzertmeister of the Esterházy Orchestra, Luigi Tomasini. Indeed,
there is an inscription in the manuscript score of the C major concerto
dedicating the work to ‘Luigi.’ Of the four violin concertos written by Haydn
three remain, the other lost.
There is a wonderfully sunny opening from Christoph Poppen
and the Münchener Kammerorchester in the Allegro
moderato of the Violin Concerto in C
major, Hob. VIIa:1. When
Isabelle Faust enters she brings a crisp, clear tone with a real freedom to her
playing through all of Haydn’s twists and turns. There is a subtle spring in
the step of the orchestra who provide a fine transparency. Faust brings all her
precision and agility to the sparkling cadenza.
There are some lovely textures from the soloist and
orchestra as the Adagio opens before
Faust weaves a lovely line around a steady rhythm in the orchestra. Discreet
and limited vibrato brings clarity to Faust’s lovely tone with this soloist
finding a lovely dialogue with the orchestra.
The orchestra brings a lively, vibrant Finale – Presto with some superb playing from Faust, full of light
textured details with a fine rhythmic pulse from soloist and orchestra.
The Moderato of
the Violin Concerto in A major, Hob.
VIIa:3 brings some fine timbres and textures from the orchestra as they
bring a sense of urgency to the rhythmic flow. Isabelle Faust provides some
lovely textures when she joins in the captivating theme, weaving through some
lovely passages, always with a light, buoyant touch, full of fluency and
agility through passages of beautifully controlled dynamics. There are some
lovely double stopped textures before a very fine cadenza full of lively
textures.
The orchestra provide some fine rhythms over which the upper
strings glide in the opening of the Adagio.
When Faust enters she brings a perfectly judged flowing melody as the
orchestra retains a contrasting rhythmic idea. Again there are moments of fine
dialogue between soloist and orchestra with this violinist bringing a lovely
blend of tone and sonority. There is a beautifully drawn cadenza, exquisitely
played.
The Finale – Allegro has
a terrific, buoyant opening from the Münchener players who play with terrific
ensemble and agility. Faust brings an equally light and buoyant contribution as
she dances ahead full finely drawn details.
Both soloist and orchestra bring a kind of nervous energy to this music,
an almost Mozartian joy before a finely shaped cadenza full of fine textures.
Certain Haydn scholars believe the Violin Concerto in G major, Hob. VIIa:4 to be from an earlier
period and, therefore, not written for the Esterhazy Orchestra Konzertmeister.
Here Isabelle Faust brings
superb dynamic control to the fleet, light textured Allegro moderato finding a terrific rapport with this conductor and
orchestra. They keep a fine flow, both soloist and orchestra providing fine
phrasing and with a cadenza that brings some stunning playing from Faust.
There is a finely shaped orchestral opening to the Adagio with some lovely little nuances. Isabelle
Faust brings a beautifully judged solo line, a gently controlled flow, with
fine rubato.
The Münchener Kammerorchester shoot ahead in the Finale – Allegro, full of life before Faust
joins to add some absolutely wonderful playing, fast, fluent and full of energy
and sparkle right up to the sudden end.
This is a dazzling disc from Isabelle Faust and the Münchener
Kammerorchester under Christoph Poppen. The recording is spacious and detailed
and there are useful booklet notes.
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