Haydn Divertimenti, Volume 3
View record and artist detailsRecord and Artist Details
Composer or Director: Joseph Haydn
Label: Koch Schwann
Magazine Review Date: 4/1996
Media Format: CD or Download
Media Runtime: 56
Mastering:
DDD
Catalogue Number: 314812
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Tracks:
Composition | Artist Credit |
---|---|
Divertimento |
Joseph Haydn, Composer
Joseph Haydn, Composer Manfred Huss, Conductor Vienna Haydn Sinfonietta |
Variations |
Joseph Haydn, Composer
Joseph Haydn, Composer Manfred Huss, Conductor Vienna Haydn Sinfonietta |
Author:
Like the others in the series, the third volume of Haydn Divertimentos from Manfred Huss and the Haydn Sinfonietta benefits both from natural, vivid recording and thoughtful programming, highlighting the diversity of mood and texture in this repertoire. The outer movements of the G major Divertimento – described by Huss as “brilliant little musical fireworks” – are played here with infectious sparkle and good humour; strong accents in the two minuets underline their folk influence, and the contrast between pizzicato accompaniment and eloquent arioso in the Adagio sounds potently dramatic.
The imaginative G major Variations provide a pleasing interlude; but it is the symphonic proportions of the C major Divertimento that provide the fullest opportunity to savour Haydn’s exploitation of instrumental and emotional possibilities. Listen to the satisfying resonance from the full band in the opening march; the witty, conversational second movement; the mixture of refined elegance and folk-like charm in the minuets; the overt theatricality of the recitative and arioso fourth movement, and, ultimately, the astonishing expressive conciseness of the finale. Aside from the occasional rough edge, ensemble is neat, and solo skills – particularly in the often outrageously difficult horn parts – are of the highest quality.'
The imaginative G major Variations provide a pleasing interlude; but it is the symphonic proportions of the C major Divertimento that provide the fullest opportunity to savour Haydn’s exploitation of instrumental and emotional possibilities. Listen to the satisfying resonance from the full band in the opening march; the witty, conversational second movement; the mixture of refined elegance and folk-like charm in the minuets; the overt theatricality of the recitative and arioso fourth movement, and, ultimately, the astonishing expressive conciseness of the finale. Aside from the occasional rough edge, ensemble is neat, and solo skills – particularly in the often outrageously difficult horn parts – are of the highest quality.'
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