Haydn, Divertimento in G major, Hob.IV:7 (Mozartwoche 2000)

The conductor, pianist and composer André Previn was still a child when he moved with his parents from his native Berlin to the United States. For many years now he has achieved celebrity not only as conductor but also as pianist and chamber musician; in addition, he has composed many works which have been warmly received not only on the concert stage but also in opera houses (“A Streetcar Named Desire”), and in the fields of film music and jazz. Rainer Küchl was born in Waidhofen/Ybbs (Austria) and began learning the violin at the age of eleven. He completed his training in Vienna. Since 1971 he has been the concertmaster of the Vienna Philharmonic Orchestra, the Vienna State Opera Orchestra and, since 1972, of the Hofmusikkapelle. Moreover, he guests with the Küchl Quartet, which he founded, in all major concert venues of the world. Küchl teaches at the Hochschule für Musik in Vienna as well as in Japan. Günter Seifert was born in Weyer in Upper Austria. He studied violin and viola in Salzburg and later in Vienna. He has been a member of the Vienna Philharmonic since 1972. In 1978 he was named first violin of the Seifert Quartet. The “Mozartgemeinde Wien” awarded him the recording prize for Mozart interpretation in 1993. As soloist, chamber musician and member of the Vienna Philharmonic, he guests in many great concert centers of the world. Franz Bartolomey began learning the cello at the age of six and later studied in his native Vienna. In addition to his activity as solo cellist of the Vienna Philharmonic, he also plays as a soloist and chamber musician in many cities all over the world. Franz Bartolomey performs on an instrument built by David Tecchler (Rome, 1727).

Haydn, Divertimento in D major, Hob.IV:11 (Mozartwoche 2000)

The conductor, pianist and composer André Previn was still a child when he moved with his parents from his native Berlin to the United States. For many years now he has achieved celebrity not only as conductor but also as pianist and chamber musician; in addition, he has composed many works which have been warmly received not only on the concert stage but also in opera houses (“A Streetcar Named Desire”), and in the fields of film music and jazz. Rainer Küchl was born in Waidhofen/Ybbs (Austria) and began learning the violin at the age of eleven. He completed his training in Vienna. Since 1971 he has been the concertmaster of the Vienna Philharmonic Orchestra, the Vienna State Opera Orchestra and, since 1972, of the Hofmusikkapelle. Moreover, he guests with the Küchl Quartet, which he founded, in all major concert venues of the world. Küchl teaches at the Hochschule für Musik in Vienna as well as in Japan. Günter Seifert was born in Weyer in Upper Austria. He studied violin and viola in Salzburg and later in Vienna. He has been a member of the Vienna Philharmonic since 1972. In 1978 he was named first violin of the Seifert Quartet. The “Mozartgemeinde Wien” awarded him the recording prize for Mozart interpretation in 1993. As soloist, chamber musician and member of the Vienna Philharmonic, he guests in many great concert centers of the world. Franz Bartolomey began learning the cello at the age of six and later studied in his native Vienna. In addition to his activity as solo cellist of the Vienna Philharmonic, he also plays as a soloist and chamber musician in many cities all over the world. Franz Bartolomey performs on an instrument built by David Tecchler (Rome, 1727).

Haydn, Violin Concerto in C major, Hob.VIIa:1

Joseph Haydn’s Concerto in C major for violin and orchestra Hob. VIIA,1 is performed by soloist Federico Agostini and the Bavarian Chamber Philharmonic Orchestra. In the autograph manuscript of the concerto, Haydn inscribed the words “Fatto per il Luigi”, referring to Luigi Tomasini, the concertmaster of Prince Paul Anton Esterházy, for whom both musicians worked. Haydn wrote three other concertos for his friend and colleague who, judging from the extraordinary technical demands of the piece, must have been a truly gifted violinist. Federico Agostini, who comes from a noted musical family and who studied with Salvatore Accardo, is known above all as the concertmaster and soloist of “I Musici di Roma”. He plays the ex-Busch-Guadagnini violin of 1783.

Haydn, Trio in A major, Hob.XV:18 (Mozartwoche 1999)

The Wiener Klaviertrio was founded in 1988 by the pianist Stefan Mendl, the cellist Marcus Trefny and the violinist Wolfgang Redik. In addition to intensive studies with the Trio di Trieste, the Beaux Arts Trio and the Haydn Trio Wien, the three musicians also worked with Isaac Stern, Joseph Kalichstein and members of the LaSalle and Guarneri Quartets. The ensemble has been undertaking extensive concerto tours throughout Europe, in the United States and Canada since the early 1990s. Moreover, the three musicians regularly appear at many festivals, such as the “Flanders Festival” and the “Schubertiade Feldkirch”. After its successful concert cycle in Vienna’s Konzerthaus with the entire piano trio oeuvre of Ludwig van Beethovens, the Wiener Klaviertrio presented all of Schubert’s piano trios in London’s Wigmore Hall as well as in Vienna’s Musikverein in the 1996/97 season. This concert was recorded in late January 1999 at the Mozartwoche Festival in Salzburg.

Haydn, Symphony No.79 in F major

Christopher Hogwood founded the Academy of Ancient Music in 1973 and is one of the pioneers of historical performance practice as a harpsichordist and conductor. His interpretations of the Baroque and classical opera and concert literature have brought him international acclaim. The Academy of Ancient Music has taken as its goal the performance of the works of the Baroque and Classical eras on historic instruments. The ensemble, which has a varying amount of performers, boasts a number of outstanding specialists for historical performance practice. The performance of this Haydn symphony took place in Salzburg on 2 February 1997 during the “Mozart Weeks”.

Haydn, Symphony No.81 in G major (Mozartwoche 1997)

Christopher Hogwood founded the Academy of Ancient Music in 1973 and is one of the pioneers of historical performance practice as a harpsichordist conductor. His interpretations of the Baroque and classical opera and concert literature have brought him international acclaim. The Academy of Ancient Music has taken as its goal the performance of the works of the Baroque and Classical eras on historic instruments. The ensemble, which has a varying amount of performers, boasts a number of outstanding specialists for historical performance practice.

Haydn, Symphony No.98 in B flat major

Like all the other works in Haydn’s series of twelve London symphonies, the Symphony No. 98 was first performed as part of a series of concerts featuring the violinist Johann Peter Salomon. Haydn conducted these concerts from the piano in 1792 and was accorded a rapturous reception by the London audience. Whilst the Allegro in the first movement bears the unmistakable stamp of Mozart’s influence, the extravagant swagger of the Minuet already anticipates Beethoven’s Scherzi. Haydn’s energy and dramatic wit are then seen at their best in the finale, which is packed with musical jests and playful flourishes. The work is one which deserves more attention that it has hitherto received. Leonard Bernstein began conducting Haydn’s orchestral works when he was still Music Director of the New York Philharmonic Orchestra. Since then, his interpretations of the symphonies have consistently met with unreserved critical acclaim. He, of all conductors, possessed precisely the qualities which Haydn’s music requires: grace, charm and a generous measure of wit. This production with the Vienna Philharmonic Orchestra was recorded in 1984.

Haydn, Symphony No.97 in C major

Haydn composed this lesser-known but nevertheless highly inventive and charming work during his first stay in London in 1791-92. Its inner symmetry and Mozartian delicacy easily place it on a par with Haydn’s more famous compositions. The prominence accorded to the two violin parts (a tribute to the violinist Salomon) in the slow movement lends the latter an almost concertante air. With its toe-tapping brightness, the minuet is especially attractive; the finale also typifies the sense of gaiety and sheer high spirits found in all of Haydn’s music. Leonard Bernstein began conducting Haydn’s orchestral works when he was still Music Director of the New York Philharmonic Orchestra. Since then, his interpretations of the symphonies have consistently met with unreserved critical acclaim. He, of all conductors, possessed precisely the qualities which Haydn’s music requires: grace, charm and a generous measure of wit. This production with the Vienna Philharmonic Orchestra was recorded in 1984.