Word: haydn
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...baroque trumpet. A shorter instrument than the modern trumpet, the baroque requires iron control and lungs like bellows. Even experts can rarely coax it into anything more than a banshee wail; Scherbaum produces a ringing, jubilant tone that is the joy of Bach lovers-and of Michael Haydn and Leopold Mozart fans as well. Of all the pieces he plays, the toughest is the Brandenburg No. 2: in the upper range it soars to G above high C, and wise conductors almost always cheat on the trumpet part and make do with an E-flat clarinet or a soprano saxophone...
...afternoon he made all of us go to the Boston Symphony, where we had to sit without moving or wriggling on the hardest wooden seats in the world. One at a time, we each had to go with him to operas, plays, and all performances of the Handel and Haydn Society. But the symphony was toughest. God, how we suffered on those hard chairs...
...conductor who wants his players to "see music from the inside." The Cleveland's program reflected the tastes of a musician who champions contemporary scores but is firmly schooled in "the great Viennese classics." Alongside Veteran Composer Howard Hanson's Bold Island Suite, Szell offered Haydn's Symphony No. Q2 ("Oxford"), Brahms's Violin Concerto in D (with Erica Morini as the excellent soloist), and Rossini's bubbly overture to La Gazza Ladra...
More because of the program than the performance, the Paganini Quartet produced a remarkable concert last Friday night. Two important modern works, by Alberto Ginestera and Anton Webern, carried away the best efforts of the Quartet, but stand-by quartets by Haydn and Beethoven received flat performances...
...other two works on the program were Hayden's D major quartet, Opus 20, No. 4, and Beethoven's F minor quartet, Opus 95. The performance of the Beethoven was occasionally uncoordinated, rarely clear, and never balanced. Haydn, as Temianka remarked, wrote for the diletanti of the local aristocracy, and in fact, the performance sounded quite dilettantish: the meters of the first and third movements were ambiguous and the 'cello muddy. But in the slow movement, Haydn dispensed with any melodrama or surprises. While the movement's great serene flow, like the cadence of a sonnet, revealed no secrets...