Alright, I sort of got away from the subject. I promise not to do it again. It is only because there are so many things related to understanding the context of the music which are as important to write about as is just a list of works. Where else will the enjoyment come from?
Of course, we can’t remake ourselves into our 18th century forbears. This was a common fallacy that nearly destroyed the early music movement in the cradle. We don't (and never will) hear music the way our predecessors did. Their lives are so alien to our own that any semblance of intellectual/musical kinship is illusory. One of the things we, the average, common man of the 21st century seem to forget; if we lived in the middle of the 18th century, the only way we would even hear this music would be while we are serving tea to the gentry, or through the window as we are trimming the hedge. We would catch a snippet and think ‘this would never work out down at the Gelded Unicorn on Friday night!’.
The obvious conclusion to be drawn when first contemplating this fact is ‘music costs money’. True enough, in fact the nobility paid a fortune annually to have live music as readily available as when we turn on the radio. Drat, I date myself. I mean when we stream Rhapsody or iTunes or Naxos Music Library onto our quasi-phone devices. So what did our current noble, Count Morzin, spend all this money on? Did he get his money’s worth? Let’s check out the Boys in the Band.
The size of Morzin’s orchestra was probably fluid. Commonly, other than the stars of the show, members served dual roles in the household. While we don’t know many specifics about this band, there are inferences we can make from such things as numbers of authentic parts for some big works, and the known parallel situations provided from other establishments which were scattered across the Empire. As I wrote earlier, “we can be fairly sure that there were 3 or 4 first violins, 3 or 4 second violins, and a viola. There was a wind band which Haydn wrote a good deal for, it consisted of 2 oboes, 2 horns and 2 bassoons and would have certainly played in symphonies. Finally there will have been the bass section of a cello and a double bass. The bassoon(s) would have been there too, although they did get the occasional obbligato part. So that makes around fifteen players.” I think that’s a safe assumption. In the notes to Volume I of the Hogwood symphonies set, James Webster also agrees with that, saying that a full complement would be 3-3-1-1-1 on the strings, 2 oboes, 2 horns and a bassoon doubling the cello part. Another demonstration of the versatility of these players is that the second bassoon in the wind band was very likely to have been the violone player or some other string player who could also play the bassoon. Apparently though, none of the players could double as a flautist, so none of the music Haydn wrote in this period for Morzin included flute parts.
If you, like myself, are an enthusiast for period instrument performance, Hogwood’s performances, or Goodman’s or Solomon’s, all of which use an orchestra based on period size, can amply demonstrate that fifteen players are plenty to power this music appropriately.
The other major instrument, and the one that Haydn would have played there in addition to the violin, was the harpsichord or (clavi)cembalo. Although he unquestionably played on the clavichord in his room or composition studio, the cembalo was the only appropriate instrument for performance, since listeners would have had to practically sit on the bench with the player for the clavichord to shine. The cembalo had, by this time, evolved into a large, beautifully toned instrument with all the volume needed to hold its own playing solo, or with accompaniment of a violin and cello or violone in accompanied trios, or even in the concertino/divertimentos with two violins and a basso (probably violone).
After having associated for many years with modern lovers of classical music, I have discovered a strong antipathy for the cembalo which totally puzzles me. This actually seems to be as strong or stronger among those who prefer it for Baroque music like J.S. Bach’s. When galant music appears, suddenly the piano, or in the case of period instrument persons (P.I.ons, as I call us) the fortepiano, becomes the only thing they will listen to. It is really a pity, and something that I hope you can get past in yourself if you share this dislike. The music of the early trios especially, as well as the concertinos is totally composed to allow for the blending of tone of the instruments. Seriously, make the effort to try to train yourself to enjoy the sound. I guarantee, it won’t be long before no other will seem quite right!
Almost forgot my second question; did Count Morzin get his money's worth? Well, as we will see soon, he went off the fiscal deep end in late 1760 and had to divest himself of a fine musical establishment. Did HE get his money's worth? As I sit and listen to Haydn's music from that time, I don't see how the answer could be no. 250 years later, I am still reaping the benefits from his investment!
There, I have totally gone off the rails, despite my promises to myself. Well, this was all information which will be useful as we explore the next few years. There is a great heap of music between now and Prince Paul Esterházy, and it is just waiting for us to dive into and enjoy. I think I’ll take a dip now!
Thanks for reading!
The Morzin Symphonies performed by the Academy of Ancient Music
The concertino/divertimentos for cembalo, 2 violins & basso performed by Roberto Loreggian and L'Arte dell Arco
Enjoy!