During this time period that I’ve been discussing, the privileged few who had regular access to music were divided into two groups. In German, they were either Kenner or Liebhaber. The Scots out there will recognize ‘Kenner’, it shares a root with their word ‘ken’, meaning ‘to know’. In English, we would say Kenner were experts or even professionals, they truly understood music, probably played it, possibly wrote it. Liebhaber were lovers of music, dilettantes, amateurs; in short, they were most likely to be the audience as opposed to being the performers.
In trying to relate back to then from today, and to assess the audience for Haydn’s music (and for this blog too), there can be little doubt that the large majority of us are Liebhaber. I know I am, I came to music from studying history, not the opposite. In my day-to-day dealings with musical Netizens over the last 12 years, I would say most of them fit into one of two categories. The small, but growing minority who are interested in listening to music in context and the much larger segment who are essentially record collectors, many of whom are obsessed with the Holy Grail of finding the ‘perfect’ performance. I don’t denigrate the quest, in fact I benefit from it by reading about all of their discards and how they (always) failed the ultimate test. But my own approach to what is essentially a hobby for me is to expand my listening experience to more nearly match what would have been available to the composer's audience on any given evening in some milieu I might find interesting.
How might something like that work? Well, it goes without saying one needs access to a good variety of recorded music. Not in the sense of having every recording ever made, nor even close to it. Specifically speaking of Haydn now, it is more important to have ALL the keyboard trios than it is to have 10 recordings of any one of them. And the same goes for other genres too. Also, If you prefer modern instruments and performance style, it won’t do to mix a harpsichord recording in there! I personally take the opposite tack and stick to just period instruments and performances. One must be consistent though to support the illusion (for that is precisely what it is) we wish to create.
Of the ways I’ve thought of to begin this sort of project, a fine one is to attempt to recreate a concert or recital which has been described in a history. This is rather difficult with Haydn, since these sorts of things don’t appear until London. It was slightly easier with Mozart, since some descriptions of his performances can be found. But by Beethoven’s time one can actually get a complete programme for a concert. My first attempt at this was a recreation of Beethoven’s academy of April 2, 1800, in which the premieres of the Symphony #1, the Opus 15 piano concerto and the famous Septet of Opus 20 were intermixed with a Mozart symphony and 2 arias from ‘The Creation’, along with some fantasizing on the piano by Beethoven. One of those ‘wish I was there’ moments, and a splendid evening of music to recreate!
The other, and more practical method that fits Haydn so much better is to gather up music believed to be composed in a certain time and place and create your own programme based on some knowledge of how a musical entertainment was planned in those days. When the elite planned a party, they planned the music around whatever was going on at a given time. A frequent entertainment was the rather martial one of having the grenadiers march and ride to parade music provided by the Harmonie. As we saw earlier, Haydn wrote some of this music for the Morzin’s group. A short time later would be dinner, with its accompaniment of Tafelmusik. The divertimenti of mixed winds and strings are absolutely perfect for the occasion. After dinner, a symphony and a series of chamber music pieces, followed by another symphony finale cap off a great evening of music for the Morzin’s, the guests, and especially for you! Here is a lineup that is relatively easy to assemble and thoroughly in keeping with the occasion:
Opening entertainment
2:15 Feldparthie in F for 2 Oboes, 2 Bassoons & 2 Horns
2:23 Feldparthie in F for 2 Oboes, 2 Bassoons & 2 Horns
Table music
2:16 Divertimento in F for 2 Violins, 2 Cors Anglaise, 2 Bassoons & 2 Horns
2:21 Divertimento in Eb for 2 Horns, 2 Violins, Viola & Baß
2:11 Divertimento in C for Flute, Oboe, 2 Violins & Baß
After dinner
Opening symphony
1:17 Symphony in F for 2 Oboes, 2 Horns & Strings
Chamber music
15:40 Trio in F for Keyboard, Violin & Baß
14:11 Concertino in C for Keyboard, 2 Violins & Baß
3:07 Divertimento in A for 2 Violins, Viola & Baß Op 2 #1
15:f1 Trio in f for Keyboard, Violin & Baß
Intermission
1:19 Symphony in D for 2 Oboes, 2 Horns & Strings
16:02 Sonata #11 in Bb for Keyboard
3:10 Divertimento in F for 2 Violins, Viola & Baß Op 2 #4
14:13 Divertimento in G for Keyboard, 2 Violins & Baß
16:06 Sonata #13 in G for Keyboard
Finale
1:27 Symphony in G for 2 Oboes, 2 Horns & Strings
I spent about an hour putting this playlist together, and another 3 hours and 50 minutes totally enjoying the absolute diversity of the music. And at the click of a button, I can play it over again at will, such is the wonder of modern music listening! I am supposing that there are a goodly number of you out there to whom this concept has no appeal; you are the ones commenting to yourselves on my certain lunacy right about now. For those remaining who are looking for a new way of enjoying your music collection more comprehensively, give this idea some consideration. The next time it crops up will be in relation to sacred music in the late 1760’s. In that context it is even more appealing. But for now, please enjoy listening.
Thanks for reading!