1775 – The Music part 4 - How the Baryton got its groove back

Hob. #	Genre	Key	Instruments / Notes
10:01	Divertimento/Octet	D	Baryton, 2 Horns, 2 Violins, Viola, Cello & Violone
10:02	Divertimento/Octet	D	Baryton, 2 Horns, 2 Violins, Viola, Cello & Violone
10:03	Divertimento/Octet	a & A	Baryton, 2 Horns, 2 Violins, Viola, Cello & Violone
10:04	Divertimento/Octet	G	Baryton, 2 Horns, 2 Violins, Viola, Cello & Violone
10:05	Divertimento/Octet	G	Baryton, 2 Horns, 2 Violins, Viola, Cello & Violone
10:06	Divertimento/Octet	A	Baryton, 2 Horns, 2 Violins, Viola, Cello & Violone
10:12	Divertimento/Octet	G	Baryton, 2 Horns, 2 Violins, Viola, Cello & Violone

By now we have a nice idea of an 18^th century divertimento; Haydn wrote hundreds of them ranging from solo keyboard to virtual symphonies. As did Mozart, and Michael Haydn, and nearly every composer who worked in and around Vienna. So, we completely know what to expect when we see divertimento/octet in the title, yes? Oh, and baryton; let's not forget that!

Well, maybe we do, but maybe we don't. Just as the meaning of the word changed over time, the form of the music changed with it. And while we use it today as an almost generic term encompassing every sort of light music, primarily of the Classical Era, in real time the meanings are rather more specific. While I won't, here, replay the entire article from The New Grove…, I will point out the specific mention of the year 1775 being a turning point in the perceived meaning of the divertimento in general. I find it interesting to see no mention of why this might be, but I am no believer in coincidence, so I think it may not be a coincidence that this was the year Haydn composed these masterpieces of private chamber music.

I don't use 'chamber music' lightly when I say this. I mean it in the modern sense, eight concertante instruments, each taking a turn at leading the way. Previously, even many of the symphonies were called chamber music. But this definition, like that of the divertimento itself, became modified by realities. By way of example, I would remind you the early 'string quartets' were called divertimentos, and in later times were considered to be almost mini concertos for solo violin with string accompaniment. The quartet in the modern, chamber music sense, didn't really come about until Op 20, circa 1771. And so it was with divertimentos for larger ensembles. If you go back and have the pleasure of rehearing Hob 02:20 from 1755, you find it is more like a small symphony for nine concerted instruments, not a nonet for nine obbligato ones!

So what do we really have here? To begin, let me say this; I doubt Haydn wrote just seven of these, why would he do that? Surely some are missing; what a pity! These works are the very last hurrah for baryton composition in Eszterháza. Even though the final book of trios wasn't published until 1778, it is now believed they were all completed by 1775. As we have discussed already, it seems as though the Prince had declared an end to his performing days. It is not only tempting, it is almost mandatory, to assert that these works were Haydn's farewell to evenings spent in quiet pleasure of performing this most private chamber music. And a splendid goodbye it is too. The parts are clearly written for the top players in the orchestra and Nicholas. The horn parts, the real showpieces of the set, are so difficult that the works were almost never performed after being published a few years later. You would have expected the baryton part held them back, but no, Haydn and Artaria replaced the baryton with a flute. There was no easing up on the horns though, the Flute Divertimento/Octets (Op 31) were just as killer for them as the originals were.

In typical Haydnish fashion, the Prince's baryton part is written in such a way as to not have too much exposure. It usually doubles the first violin. When it has a solo, such as in the theme and variations in Hob 10:3, the notes chosen are ones which are particularly effective in creating the sort of harmonic sympathetic resonance which makes for an interesting camouflage for the bowed strings. In addition, there is almost no plucking or stopping of the strings behind the neck, something which Nicholas never completely mastered and which was rarely used in the trios. No one else got a free pass, however! Even the violone (double-bass) was completely independent of the cello, and had a solo to play here and there. All of the forms which are now considered to be the hallmarks of Classic style are present here in the most modern way.

To fully appreciate the finer aspects of these works, one must not think of the baryton as even being a factor in their success or failure. It is a part which could fairly be called, as the strings were in keyboard 'trios'; ad libitum. Which is to say, it could be omitted if the players were so inclined. The true ringleaders of this whole show are the horns. On the one hand, Haydn paid them the high compliment of writing as though they could play anything he put on paper. On the other hand, he was one of the most knowledgeable and rational composers for the horn. While his melodic lines ran the gamut of the range of the instrument, the notes he used were nearly all playable on the natural harmonic scale, requiring almost no hand-stopping or sustained notes on devilish tones. It is useful to be aware of how horns played in the days before valves. They were partners, a high horn and a low. While there were times they played individual lines or gestures, such as the low horn playing a long pedal note while the high horn was playing something melodic, for the biggest part of any work they were the linchpins of the harmony, playing in parallel a 5^th apart. While we don't know the name of the 2^nd horn who was the regular partner, we certainly know the 1^st horn; he was probably the finest player alive at the time, Carl Franz. As you recall, he was hired in 1763 and had been a mainstay of the orchestra ever since. This year we are not only closing the Era of the Baryton, we are also bidding adieu to Franz, as at the end of the year he would leave to make his way elsewhere. Possibly Haydn was aware of this plan and was also giving his good friend and long-time stalwart a last chance to show his mettle.

I hope this brief look has intrigued you to the point of wanting to hear these works. If so, you can count your blessings to be in the music avocation at this time in history. There are currently three full cycles available, each of them also containing the splendid little quintet in D, Hob 10:10, which we looked at back in 1768. I listen to all three of them fairly often, and if hard-pressed, I wouldn't be able to choose one over the others. All are marvelously well-played on period instruments, the only advantage I can give to one of them seems to be its availability as a two disc set, over the others which are in larger box sets. Although for me, since I wanted the larger box sets anyway, well.... In any case, this is some fabulously worthwhile music, strongly recommended!

Next time, we will stretch the boundaries of 'keyboard music' a little bit, as this superb era draws to a close. Have a listen to these octets, and till then,

Thanks for reading!