The other Haydn
Jun. 20th, 2007 07:34 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
khiemtranAmongst the set of Grumiaux recordings I've been listening to lately is a violin concerto by Michael Haydn, brother of Joseph.
It's been an interesting experiment. Arthur Grumiaux is one of my favourite Mozartians and Michael Haydn was a contemporary and a friend of Mozart's. It's been interesting to see how much of what I like about the Grumiaux Mozart recordings is because of Grumiaux and how much is due to Mozart.
Michael Haydn's music is certainly Mozart-like. It's quite common to find Mozart pieces described as resembling those of Michael Haydn, although usually as a way of identifying them as lesser Mozart pieces. The first string quintet, for example, has been described as being in the style of Michael Haydn, to distinguish it from the last four which stand amongst the greatest pieces of chamber music ever written. In general, the way I feel about Michael's music is roughly the same as I feel about his more famous brother - I don't mind it, but, for some reason, I never quite get to love it.
The results so far have been intriguing. There isn't any love yet, but I do like the Grumiaux Haydn recordings more than any others I've heard. And I'd certainly choose Grumiaux playing Haydn over a second-tier soloist playing Mozart. And perhaps, with a few more listens, there'll be love there too.
It's been an interesting experiment. Arthur Grumiaux is one of my favourite Mozartians and Michael Haydn was a contemporary and a friend of Mozart's. It's been interesting to see how much of what I like about the Grumiaux Mozart recordings is because of Grumiaux and how much is due to Mozart.
Michael Haydn's music is certainly Mozart-like. It's quite common to find Mozart pieces described as resembling those of Michael Haydn, although usually as a way of identifying them as lesser Mozart pieces. The first string quintet, for example, has been described as being in the style of Michael Haydn, to distinguish it from the last four which stand amongst the greatest pieces of chamber music ever written. In general, the way I feel about Michael's music is roughly the same as I feel about his more famous brother - I don't mind it, but, for some reason, I never quite get to love it.
The results so far have been intriguing. There isn't any love yet, but I do like the Grumiaux Haydn recordings more than any others I've heard. And I'd certainly choose Grumiaux playing Haydn over a second-tier soloist playing Mozart. And perhaps, with a few more listens, there'll be love there too.
