In general, Haydn's concertos are going to turn anyone's worlds. These two horn concertos are in that vein, early works from the composer, while the second one is sometimes attributed to Michael Haydn, the master composer's younger brother.
If these horn concertante works aren't going to topple anyone's musical worlds, Haydn's writing for the horn just may. The writing is virtuosic, yet songful, notably exploring the extremes of the instrument's wide range. Take the second movement of Horn Concerto no. 1 in D Major; the lyrical songfulness is fully expected, but an aggressive descent into the subterranean depth's of the French Horn's low register is completely unexpected, one which returns later on as well. I am usually all about point out when the horn scream in its upper register, but the sheer range expected of the player is crazy here.
If Haydn's Horn Concerto no. 1 & 2 represent Haydn in his early days at the Esterházy Palace, the Two-Horn Concerto in E-flat Major sounds much more mature, if for nothing else than through the writing for orchestral winds and the lack of continuo. But so too, the structures of phrases, melodies, and the general concertante musical conversation is so much more convincing and confident here. Even more impressive is the virtuosic demands placed upon not only on the lead horn player, but on the second horn as well, here played by British hornist Timothy Brown. Like Michael Haydn, the Double Horn Concerto is now roundly attributed to composer Antonio Rosetti. Those looking for a Haydn horn concerto recording are now down 1 for 3.
As a bit of fill-up, Baumann includes Czech composer Franz Xaver Pokorny's Horn Concerto in D Major, a contemporaneous work with Haydn. Pokorny adds trumpet and timpani to his concerto, making for a relatively festive occasion.
As with his other recordings, I enjoy Hermann Baumann's extrovert handling of the French Horn. His pouncing upon this music simply makes this music come alive. Better yet is the fruity tone he elicits from the brass instrument. Listen to the Double Horn Concerto where Baumann and Brown do some call and response setups. While Brown is equally adept in his horn playing, listen to the tonal difference; Baumann's sound is full of special color and attack.
When I first heard this recording, I thought it was unnaturally sped up, due to a quavery sound from the Academy of St. Martin-in-the-Fields. Then, I thought it was Baumann's distinct vibrato. I was wrong on both counts. I think it is the Academy strings who were instructed to play in this way. Listen to the opening of the First Horn Concerto - do you hear the unnatural quavery sound. One's ears adjust, but every now and then I will catch this unusual sounding vibrato in the strings, a repellent quality which makes them sound squealy, particularly in their higher registers. I have not heard this attribute from this particular ensemble before, so perhaps this was done at the request of leader Iona Brown or a quality from the engineer's booth; I will need to investigate further.
Otherwise, I like the balance between orchestra and soloist. Only the orchestral oboes could use a juicing up in Horn Concerto no. 1, who are subsumed by strings. Every other aspect is tastefully portrayed, although I would have preferred an absence of the harpsichord, a jangly assault on my sense in any recording. I should mention the many cadenzas come from Baumann himself. Only one of them seemed a little out of place with the music which came before, but most are effective scene stealers, as they rightly should be.
Works
Franz Joseph Haydn
Horn Concerto 1 in D Major, Hob. VIId:3 (16.07)
Horn Concerto 2 in D Major, Hob. VIId:4 (15.53)
Two-Horn Concerto in E-flat Major, VIId:5 (18.23)
Franz Xaver Pokorny
Horn Concerto in D Major (16.04)
Soloists
Hermann Baumann, horn
Timothy Brown, horn (Hob. VIIb:5)
Performers
Academy of St. Martin-in-the-Fields
Iona Brown, conductor
Label: Philips
Year: 1989
Total Timing: 66.26
Haydn's Horn Concertos are not top-tier from the composer, but lovers of horn and Haydn should still have much to appreciate in this music.
Hermann Baumann brings much joy to this music, and his not-so-subtle attacks and singular horn tone easily makes this recording a favorite of these works.
If only I could pin down the odd quality I hear from the Academy orchestra in their highest ranges. Maybe it is just me?
Find more Haydn recordings HERE!
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