Word: haydn
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JACQUELINE DU PRÉ: HAYDN'S CELLO CONCERTO IN C and BOCCHERINI'S CELLO CONCERTO IN B FLAT (Angel). Israeli Daniel Barenboim has earned a reputation as a first-rank pianist, and his British wife Jacqueline du Pre has won an equally enthusiastic following for her accomplishments with the cello. Neither is shy about displaying virtuosity, and this disk demonstrates that Mr. Barenboim is master of his house even on the concert stage, for he conducts his wife and the English Chamber Orchestra into the crystal world of Haydn and Boccherini with great aplomb. Jacqueline is so absorbed...
...choreographic Dada. He composed dances to the sound of rain, and once fashioned a piece in which a couple stood stock-still for four minutes. But in Taylor's Lento, one of the new pieces of his company's current season, his dancers weave gentle patterns to Haydn chamber music, as simple and charming as any moment from Les Sylphides. Another new work, called Agathe's Tale, commits an even stranger breach of experimentalist etiquette: it tells a story. A virgin, fought over by the Angel Raphael and Satan, ditches them both for the bucolic, sensual pleasures...
...choreographic Dada. He composed dances to the sound of rain, and once fashioned a piece in which a couple stood stock-still for four minutes. But in Taylor's Lento, one of the new pieces of his company's current season, his dancers weave gentle patterns to Haydn chamber music, as simple and charming as any moment from Les Sylphides. Another new work, called Agathe's Tale, commits an even stranger breach of experimentalist etiquette: it tells a story. A virgin, fought over by the Angel Raphael and Satan, ditches them both for the bucolic, sensual pleasures...
...Esterház (in eastern Austria), Haydn created operas, symphonies and chamber works whose freshness remains remarkably vivid. The Prince gave him a crack orchestra, and Haydn taught it a dramatic musical vocabulary unknown before his time. When it pleased him, he would begin a symphony (Nos. 22, 49) with a long slow movement instead of the expected brilliant allegro. Some of his effects were comic: in the finale of Symphony No. 60, the violins are asked to mistune their lowest string from G down to F, then pause in mock horror and raucously retune. At the end of Symphony...
...Haydn was more than a musical wag. Sharing the spirit of the Sturm und Drang poets of the time (among them Schiller and Lessing), he made his instruments weep and rant as well. The supple, rhapsodic lyricism of the slow movement of Symphony No. 44 is far removed from the aloof, balanced expressiveness sought by most composers of his time; the demonic orchestral outbursts and sudden silences in the first movement of No. 80 point ahead to the struggle-locked manner of the later Beethoven. To initiate the finale of the Sinfonia Concertante, four solo instruments conduct a nonverbal argument...