Joseph Haydn, Cello Concerto No 1

Despite the splendor of the place, despite the luxury and festivities, Haydn's life in Esterháza Palace was not free of difficulties. For 28 years he well served his patron Prince Nikolaus, called The Magnificent for his taste for pomp and celebrations. He wrote symphonies and concertos for the court orchestra, but he also had to deal with the human group involved.

The parties went on without rest and the obligatory stay in the palace during the whole summer, and something more, caused tension among the musicians, generating many conflicts among themselves or with the prince's administration. (To appease them, Haydn had to compose, for example, his famous Farewell Symphony). The orchestra was small, its members did not exceed ten or twelve, but among them were renowned instrumentalists who, for the same reason, were suspicious of each other.

Joseph Haydn (1732 - 1809)

The carmadgeons virtuosos
And the greater the renown, the sharper the conflict. In the summer of 1769, the virtuoso cellist Joseph Weigl clashed fiercely with his colleague Ignaz Küffel and almost came to blows. Haydn had to intercede to calm the violent brawl. Two years later, the master had to deal with a brawl between another cellist and a flutist in a tavern in Eisenstadt, resulting in the flutist losing an eye.

Reducing the conflict
That is how turbulent Haydn's group of musicians was. In spite of this, and obliged to compose on a regular basis for his patron, the maestro would dedicate most of the concertos composed during his first years in Esterháza to one or another of the first-rate virtuosos in the small orchestra of Prince Nikolaus.

Cello Concerto No. 1 in C major

Probably composed between 1761 and 1765, Haydn's first cello concerto was written for the cello virtuoso Joseph Weigl, one of the curmudgeons. Its score was considered lost until the 1960s when it turned up among other documents in the National Museum in Prague. Structured in the classical manner in three movements, the third movement, marked allegro molto, is quite a challenge for the performer. 

Movements:

00       Moderato

09:47  Adagio

17:58  Allegro molto

The performance is by the Russian maestro Mstislav Rostropovich and the Orquesta Sinfónica de la Radiotelevisión Española, which he also conducts. Madrid, 1985. 

The concert lasts just over 23 minutes, the rest is applause.

Mozart, The Magic Flute - "Queen of the Night Aria"

Over time, many questions have been asked about the deep meaning of Mozart's last opera, what the genius from Salzburg wanted to reveal to us, its hidden message, and its true meaning. So much concern has also led to an infinite number of answers. Thus, The Magic Flute (Die Zauberflöte) has been described as anything from a "Masonic oratorio", or a ceremony for initiates, to a simple fairy tale suitable for all audiences.

On the outskirts of Vienna
The Masonic symbolism is present throughout the work, but the fact that it was premiered in a suburban theater, the Theater auf der Wienen, before an audience far from Masonic doctrines as from any other philosophical idea, that is, a plain and simple audience, leads us to think that Mozart was far from pretending to compose an elaborate work, full of truths accessible to a few. If we also remember that both the librettist Schikaneder (and administrator of the theater) and the composer were under serious financial difficulties at the time, Mozart's intention could not have been other than to reach a large audience, whether they were Masons or not.

A triumphal tour

The reception on the day of its premiere (September 30, 1791) began cold, but in the end, it was warmly applauded. And from its second performance, it began a triumphal journey that continues to this day. In October 1791 it was performed 24 times, and after a little more than a year it reached its hundredth performance. But Mozart was not there to see it. He had died a year before.

Queen of the Night Aria

The obscure character with no name but simply called the Queen of the Night has only two arias to perform, one in the first act and another in the second. The most famous of these is the one in Act II, known for short as "Der Hölle Rache..." and popularly referred to as "Queen of the Night Aria". It requires a coloratura soprano of extreme skill, as it is one of the most difficult soprano arias in operatic literature.

"Hell's revenge..."

"Der Hölle Rache kocht in meinem Herzen" is its full title. That is, something like "Hell's vengeance boils in my heart". Indeed, the queen suffers a fit of vengeful rage and puts a knife in the hands of her daughter Pamina exhorting her to murder Sarastro, the queen's rival, under penalty of cursing her forever if she does not comply.

The performance is by German soprano Diana Damrau, accompanied by the Vienna Philharmonic, conducted by Riccardo Muti.

Beethoven, Six Variations for piano on a theme by Paisiello

 
The Italian composer Giovanni Paisiello was primarily a composer of operas who enjoyed no small amount of success in his long life. His setting of Beaumarchais's comedy Il Barbiere di Siviglia ovvero La precauzione inutile toured Europe with overwhelming success in the 1780s. Therefore, when Rossini "remusicalised" the libretto in 1816 under "another" name: Almaviva o sia L' inutile precauzione, Paisello followers hit the roof, although he was by no means the first to set the French comedy to music.

The successful duet
His output in the genre totals 94 works, all of which abound in beautiful, simple melodies. His greatest "hit", to this day, is the duet from the second act of La Molinara, from 1788, known as "Nel cor piu non mi sento", its first verse which, very loosely, can be translated as "My heart no longer feels". Dozens of composers have made use of the theme: Paganini, Sor, Giuliani, Hummel, and many others arranged it for various instruments, including the double bass.

Variations on request

Giovanni Paisiello (1740 - 1816)

But it was Beethoven who took the cake. In his first years in Vienna, teaching aristocratic girls and making contacts in musical circles to make himself known (he was 25 years old), the maestro was not in a position to produce particularly important works. So it happened that on one such evening, the lady of the house suggested that he should write some variations on melodies from Paisiello's recently premiered work. It is said that Beethoven would have taken note and completed the request a couple of days later in the course of a single evening.

Six variations for piano on Nel cor piu non mi sento
Full of charm rather than depth, and with no major technical demands (they suited his pupils like a glove), the variations in G major are catalogued as WoO 70 (WoO: Works without opus number) and were composed in 1795. From then until today, the little jewel of no more than six minutes in length is the most serious incursion into Beethoven's work of any novice pianist, after, of course, the celebrated bagatelle Für Elise.

The original theme

But before listening to the set of piano variations, we thought it was important to present Paisiello's original theme. It is sung by Pavarotti.

Theme and Variations performed by the Georgian pianist Ketevan Sepashvili:

00 Theme

01:16 Variation 1

01:52 Variation 2

02:31 Variation 3

03:12 Variation 4 (the " prescribed " variation in a minor key)

04:24 Variation 5

05:10 Variation 6 (a little faster than desirable, in our humble opinion)

Vivaldi, The Four Seasons - Autumn

 
Antonio Vivaldi, known in his time as il prete rosso (the red priest, because of the color of his hair, a family characteristic) received minor orders when he had just turned fifteen. However, the young violinist did not feel a strong religious vocation. Apparently, he chose the habits as a way of gaining access to a social status that would otherwise have been forbidden to him: his family album is full of unvirtuous personages, with an abundance of sailors, pirates, and bandits, with the exception of his father, who was also a famous violinist. However, in 1703, at the age of twenty-five, he was ordained a priest.

At L'Ospedale
That same year he began in Venice a very long and fruitful relationship with the Ospedale della Pietà, an orphanage he would remain in relatively regular contact with for 36 years. It was there that he composed most of his works, which total an astonishing 454 concertos, according to the latest research. However, most of these compositions remained unknown until the first quarter of the 20th century, when 300 autograph manuscripts plus nine operas and a beautiful oratorio were collected.

Il Cimento dell'armonia e dell'invenzione
Needless to say, only a tiny part of this immense work was published during the author's lifetime. An exception to this were the twelve concertos that make up the collection Il Cimento dell'armonia e dell'invenzione, published in Amsterdam in 1725, and whose first four concertos have become very famous under the title of The Four Seasons.

Antonio Vivaldi (1678 - 1741)

The imitation of nature

Perhaps for the first time in his entire oeuvre, Vivaldi resorts here to the imitation of nature as a reflection of one of the basic tendencies of enlightenment culture, understanding that imitation of nature here means "imitation of human nature," that is, the translation of sensible human impressions into music.
They constitute the first incursions into the so-called "programmatic music" that would have a notable presence during the romantic century to come.
The four concertos already mentioned are: Spring, Summer, Autumn and Winter, all written for solo violin, string orchestra and harpsichord, and structured in three movements: fast - slow - fast.

Presented here is the Concerto in F major, Autumn, in a rendition by German violinist (and also pianist) Julia Fischer, accompanied by the London-based ensemble Academy of St Martin in the Fields.

Movements:
00        Allegro
04:48  Adagio molto
07:11  Allegro pastorale

Haendel, "Largo", from opera "Xerxes"

Georg Friedrich Haendel settled definitively in London in 1712. He was then 27 years old and remained there building a prolific career as a composer and entrepreneur, until his death in April 1759. He had to overcome many ups and downs and setbacks in his role as an impresario but nevertheless managed to become the leading exponent of English opera of his time.

A fruitful composer
Although they were not always well received by the public, in the thirty years between 1710 and 1740, the prolific German composer wrote no less than 40 operas. Even after the resounding failure in 1737 of his third foray as a trainer of opera companies, he had the courage to compose a couple of operas of Italian style. The most famous of them is a sort of comedy, whose protagonist is the king of Persia, Xerxes, and from whom the opera takes its name.

Xerxes, the opera
Its premiere, in 1738, was a commercial failure. Xerxes only reached five performances. The work confused audiences and critics in different ways. Some considered it an opera buffa, others a farcical comedy, and one colleague even added that it seemed to be the product of a "sick mind".

All in all, the work incorporates one of the most famous arias written by Haendel, the famous Ombra mai fu ("There was never a dearer, lovelier, sweeter shade," the verse continues), popularly known as Largo de Xerxes, even though it is a larghetto and not a largo.

Song in the shade of a tree

The aria belongs to the first scene of Act I. King Xerxes sings in rapture in the shade of a tree, that of a Platanus orientalis, by the way. Originally written for a soprano castrato, today it is generally sung, if male, by a countertenor, if female, by a contralto or mezzo-soprano. There are also countless versions for different instruments.

We present here an outstanding version by the German countertenor Andreas Scholl, whose timbre reveals to us a miracle, the miracle of the human voice.