Aureole etc.




Golden Age singers

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Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett

 

AVAILABILITY

Enquiries to Jean-Pierre Bacq jp@bacq.be

Franz Joseph HAYDN (1732-1809)
Pleasing Pain:

The Mermaid's Song (H XXVIa,25) [03:25]
Pleasing Pain (H XXVIa,29) [02:23]
Fidelity (H XXVIa,30) [03:45]
Sailor's Song (H XXVIa,31) [02:32]
The Wanderer (H XXVIa,32) [04:10]
Sympathy (H XXVIa,33) [03:01]
She never told her love (H XXVIa,34) [03:26]
Piercing eyes (H XXVIa,35) [01:51]
Content (H XXVIa,36) [03:51]
Recollection (H XXVIa,26) [06:04]
A Pastoral Song (H XXVIa,27) [03:25]
Despair (H XXVIa,28) [07:23]
Tuneful voice (H XXVIa,42) [04:00]
The Spirit's Song (H XXVIa,41) [06:25]
Stephan Van Dyck, tenor; Jean-Pierre Bacq, fortepiano
Recorded in 2004 (?) at the Church of Franc-Warêt, Belgium DDD
ARSIS CLASSICS AS-00-A-640012-C [55:48]

Haydn is hardly considered a song composer; at least not one in the same league as Mozart or Schubert. It is telling that in a recent Dutch book, which includes a Haydn the general overview of his oeuvre devotes not a single line to any of the songs.

In the 1780s Haydn had set a number of German poems - some of which were written by famous poets, like Gleim and Lessing - for voice and keyboard. These are completely ignored today. Far better known, performed and recorded from time to time are his English canzonettas. These were composed during his second visit to England in 1794-95.

The incentive to compose these songs came from Anne Hunter, widow of the surgeon Sir John Hunter, whom Haydn befriended during his London stay. The first six songs were published in 1794; the texts were written by Anne Hunter herself. In 1795 a second set was published, for which Ms Hunter had selected texts from several sources, including Shakespeare and Metastasio (in an English translation). Three additional songs were separately published, among them the last two songs on this disc, both again to texts by Anne Hunter.

These vary strongly in character. Some of them have a light touch, like A Pastoral Song and Piercing Eyes. But there are also very dramatic songs, like Fidelity, with its modulations and chromaticism, or The Wanderer which is characterised by frequent pauses. There is a strong connection between the vocal and the keyboard part, but in very different ways. In some songs the text is illustrated in the keyboard part, for instance in Sailor's Song. Although most of the canzonettas are strophic, Haydn varies the accompaniment when the text invites it: in Pleasing Pain, for instance. On the other hand, in the last two items the keyboard isn't so much illustrating the text as evoking the atmosphere reflected by it, which points in the direction of Schubert's songs.

When I first listened to this disc I got the impression that this was perhaps the best performance of these songs I had ever heard. I knew Stephan Van Dyck as a member of many early music groups including the Huelgas Ensemble, and as soloist in numerous recordings of baroque music. I had never encountered him in this kind of repertoire, and I was happy to report that he does it very well. When I listened to this disc a second time I noticed some shortcomings, mainly in his dealings with the text. His English pronunciation is not always idiomatic, and he sometimes swallows a consonant ("wins" instead of "winds"). But he has a really beautiful voice, which is strong both in the lower and the upper register, agile and flexible, and his articulation is immaculate. His singing is expressive and shows a thorough understanding of the texts. He adds ornamentation where it is suitable to do so, and fortunately uses hardly any vibrato. The execution of the keyboard parts by Jean-Pierre Bacq is very colourful; he fully exploits the dynamic possibilities of his instrument. Only in the Sailor's Song would I have liked the keyboard to be played with a little more aplomb. I also regret that Bacq uses a fortepiano with Viennese action rather than a Broadwood copy; the original of which Haydn played while in England.

The booklet is disappointing: it gives hardly any information about these songs, and the texts are printed in red on a background of yellow or deep orange - not a very bright idea, as they are barely legible this way. No recording date is given nor are the numbers in the Hoboken catalogue. Information about the instrument is also lacking.

Despite the shortcomings mentioned above this is a splendid recording which I have listened to with great pleasure and admiration. More than any other recording it has persuaded me of the quality and sheer beauty of these songs. What more can one can ask?

Johan van Veen

 

 



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