Aureole etc.

Golden Age singers

Nimbus on-line

Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider


paid for


100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas

FOGHORN Classics

Mozart Brahms
Clarinet Quintets

New Releases

Naxos Classical

Click to see New Releases
Get 10% off using code musicweb10

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger


CD: AmazonUK AmazonUS
Download: Classicsonline


Franz Joseph HAYDN (1732–1809)

Horn Concerto No.1 in D, Hob VIId:3 (1762) [15:52]

Harpsichord Concerto in D, Hob XVIII:2 (1750s? perhaps 1767) [24:49]

Double Concerto in F, for violin and fortepiano, Hob XVIII:6 (1756) [18:03]

Trumpet Concerto in Eb, Hob VIIe:1 (1796) [14:10]

Dmitri Babanov (horn); Harald Hoeren (harpsichord, fortepiano); Ariadne Daskalakis (violin); Jürgen Schuster (trumpet)

Cologne Chamber Orchestra/Helmut Müller–Brühl

rec. 23–27 February 2007, Deutschlandfunk Kammermusiksaal, Köln, Germany. DDD
NAXOS 8.570482 [72:52] 


Experience Classicsonline

Perhaps it’s a terrible admission to make, but much as I love Haydn, I have never really warmed to his concertos. Here, I thought, was the father of the Symphony as we know it today, the String Quartet as we know it today, and the foundation of opera. OK, I know that Mozart had an hand in the development of all these forms but it was Haydn who got things going. Sure enough, there’s drama and poetry aplenty in the pieces mentioned but concertos? Where’s the dramatic interplay between soloist and orchestra? Where’s the element of man standing alone against the crowd?

Then along comes this disk and I suddenly have to re–think my position. It had never dawned on me that the concept of protagonist and lynch mob hadn’t been invented at the time Haydn was writing his concerted works. So now I can see them in a different light for what they are – wonderful entertainment music with prominent parts for solo instruments. 

I’m glad that I’ve been able to change my views and can now enjoy these works for they are delightful. The Horn Concerto which opens the disk is full of good things, the writing for horn is certainly virtuosic – the range which Haydn demands of his performer is phenomenal – and here Babanov is quite happy whether he plays in the highest or lowest registers. Haydn goes to both extremes and exploits the full range of the instrument. The work also includes two quite taxing cadenzas. It is thought that the work was written for Joseph Leutgeb, the recipient of Mozart’s four Horn Concertos - he must have been some player! And what a lucky man to have five such magnificent works created for him! 

The Harpsichord Concerto is full of great jokes. I especially love the jumping frog impression which the keyboard undertakes at 1:37 in the first movement. There’s lots of interplay between soloist and orchestra, more than in the wind concertos, but this is probably because Haydn knew that his soloist wouldn’t be overwhelmed by the accompaniment as easily as in the other works. The slow movement contains many little jokes with grace notes cheekily sticking their noses into the serious business of tunefulness. The finale is simply a fast romp. 

The Double Concerto is thought to have started life as a work for organ. It is considered to have been performed for the solemn profession of Therese Keller, Haydn’ future sister–in–law, as a nun in 1756 – the proof being that the range used by the fortepiano is restricted to the range of the contemporary Viennese organ. Certainly, this is a more serious work, more stately, than the others contained herein. The two soloists never engage in overt display and more often than not they connect in harmonious duet. Rather lovely it is, too. The finale is fast and joyful, but there’s still a serious undertone to the music. 

Thanks to the solo trumpet repertoire being quite small, until contemporary composers started writing for it, Haydn’s Trumpet Concerto has become very well known. It’s a true virtuoso work with a gorgeous slow movement and a racy finale. 

The performances here are first class, with lots of life and a real period feel. There’s nothing prissy or restrained about them - they’re really very alive. Thoroughly enjoyable. 

I must make two points. First of all, in almost every movement, for reasons best known to himself, Müller–Brühl insists on making huge rallentandi at the ends of movements. This  ruins the flow of what has gone before. It is a blemish on the performances. 

My second point is rather more important. The sound is in Naxos’s best manner – bright and clear. In the Trumpet Concerto the balance between soloist and orchestra is perfect. The whole sound is well focused and there is a good relationship between listener and performer. However, in the other three works the recording is very close which slightly distorts the sound-picture as everything comes across as being overblown. The obviously small string orchestra ends up sounding like a small orchestra which has been over–amplified. This is most noticeable in the slow movements where a more intimate atmosphere is required than in the faster pieces. If you turn the volume down in the hope of taming the sound you lose some of the presence of the performances. This is a shame for these are spritely performances which are real winners and will do much to make these works better known to the public. 

This is well worth having, despite my reservations about the sound. If you can tame it ever so slightly – it doesn’t need much – you’ll have a really good time listening to very pleasurable music.

Bob Briggs 


Advertising on

Donate and keep us afloat



Recordings of the Month


From Ocean’s Floor


Conner Riddle Songs

Rodzinski Sibelius

Of Innocence and Experience


Symphonies 1, 2, 3



Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews


      Composer surveys
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site


Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure



Bulletin Board

Give your opinions or seek answers

Pat and present

Helpers invited!

How Did I Miss That?

Currently suspended but there are a lot there with sound clips

Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Other links
Web News sites etc

A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools

Return to Review Index

Untitled Document

Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.