Joseph HAYDN (1732-1809)
Organ Concerto in C, Hob.XVIII/1 [21:23]
Michael HAYDN (1737-1806)
Double Concerto for organ, viola and strings [28:46]
Karol Gołębiowski (organ)
Marcin Murawski (viola)
Academia Ensemble/Bohdan Boguszewski
Cadenzas by Karol Gołębiowski
rec. Sanctuary of Markowice, Poland, 29-31 October 2018. DDD.
Organ specification included. Unequal temperament – Valotti. A=438 Hz.
ACTE PRÉALABLE AP0448
[50:12]
I have to begin with a warning that this CD is not easy to obtain. Until
recently MusicWeb-International were able to offer recordings from this
label at a competitive price, but the UK distributor has folded and I’ve
been able to locate only the recording company’s own
website and
German Amazon
– and even at the latter it’s listed as Derzeit nicht auf Lager,
currently out of stock. I can, however, point you to YouTube, where
you will find this performance of the first movement of the Double Concerto.
There are not too many competing recordings of Joseph Haydn’s keyboard
concertos on the organ, and even fewer of Michael Haydn’s Double Concerto.
Papa Haydn’s concerto comes on a recording by Ton Koopman and his Amsterdam
Baroque Orchestra which appealed to Dominy Clements –
review
– and, indeed, to other reviewers (Challenge Classics CC72390, with
Concerto No.2 and Concerto for organ and violin).
The Michael Haydn can be found on CPO, performed by Jürgen Essel (organ) and
Andra Dārziņa (viola) with the Urban Camerata, which Jonathan Woolf thought
splendidly performed (777986-2 –
review). The alternative comes from Simon Preston Eloquence 483031 (with Horn
Concerto, etc., download only).
All of which makes it almost pointless to report that I enjoyed this Acte
Préalable recording. It makes a good case for performing Hob.XVIII/1 on the
organ rather than the harpsichord or fortepiano, with the chosen
registration offering colour which no other keyboard instrument can offer.
Not that the organ is allowed to dominate proceedings, however; although
this is a full-scale instrument, not a chamber organ, the recording places
it nicely within the framework of the Academia Ensemble.
Similarly, organ and viola are well integrated with each other and the
ensemble in Michael Haydn’s concerto. It’s an odd combination, but it works
well here. The cadenzas, too, in both works are well chosen.
Playing time is rather short, which, combined with the difficulty of
obtaining this recording, means that I must recommend one of the
alternatives, unless the CD becomes more readily available.
Brian Wilson
