6
English canzonettas (Hob.XXVIa/25-30):
I. The mermaid's song 00:00
II.
Recollection 03:25
III.
Pastoral song 09:11
IV.
Despair 12:44
V. Pleasing pain 16:31
VI.
Fidelity 19:31
6 English canzonettas (Hob.XXVIa/31-36):
VII. The sailor's song 23:49
VIII. The wanderer 26:20
IX. Symphaty 30:34
X
. She never told her love 33:38
XI.
Piercing eyes 37:47
XII.
Content 39:43
Haydn, Joseph (1732-1809) -composer
Elly Ameling -soprano
Jörg Demus -piano
I-VI: written in 1794 and dedicated to Mrs
John Hunter
VII-XII: written in 1795 and dedicated to Ladie
Charlotte Bertie
Score:
Available for free at imslp.org
For more of
Haydn's songs check out my "The art of
Austrian song: Haydn,
Mozart,
Schubert,
Mahler,
Berg" playlist.
Description of first six canzonettas by
Michael Jameson:
The opening number "The mermaid's song" features (quite unusually for this genre) an extended opening ritornello of 21 measures, in Haydn's favored triplet note-groupings, and the vocal part is largely independent from the piano's right hand. The second song "Recollection", a dignified and poignant setting, used to bring tears to Haydn's eyes as he sang it, and its similarity to the minuet from his
Symphony No. 97, the work which closed his first triumphant
London season in
1792, cannot be mere coincidence.
Canzonetta III "A pastoral song", in simple strophic form, became universally famous, though there is evidence to suggest that the text originally fitted the
Andante of a
Pleyel keyboard sonata, an issue contested by
Robbins Landon and other scholars. Robbins Landon adds "this is one of Haydn's few songs which has become immortal, partly because it was sung by all sorts of famous people in the nineteenth century such as
Jenny Lind." Canzonetta IV "Despair" has been described as "the best song Haydn ever wrote." Indeed, the declamatory and fully emancipated piano writing anticipates Schubert, and the key-E major-was reserved by Haydn for the expression of the deepest emotions.
The title "Pleasing pains" was omitted from the manuscript of the
British Museum's original copy in Haydn's own hand, however Canzonetta V again reflects the pastoral imagery of
No. 1, in simple 6/8 time, though Haydn skillfully varies the piano accompaniment for the middle stanza.
The set ends with "Fidelity", according to Robbins Landon "the most original and forward-looking of the whole series," a quality clearly sensed in the way this song, whilst intended for the cultivated drawing rooms of
London society, actually prefigures the world of
German Romantic lieder.
Description of second six canzonettas by Michael Jameson:
Canzonetta I "
Sailor's Song" reflects Haydn's interest in the life at sea, and those who lived it. As Robbins Landon adds, "Haydn was all on the English side anyway, so he hardly found it difficult to enter into the swashbuckling, patriotic atmosphere of the poem." Among interesting features of the opening ritornello of this song are horn-like intervals of a fifth, and later, the use of martial, dotted figures in the accompaniment. The second setting "
The Wanderer" is a setting in
G minor of a haunting, nocturnal poem, filled with fragile imagery which Haydn captures effortlessly in this piece
.
In the first published edition, Canzonetta III "
Sympathy" appeared with the footnote "Translated from the
Italian of
Metastasio", though the text was heavily adapted by Haydn's English collaborator. As Robbins Landon has stated: "Haydn's musical contemporaries appreciated the delicately balanced form and the subtle use of motifs to bind the whole together." This song was also featured by the influential musical journal the
Allgemeine Musikalische Zeitung in its first year of publication, 1799, and was much admired throughout musical
Europe.
"She never told her Love", Canzonetta IV, is a masterful and original setting of lines from
Shakespeare's Twelfth Night,
Act II, scene iv. The form is that of a small-scale dramatic scena, and Haydn's setting was cast in the still very new "through-composed" style that would become fashionable among the early
German Romantics. The key,
A flat, and the performance marking
Largo assai e con espressione too, are very unusual, as is the lengthy scene-setting ritornello for the piano. Incidentally, the English were fond of calling Haydn "The
Shakespeare of
Music"-here he surely lives up to the epithet with masterful aplomb!
Canzonetta V "Piercing
Eyes" is also entirely freed from strophic constraints, and its easy folk-song style was to be emulated in Haydn's oratorios
The Seasons (in which, as
Professor Robbins Landon has shown, it is twice quoted directly) and
The Creation. The second group of English Canzonettas ends with the song setting "
Transport of
Pleasure", a conventionally strophic reflection on the delights of love
- published: 07 Jan 2016
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