Search - Franz Joseph Haydn, European Chamber Opera Orchestra & Chorus, Justin Oprean :: Haydn Concertos

Sweet music played sympathetically

David J. Friedlander | Columbus, Ohio United States | 05/15/2008

(4 out of 5 stars)

"Haydn is best known as the "Father of the Symphony" though he did more for the medium of string quartet in reality. The symphony had many more hands in it's development to single out Haydn as the main source. When it comes to concertos, Haydn is rarely if ever a name that is mentioned. He did write a handful of memorable concerti, the two for cello and his trumpet concerto being the most admired and best known.



Haydn's violin concerti are not mainstays of the repertoire. That is not to say that they don't have something to offer or that they ought to be consigned to permanent anonymity in some classical librarian's closet. Quite the contrary, the concerto in C Hob. VIIa:1 is a charming piece with a direct style of expression and tightly written ritornello structure. It has a bouncy character and maintains a sunny character throughout its 20 minute existence.



The Concerto in G Hob VIIa:4 has a more forward looking character than the Concerto in C. It doesn't push the soloist as much and has more galant elements. As far as character of the piece, it is less individual than it's counterpart and leaves less of an impression on the listener. That is not to say it is inferior music because that is not the case. If anything it has a mild identity crisis trying to decide whether it belongs in the first half or the second half of the eighteenth century. To say it another way, it still has some of the Baroque in its character even though it would be mainly identified as a classical period concerto.



In any case, the main soloist, Andelina Oprean is perfectly suited to these happy and direct pieces. Her clean technique and sweet sound is a great match for Haydn's mild approach. When the music rises up with a small wave of tension, she is able to guide it with an easy yet firm control over line and expression. Her cadenzas are well chosen and smart in that she stays with the themes and doesn't try to slip in every fancy double stop or cram in all the technical tricks violinists steal from each other. She is a musician of taste first and foremost, so that type of transgression is thankfully not to be found anywhere in her playing.



The Concerto for Violin and Piano in F Hob XVIII:6 is the star of the show. Andelina's brother Justin supplies the piano and it is clear these two excellent players have shared a lot of music between them. Their playing is highly complimentary and mutually supportive in an organic way that keeps the music moving with an honest freshness not often encountered in this day of slick virtuosi. Personally I prefer an artist that puts the music first and plays to serve the score faithfully rather than someone who uses music as a vehicle for their own aggrandizement. Rest assured that does not happen here. These players are not stage hogs in any sense and the result is music that caresses rather than jars, is gentle rather than showy and best of all, it is very highly musical.



Since this is now released on the budget Helois label, it is much more affordable than a main label first release. That allows the consumer to get more mileage for their money and these days that is not something to be sniffed at. If you are a Haydn fan and have an interest in moving into some of his less well known repertoire, this is a great place to start. The music is very nice, the sound is soft and the performance is high quality throughout all three concerti. A very good buy if that is in your area of interest."