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Haydn in London

08.10.2020 | 45 min. | R100

Met Liesl Stoltz (dwarsfluit), Refiloe Olifant (eerste viool), Bonolo Kgaile (tweede viool), Lynn Rudolph (altviool), Cheryl de Havilland (tjello), Mariechen Meyer (kontrabas) en Erik Dippenaar (klavesimbel)

Die Londense impresario en orkesleier, Johann Peter Salomon (1745-1815), het in 1795 en 1796 die regte gekoop vir die twaalf sogenaamde Londen-simfonieë, wat Joseph Haydn (1732-1809) vir optredes in Londen gekomponeer het. Salomon het, ná die aankoop, al twaalf simfonieë verwerk vir dwarsfluit en strykkwartet, met opsionele parte vir klawerbord en/of kontrabas. Lede van Camerata Tinta Barocca voer een van Salomon se transkripsies uit: die geliefde Surprise Symphony. Die program word aangevul deur CPE Bach se Hamburger Sonate vir dwarsfluit en continuo, wat die eerste keer in 1786 gepubliseer is. Haydn het tydens sy vormingsjare die musiek van CPE Bach (1714-1788) noukeurig bestudeer en dit het ’n groot invloed op sy latere komposisiestyl gehad.

With Liesl Stoltz (flute), Refiloe Olifant (violin 1), Bonolo Kgaile (violin 2), Lynn Rudolph (viola), Cheryl de Havilland (cello), Mariechen Meyer (double bass) and Erik Dippenaar (harpsichord)

In 1795 and 1796 the London-based impresario and orchestral leader, Johann Peter Salomon (1745-1815), bought the rights to the twelve so-called London symphonies, which Joseph Haydn (1732-1809) composed for performances in London. Subsequently, Salomon arranged all twelve symphonies for a chamber combination of flute and string quartet, with optional parts for keyboard and/or double bass. Members of Camerata Tinta Barocca present one of these symphonies in Salomon’s transcription: the well-loved Surprise Symphony. The programme is supplemented by CPE Bach’s Hamburger Sonata for flute and continuo, first published in 1786. During his formative years, Haydn meticulously studied the music of CPE Bach (1714-1788), which had a considerable influence on his later compositional style.  

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