New research, presented by Houston Symphony principal Brinton Smith:
Haydn’s “London Concerto”?
Haydn’s 1783 D major cello concerto (Hob VIIb:2) suffered a checkered reception for much of its early history. Much of this owes its long rumored association with Haydn’s principal cellist at Esterhazy, Anton Kraft, who for years was believed to have premiered and heavily influenced, or perhaps even composed, the work.
Now new research, published in 2019 by Thomas Tolley building on discoveries of Simon McVeigh, has clarified the origins of the concerto, presenting compelling evidence that it was neither written for nor debuted by Anton Kraft, but composed for and premiered in London.
On March 24th, 1784 in the London press, advertisements announced the debut that evening of “‘A new Concerto, Violoncello, Mr Cervetto, composed by Haydn.” (The C major concerto was, at this point, more than twenty years old) The concert series at Hanover Square in London was presented by Willoughby Bertie, 4th Earl of Abingdon, an amateur flautist and composer, who commissioned several new works by Haydn to present during his 1783 and 1784 concert series.
The soloist of the premiere, James Cervetto, was the son of the Italian Jewish immigrant and noted cellist Jacob Cervetto. Cervetto the younger was the principal cellist of the Italian Opera in London and one of England’s leading solo cellists, known for his tone and expression ‘equal to the best tenor voices’ as well as his brilliant virtuosity. As one of the early proponents of thumb position (including the use of the fourth finger in thumb position!) he could easily sightread violin parts at pitch when the need arose in chamber music. Haydn did not travel to London for the performances and is likely that the parts used for the premiere and a repeat performance one week later were destroyed to protect Haydn’s rights, as was the case with Abingdon’s other Haydn commissions. Reviews of the concerto’s 1784 debut emphasize how Haydn’s score was ideally matched to Cervetto’s strengths, particularly his expressive cantabile lyricism and florid virtuosity.
Why, then, has this concerto so long been associated with and even ascribed to Haydn’s first cellist at Esterhazy, Anton Kraft? Since the origins of the commission and premiere had until now been lost to history, the concerto required the skill of a top virtuoso, and Haydn and Kraft were both at Esterhazy near the date of composition, it was a reasonable assumption. However it also seems that Nikolaus Kraft, Anton’s son, supplied erroneous information to Gustav Schilling, who published in the 1837 Encyclopädie der gesammten musikalischen Wissenschaften the bold claim that the concerto was actually an early composition of Anton Kraft, submitted to Haydn for review and then inadvertently left among Haydn’s papers and published posthumously as the work of Haydn. We know now that this claim is clearly false and it surely would not have been made had Nikolaus Kraft or Schilling known in 1837 that Haydn’s manuscript still existed, that Haydn himself had inscribed the work into his catalog, or that it was not, in fact, published posthumously, but in 1804. (The André edition bore no date, but has been definitely dated by its plate numbers) It seems unlikely that Nikolaus Kraft, who was nine at the time Anton left Esterhazy and was trained as a cellist by his father, would not have known the true origins of the work. The false information he provided Schilling was likely a deliberate attempt to increase the legacy of his deceased father and their Kraft “brand.” Unfortunately, this great lie enmeshed itself to this concerto to such an extent that even to this day -in the face of overwhelming evidence to the contrary- many still imagine that there is some doubt as to its authenticity. Hopefully the newly revealed details of its commission and debut may finally put those rumors to rest.
My research into the origins of this concerto was inspired by concerts with the Houston Symphony. I am heavily indebted to Thomas Tolley whose groundbreaking research I am only surveying and whose paper should be read in its entirety for the rich level of background and detail it provides.
South Korea has the highest classical sales of any country in the world, running at above 20 percent of the total record market.
DG has just added violinist Bomsori Kim, 31, to its roster.
Tonight, Italian theatres will open their doors and turn on their lights from 1930 to 2130 pm to mark a year of closure.
It’s a symbol of solidarity with furloughed workers and frustrated audiences.
Cool idea.
Prime Minister Boris Johnson has rolled out a four-step exit from lockdown.
Under step 4, projected to start from June 21, ‘we will reopen everything up to and including nightclubs.’
Step 3 provides for some indoor events with up to 1,000 participants.
Dienstag, 23. Februar 2021, 19.00 Uhr Leoš Janácek KÁTJA KABANOVÁ (Vorstellung vom 27. April 2017)
Oper in drei Akten
Musikalische Leitung: Tomáš Netopil
Inszenierung: André Engel
Mit u.a.: Angela Denoke, Misha Didyk, Jane Henschel, Dan Paul Dumitrscu
Mittwoch, 24. Februar 2021, 19.00 Uhr Leoš Janácek VEC MAKROPULOS (Vorstellung vom 20. Dezember 2015)
Opern in drei Akten
Musikalische Leitung: Jakub Hruša
Inszenierung: Peter Stein
Mit u.a.: Laura Aikin, Ludovit Ludha, Thomas Ebenstein, Margarita Gritskova
Donnerstag, 25. Februar 2021, 19.00 Uhr Leoš Janácek DAS SCHLAUE FÜCHSLEIN (Vorstellung vom 11. April 2016)
Oper in drei Akten
Musikalische Leitung: Tomáš Netopil
Inszenierung: Otto Schenk
Mit u.a.: Chen Reiss, Roman Trekel, Hyuna Ko, Joseph Dennis, Paolo Rumetz, Marcus Pelz
Freitag, 26. Februar 2021, 19.00 Uhr Georges Bizet CARMEN (Vorstellung vom 21. Februar 2021)
Opéra comique in vier Akten
Musikalische Leitung: Andrés Orozco-Estrada
Inszenierung: Calixto Bieito
Mit u.a.: Anita Rachvelishvili, Piotr Beczala, Erwin Schrott, Vera-Lotte Boecker
Samstag, 27. Februar 2021, 19.00 Uhr – Ballett Adolphe Adam GISELLE (Vorstellung vom 28. September 2017)
Musikalische Leitung: Valery Ovsyanikov
Choreographie: Elena Tschernischova nach Jean Coralli, Jules Perrot und Marius Petipa
Mit u.a. Nina Poláková, Masayu Kimoto, Solisten und Corps de ballet des Wiener Staatsballetts
Sonntag, 28. Februar 2021, 19.00 Uhr Wolfgang Amadeus Mozart LE NOZZE DI FIGARO (Vorstellung vom 4. Februar 2021)
Opera buffa in vier Akten
Musikalische Leitung: Philippe Jordan
Inszenierung: Jean-Pierre Ponnelle
Mit u.a.: Andrè Schuen, Federica Lombardi, Philippe Sly, Louise Alder, Virginie Verrez
The Vienna Konzerthaus has issued a mourning notice for Stefan Mickisch, a popular pianist and musicologist who died unexpectedly this weekend, aged 58.
Since his first performance at the Vienna Konzerthaus in June 1992, Stefan Mickisch was connected to this house for almost 30 years. His conversation concerts in the Mozart Saal, which were designed by the concert wing of moody and virtuoso, were very resonant and will be missed by us and many people.
Several Wagner socieites and festivals have exressed shock and condilences.
Nothing, however, from Bayreuth, where Mickisch gave pre-opera lectures until he was expelled two months ago for Covid dissidence.
Being Wagner means never having to say you’re sorry.
The violinist Gina McCormack, who joined the Brodsky Quartet just two years ago, has decided to step down. She has diclosed that her husband, Leif, is suffering from Motor Neurone Disease and she cannot commit to the Quartet’s busy schedule once concerts start again.
Gina says: ‘Our time together as a quartet was sadly far too short, but I leave with enough fabulous musical and culinary memories to last me a lifetime!’ The Brodskys say: ‘We are immensely sad to be losing Gina. She and Leif will remain at the forefront of our thoughts as they strive to negotiate his illness. Our short time together was hugely productive, rewarding and immensely fun. Gina has left us with many memories and we shall miss her enormously.’
In place of Gina, the Brodskys have recruited Krysia Osostowicz from the Dante String Quartet.
Today at 20:15 CET Lise Davidsen and Sophie Raynaud will perform Beethoven’s Gellert lieder from the Bayerische Staatsoper.
Edwin Crossley-Mercer will sing the Scottish and Irish songs, and intendant Nikolaus Bachler will read the Heiligenstadt Testament.
The Mexican ministry of culture has announced the death of soprano Violeta Davalos Lara at the age of 52. She was a notable Tosca and Butterfly.
Alejandra Frosto Guerrero, Culture Secretary, said: “We are shocked by the loss. Violeta is extraordinary. The Mexican opera is in mourning. My condolences to her family, friends and colleagues.”.
The cause of death is reported to have been peritonitis.
The Chicago Symphony will not be appearing at Salzburg or other European festivals this summer ‘due to ongoing health and safety concerns and potential travel and performance restrictions related to the Covid-19 pandemic.’
The statement continues:
“International touring remains a top priority for the Chicago Symphony Orchestra and music director Riccardo Muti. We look forward to serving as Chicago’s cultural ambassador and performing for international audiences again in the future, once health and safety restrictions enable us to do so,” says CSOA President Jeff Alexander.
