The Haydn Project

Editorial Reviews
Amazon.com
To celebrate its 25th anniversary, the Emerson Quartet has made its first all-Haydn recording, featuring seven of his most famous quartets on two CDs. Presented chronologically, the program is arranged for utmost contrast of tonality, atmosphere, and character. The prevailing mood is joyous, as befits the occasion, though three quartets are in minor keys. The opening work, Op. 20, No. 5, is dark, brooding, and achingly beautiful. Its inner tension is released in passionate climaxes, its slow movement is serenely pastoral, its finale a double fugue. This is followed by Op. 33, No. 2, nicknamed "The Joke" for its finale, whose coda is punctuated by several "fake" endings: general pauses of increasing length designed to tempt the audience into premature applause. To make its full effect, this "joke" depends on watching the players sit in frozen silence. Also in minor are the dramatic Op. 76, No. 2, nicknamed "Fifths" for its opening theme, which contains the famous "Witches' Minuet," a fierce two-part canon between the upper and lower instruments, and Op. 74, No. 3, nicknamed "The Rider" for its galloping finale. Op. 64, No. 5, is called "The Lark" for its soaring beginning; the finale is a brilliant perpetual motion marathon. Op. 54, No. 1, and Op. 77, No. 1, radiate good cheer and sunshine. The Emerson, whose violinists alternate, plays all this with its customary meticulousness, polish, and ease. Some of the fast movements are surprisingly leisurely, and at times one could wish for more inwardness or abandon. A third, bonus disc taken from earlier Emerson recordings contains movements of eight quartets, from Mozart to Ives. --Edith Eisler

Tracks:

String Quartet in F minor, op. 20 no. 5: Allegro moderato
String Quartet in F minor, op. 20 no. 5: Menuetto
String Quartet in F minor, op. 20 no. 5: Adagio
String Quartet in F minor, op. 20 no. 5: Finale: Fuga a due soggetti
String Quartet in E flar major, op. 33 no. 2: Allegro moderato, cantabile
String Quartet in E flar major, op. 33 no. 2: Scherzo: Allegro
String Quartet in E flar major, op. 33 no. 2: Largo sostenuto
String Quartet in E flar major, op. 33 no. 2: Finale: Presto
String Quartet in G major, op. 54 no. 1: Allegro con brio
String Quartet in G major, op. 54 no. 1: Allegretto
String Quartet in G major, op. 54 no. 1: Menuetto: Allegretto
String Quartet in G major, op. 54 no. 1: Finale: Presto
String Quartet in D major, op. 64 no. 5: Allaegro moderato
String Quartet in D major, op. 64 no. 5: Adagio cantabile
String Quartet in D major, op. 64 no. 5: Menuetto: Allegretto
String Quartet in D major, op. 64 no. 5: Finale: Vivace

Tracks:

String Quartet in G minor, op. 74 no. 3: Allegro
String Quartet in G minor, op. 74 no. 3: Largo assai
String Quartet in G minor, op. 74 no. 3: Menuet: Allegretto
String Quartet in G minor, op. 74 no. 3: Finale: Allegro con brio
String Quartet in D minor, op. 76 no. 2: Allegro
String Quartet in D minor, op. 76 no. 2: Andante o piu tosto allegretto
String Quartet in D minor, op. 76 no. 2: Menuetto: Allegro ma non troppo
String Quartet in D minor, op. 76 no. 2: Finale: Vivace assai
String Quartet in G major, op. 77 no. 1: Allegro moderato
String Quartet in G major, op. 77 no. 1: Adagio
String Quartet in G major, op. 77 no. 1: Menuetto: Presto
String Quartet in G major, op. 77 no. 1: Finale: Presto

Amazon.com

To celebrate its 25th anniversary, the Emerson Quartet has made its first all-Haydn recording, featuring seven of his most famous quartets on two CDs. Presented chronologically, the program is arranged for utmost contrast of tonality, atmosphere, and character. The prevailing mood is joyous, as befits the occasion, though three quartets are in minor keys. The opening work, Op. 20, No. 5, is dark, brooding, and achingly beautiful. Its inner tension is released in passionate climaxes, its slow movement is serenely pastoral, its finale a double fugue. This is followed by Op. 33, No. 2, nicknamed "The Joke" for its finale, whose coda is punctuated by several "fake" endings: general pauses of increasing length designed to tempt the audience into premature applause. To make its full effect, this "joke" depends on watching the players sit in frozen silence. Also in minor are the dramatic Op. 76, No. 2, nicknamed "Fifths" for its opening theme, which contains the famous "Witches' Minuet," a fierce two-part canon between the upper and lower instruments, and Op. 74, No. 3, nicknamed "The Rider" for its galloping finale. Op. 64, No. 5, is called "The Lark" for its soaring beginning; the finale is a brilliant perpetual motion marathon. Op. 54, No. 1, and Op. 77, No. 1, radiate good cheer and sunshine. The Emerson, whose violinists alternate, plays all this with its customary meticulousness, polish, and ease. Some of the fast movements are surprisingly leisurely, and at times one could wish for more inwardness or abandon. A third, bonus disc taken from earlier Emerson recordings contains movements of eight quartets, from Mozart to Ives. --Edith Eisler

Customer Reviews:

Perfection at its Very Worst.......2005-01-09

If I rate this album with one star, it is to say something relative to other recordings and to the standard to which I hold the Emerson Quartet. In Haydn, where wit, joy, humor and vivaciousness are more important than in any other composer (?), the Emerson's polish works so incredibly against the works, that I cannot but dissuade a potential explorer of Haydn most urgently from getting this recording.

Upon first hearing it will sound fine enough... technically it is perfect, the sound is fine... but it will reveal itself (immediately in comparison - or else over time) as tedious, meticulous and missing the point. The Lindsay's give these quartets all the gusto they need... sadly, they are seldomly in tune. With the Quatour Mosaiques you might get the finest accounts available (historical instruments or not), and the Kodaly Quartet on Naxos is a budget option that deserves your ears and trust.

If a listener wants to experience the Emerson String Quartet at their best, late Beethoven, Shostakovich, Webern et al. offer far better opportunities than Haydn (and Schubert).

3 DISCS ACTUALLY.......2004-11-16

The third is a set of individual movements by Mozart, Schubert, Dvorak, Bartok, Ives, Shostakovich, Webern and finally a sizzling performance of the fugue from Beethoven's third Rasumovsky. It's brilliant, so I don't know why they are being so coy about it.

The first thing that I commend strongly about this set of 7 Haydn quartets is the actual selection. They range in order of composition from one of the op 20's to the great op77 #1, and 3 of the 7 are in minor keys. I get a definitely serious feel to the Emersons' approach to all 7. Op 33 #2 'The Joke' is included, and for once the jokiness at the end is downplayed, to my great relief. Another aspect that interested me was the fairly moderate speeds they take in the finales to the first 4 numbers, getting distinctly livelier in the last 3. I find this extremely convincing -- the music in the earlier finales is slighter than in the later ones and to my ears it benefits from not being rushed. What I would have liked to find out from the liner notes is whether that, or something else entirely, was the Emersons' thinking, but the remarks are to a familiar pattern -- useful and informative background information, very little about the performances, and rather gushy 'chatty-learned' stuff on the music.

I would describe this as a really distinguished set. It ought to suit experienced listeners in search of new insights, and for new(er)comers the format has been quite brilliantly devised as an introduction to the string quartet repertory presenting the father of the genre in depth followed by glimpses of what his successors did with the heritage he left them. Recorded quality also excellent.

String Quartet Delight.......2002-01-16

This tribute to Haydn is spectacular. Their playing is impeccable, with fine definition and movement. I especially enjoy their offering of Opus 33, The Joke. It is light and playful and bounces with liltiness.

This is truly refreshing music to listen to. The bonus CD of works by Mozart, Shostakovich, Dvorak, et al is wonderful as well. This finales in Beethoven's op. 59 for String Quartet.
Magnificent!

Thanks Emerson for 25, may 25 more be yours and your fans!

haydn, haydn, haydn.......2001-11-19

I heard this recording on the classical station that I listen to.
I now have the CD's in my car and my son and I (he's 8) absolutely love this recording. It is so wonderful we feel like we are seeing the quartet in person. Bravo, Bravo. We will be giving this one as gifts for the Holidays.

Simply marvelous...........2001-10-30

I have grown old with the Emerson; they recently celebrated their twenty-fifth season with the Stanford University Lively Arts, and I have not missed one of those performances. This year they played four of the quartets from their Haydn Project. The audience was as thrilled as any listener of these CDs will be.

In addition to their extraordinary performance, the Emerson have chosen seven of Haydn's most delightful quartets, bound to rekindle the excitement of knowledgeable music lovers and to entice new listeners. The liner notes provide an introduction not only to Haydn but also to the string quartet as a form. I cannot think of a better introduction: for one who wants to learn but is timid, here is where to begin.

Tracks:

Overture to Die Meistersinger
Variations On A Theme By Haydn, Op. 56a
Symphony No. 9 In E Flat Major, Op. 70: I Allegro
Symphony No. 9 In E Flat Major, Op. 70: II Moderato
Symphony No. 9 In E Flat Major, Op. 70: III Presto
Symphony No. 9 In E Flat Major, Op. 70: IV Largo
Symphony No. 9 In E Flat Major, Op. 70: V Allegretto - Allegro
Don Juan, Op. 20
Overture To The Bartered Bride

Customer Reviews:

A mixed pro-am orchestra brings out Solti's best.......2007-01-31

In the summer of 1994 Solti spent most of June conducting a pickup orchestra (dubbed the Carnegie Hall Project) that mixed 15 first-chair professionals from major U.S. orhcestras with a large group of talented young musicians between the ages of 18 and 35. I shouldn't call it a student orhestra, but most of the participants were picked from conservatories. IN any event, five selections appear here from those summer concerts, and in every respect they are relzed, natural, delightful readings. Indeed, the Strauss Don Juan is so genial that nobody, I venture, could hear it blind and guess that Solti was conducting. Late in life he became enamored of Shostakovich, and this Sym. #9 is about as cheerful and lighthearted as they come.

All the works repeats from the Solti discography, but duplication doesn't matter in this case. Here's a batch of summer music at its best. Too bad that Carnegie Hal, for one reason and another, wasn't able to fulfill its dream of maintianing the orchestra as a permanent feature.

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