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This article
originally appeared in Issue 34:1 (Sept/Oct 2010). |
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Manfred Wagner-Artzt’s Haydn pleases enormously. His graceful, sensitive performances demonstrate love and understanding of the music—and, as his program notes attest, of the man. His touch is light, his interpretations serious but leavened with wit. Our attention is riveted to the music, rather than instrument, virtuosity, or agenda. It doesn’t matter whether the speed matches Haydn’s tempo marking, the spirit always does. Wagner-Artzt’s prestos ripple with laughter; the D-Major’s Largo e sostenuto stops time and stills the world. His C-Major Andante does not match the depth of Cerasi’s, but his Presto is just what her performance needs. The recorded sound is natural, never exaggerated in any way. Repeats? No agendas, please.
The bonus tracks,
Hommage à Haydn, take us back to 1909, celebrating the 100th anniversary.
Six French composers were commissioned to each write a piece based upon a
five-note motif derived from the name Haydn (by circuitous, multilingual
reasoning). Hahn imitates Haydn, unsuccessfully; Widor produces a winning
little fugue, d’Indy a harmonically complex minuet. The Ravel and Debussy
have become well enough known to be played and recorded. Dukas’s Prélude
élégiaque is a stunning work, sounding more like Debussy than that
master’s own contribution, and all the more impressive for not trying to
imitate Haydn. Wagner-Artzt’s beautiful reading is more atmospheric than
two other recordings I have sampled. This is a fitting close to a lovely
disc, the cream of the current crop. James H. North |
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