Haydn: Divertimento a 8 (Baryton Octet), Hob.X:12 in G major

Joseph Haydn wrote several works the baryton, a string instrument which is now largely forgotten and rarely played, and this disc for the Haydn bi-centenary gathers together some of those pieces that feature the instrument within an octet and in one case a quintet. They are performed by one of Holland’s longest established and most esteemed ensembles, Combattimento Consort Amsterdam. In 1761, Joseph Haydn entered into the service of the princes of Esterházy.

Prince Nikolaus I was a passionate player of the baryton, a rarely performed relative of the viola da gamba, and between 1766 and 1775, Haydn wrote more than 125 trios for baryton, viola and cello, taking care that the baryton parts were easy enough for Nikolaus to play. Haydn also composed a number of pieces for baryton with a larger ensemble, and the Divertimenti presented on this CD are nos. 1, 5 and 12, of a series of six written for baryton, strings and two horns.

Jan Willem de Vriend is the artistic director of Combattimento Consort Amsterdam and since 2006 the chief conductor and artistic director of the Dutch Symphony Orchestra. Combattimento Consort Amsterdam devotes itself to the music of about 1600 to 1830. Since its founding in 1982, it has performed throughout the world, as well as on many CDs, DVDs and television productions.

To commemorate the bicentenary of the death of Joseph Haydn, BIS Records and the Haydn Sinfonietta Wien have entered into a collaboration which will result in several releases during 2009. The repertoire will mainly consist of rare works from Haydn’s œuvre, including music written for the stage, concert arias and orchestral works. Also included will be re-releases of the highly acclaimed recordings by Haydn Sinfonietta Wien and its conductor Manfred Huss of Haydn’s overtures, divertimenti, etc.

Providing an opportunity to explore less familiar aspects of the great composer, this six-disc set contains works written for Haydn’s long-time employers, the house of Esterházy, and for the King of Naples.

What is a Baryton, and why did Haydn write so extensively for it? Two reasonable questions, and actually quite easy to answer.

The baryton is a member of the gamba family and a relation to the modern-day cello dating from the early 17th century. It was quite a handful to play, having one manual with 6 or 7 bowed gut strings, and another with anything up to 20 further ‘sympathetically resonating’ metal strings lying under the finger board.

Haydn’s prolific output for this instrument was the result of his patron – Prince Nikolaus Esterhazy I. The Prince was himself a skilful musician and the Baryton was his instrument of choice. With an insatiable appetite for new compositions for the instrument, the Prince commissioned 160 works from Haydn. Today 90% of these still survive, the 126 trios dating from 1762–1775 being the most important.

The remarkable fact is that many of these trios resemble the greater piano trios – proof that Haydn lavished as much care on these ‘private’ works as he did on his published works. The Octets featuring the Baryton include some virtuoso writing for wind, and the horns often reach stratospheric heights – a tribute to the virtuosity of the Esterhazy players Haydn had at his disposal.

A must for all period performance and Haydn fans

The most comprehensive and only survey of Haydn’s output for baryton on record, newly recorded: most works here receiving world premiere recordings

Extensive booklet notes

Recorded in Eisenstadt, where Haydn was Kapellmeister for Prince Nikolaus

‘The musicians proved to be virtuosos on their instruments’ Schwaebische Zeitung, Leutkirch

‘The concert of the Esterhazy Ensemble was exceptional.’ Fuldaer Zeitung