Originality trumps in Mechelen
If there is one feather in the cap of the concert organizers of "Amazing Haydn", it is certainly that of originality.Unlike Klara and many concert organizers who pursue the attention of the "Liebhaber" with an abundance of well-worn masterpieces, cross-over music and exotic sounds and rhythms, Alfons and Marie-Jeanne De Leus offer the "Kenner" an, albeit limited, insight into the endless treasure of virtually unknown, forgotten or neglected gems from centuries of music history.
They have been doing this for more than 25 years through their "Haydn-Biënnale", now "Amazing Haydn".
And they do so again this autumn.
"Noblesse oblige", so Haydn must certainly not be absent. But not the well-known "Hen", "Bear", "Clock" or "Farewell Symphony". Rather, a rarely heard Symphony no. 42 and his impressive last, the "Salomon", no. 104.
Even more surprising are the Symphonies by Fedinand Ries and Antonio Rosetti. And a spectacular Concerto for two horns and orchestra by Franz Anton Hoffmeister.
But perhaps the great discovery is Joseph Mayseder. He was a prolific composer and a remarkable violin virtuoso who played under Joseph Haydn in his "Die sieben letzte Worte" and under Beethoven in the first performance of the Seventh Symphony and the Ninth. Haydn, Beethoven, Schubert, Hummel, Chopin, Liszt, Carl Loewe, Clara Wieck, he crossed their paths. His "Souvenir à Baden" is an example of his popularity and social commitment. Six variations for piano, violin, viola and cello promise twenty minutes of pure delight.
Of course there are the "earworms". But they are welcome. Who doesn't enjoy hearing Mozart's Clarinet Quintet or Weber's once in a while? Or Boccherini's captivating musical description of a tattoo in the nocturnal streets of Madrid? Or Haydn's exuberant "Gypsy Trio"?
From Beethoven, the edifying story about "Die Geschöpfe des Prometheus" and the well-known Fifth Symphony with the short-short-short-long motif of the V for Victory get a new dress thanks to the Ensemble von Beethoven, who created a chamber music version of it.
The performers of all this beauty and innovation come straight from Bonn, Pforzheim, Eisenstadt or Vienna. And don't be quick to say "Pfff! Unknown, therefore unloved", because many have already been heard in Mechelen. This is certainly true for conductor and music researcher Johannes Moesus, president of the International Rosetti Society and artistic director of the "Rosetti-Festtage im Ries", which he founded in 2000.
And even from your comfortable seat you may have seen Raimund Lissy, the enthusiastic driving force behind the Lissy Quartett Wien and tireless researcher into the affairs of Joseph Mayseder. For, depending on the duty roster, he sits among the violins of the Wiener Philharmoniker who every January 1st festively usher in the year with the New Year's Concert.
Practical information
The music festival begins on Sunday, September 25, in Mechelen's Sint-Katelijnekerk. At 3 p.m., the Ensemble von Beethoven Bonn performs. It ends on Sunday, October 16 with a performance by the Südwestdeutsches Kammerorchester Pforzheim in the Sint-Janskerk.
In between, on Sunday, October 2, at 3 p.m., in Sint-Pieter-en-Paulkerk, the Lissy Quartett Wien performs, and on Sunday, October 9, the Damenquartett des Haydn Konservatoriums Eisenstadt comes to the Church of O.-L.-V. van Leliëndaal.
For more information, contact haydngenootschap.servus@telenet.be or telephone 015/33.11.03 or visit the website: https://amazinghaydn.be/