#Papa Haydn

[posttexasstressdisorder]

Monday, 11-11-24, 8am Pacific

G'mornin', folks...a groggy Mr. Baggins with you. I don't know about y'all, but I need at least two hours of coffee sipping and cogitation before I'm ready to face the world, so we're gonna start our mornings off with Morning Coffee Music: selections to entertain and energize. One of ths best radio DJs I ever listened to back in Austin, was John Aelli, on KUT in the mornings for literally decades. It's in his "anything goes" free-form spirit I start this first edition of Coffee Music.

In 1964, I was a five year old kid boppin' to this on the big old Zenith booming in the corner. Here's trumpeter Al Hirt and his 1964 hit, called appropriately enough, "Java".

Here's a little bit of Beatlefluff from 1966 guaranteed to have you humming along. From Revolver, here's Paul's "Good Day Sunshine".

Here's one of the two hits by the band "Vanity Fair"; from 1970 it's "Early In The Morning".

Rossini wrote six String Sonatas at the age of twelve. Here's our old friend Neville Marriner and the ASMF to play numbers 1 and 6, on an Argo recording. A friend once said that the first sonata could have easily been the soundtrack to a Leave It To Beaver episode, saying it sounds like "Breakfast with The Cleavers".

Glenn Gould's Bach is essential to any good morning! Here is his 1960 recording of Bach's "Italian Concerto", a more charmingly refreshing twelve minutes you won't find anywhere.

Moving from the modern piano to the harpsichord now, this is music by Franz Joseph Haydn, his Concerto in D Major. I've chosen the recording by the person responsible for the harpsichord's rebirth as a viable instrument in the early 20th Century, Wanda Landowska. This was recorded in 1937, Mme. Landowska is accompanied by conductor Eugène Bigot, with an unnamed orchestra.

Moving from Papa Haydn to his young protege, Ludwig Beethoven, we hear a very early work of Beethoven's, written when he was sixteen. It is counted among the works he wrote before his official Opus 1 was published, the "Works Without Opus" Number 37, Trio for bassoon, flute, and piano. This delightful little piece is performed by pianist Daniel Barnboim, flutist Michel Debost and bassoonist André Sennedat, from a 1980 recording on DG. It was this very recording that served as my introduction to the piece. I've had a copy of the original album since it was issued. Enjoy.

Next are some pieces played by oboist John Dee and The Tantallon Ensemble, from their album entitled "Under a Near Sky", which is, sadly not on YouTube in its entirety, so here are a couple of selections. First is Gabriel Pierne's "Piece an sol"

This is Franz Krommer's Quartet in C major

And this morning's final selection, one of my absolute favorite pieces of all time, and this version of it specifically. Here is Igor Stravinsky conducting his big bad 1945 revision of his brilliant "Firebird Suite". Recorded in 1946 on a Columbia Masterworks recording. Enjoy, and I will be back with you later this afternoon.

Until then, be kind, babies, be kind.

Baggins out.

[sevarix-blogs]

there is something so special and beautiful and deep and wonderful about string chamber music. string quartets and quintets and sextets are just. magical. shout out to papa haydn he started a great thing

[not-from-amazon]

Doodles from my textbook part 1✨

Introducingg Beef and Papa Haydn😻😻😻✨✨✨

1st image : left is old Beethoven and the right side is young Beethoven (draw his hair from memory lol)

2nd image : a reference of an article that Beethoven enjoyed eating fish other than Mac and cheese 🧀 :D

3rd image : Beethoven threw the beef stew is actually a reference from an article that he threw the stew to the waiter it was bc the waiter gave him the wrong order (what a child..😓). Some said that the waiter actually gave him the correct order but Beethoven thought it was wrong 🗿. Then we have Papa Haydn vibing in his own musical world while his student, Beethoven is screams in anger-

4th image [aka last image] : B I G. B R A I N. H A Y D N.

[nurhanarman]

Joseph Haydn: String Quartet op 42 1st movement

Happy Easter to all my followers who celebrate it. And a happy 292nd birthday to Papa Haydn! Joseph Haydn: String Quartet op 42 1st movement I. Andante ed innocentemente Sinfonia Toronto / Nurhan Arman, Conductor Orchestra version livestreamed on April 1, 2022 to celebrate Haydn's 290th. https://youtu.be/SwySWKz-dAw

[naotelier]

Papa Haydn😭😭😭😭😭 //I know many musicians worked with Haydn called him like that but idk Moz also called him “Papa” too .He really is everyone’s dad

[drjohndisco]

Binding Ties (Chapter 07)

Warnings: descriptions of attempted sexual assault.

Ao3 Link || Masterlist

‘So, are all of the Grimms so normal?'

'You should meet my mother. She's been called a lot of things, but normal's not one of 'em.' Nick laughed.

'Does that mean we're related?' Trubel questioned.

'Maybe a few centuries ago. From what I can tell, it's like a recessive gene.'

'Must be a relief to know you're not the only one at least.' Briar said.

Juliette set the dishes down on the table and sat between Briar and Nick.

'So, you see these Wesen things, too?'

'No, I'm not a Grimm.' Juliette replied. 'Briar isn't either.'

'So, how do you deal with this?'

'Deal with what?'

'Being married to someone who can see what we do?'

'Um, we...We're not married. Not yet, at least.'

'Smart. You can get out any time.'

++

'Hey, here's a clean pair of pants and a shirt for you to sleep in.' Juliete offered, placing them onto the bed sheets.

'I'm fine with what I have.'

'Okay, cool. Well, I'm just gonna leave it there in case you change your mind.'

'We are down the hall if you need anything.' Nick added.

'I won't, but, uh, thanks for the Chinese.'

'No problem. Good night.'

(The Next Day - The Bank)

Briar really didn't want to be here at the office, but they had no choice. Particularly if Adalind had anything to do with it. But, Nick had convinced them to go when they got the email, to keep an eye on their sister.

'Your mother's house went through probate. It was determined at that time that your mother had not filed taxes for the last seven years.' The man said. 'Once legal fees, the IRS and the state were paid, there was a balance of $1,500.42, most of which has gone to pay the storage unit where her personal possessions have been stored as per your request.

It's a good thing you showed up when you did. Rent's only paid through the end of the month.It would've gone up for auction in 60 days. I hope she left something of value for you there. Were you close with your mother?'

There was a pause, as both Adalind and Briar thought about this. But, before Briar could answer the question Adalind replied.

'We were everything to her.'

Yeah, something was most definitely going to go wrong.

(About 3 hours later)

'What did Adalind do to you?' Briar asked, helping Sean up from where he'd been thrown on the floor.

'Threw a vase at my head.' Sean groaned. 'It seems the suspicions we'd both had turned out to be right, she ended up leaving with some of yours and Juliette's clothing.'

Briar wrinkled their nose at this information. 'Gross. You think you'd be able to do anything?'

'No.'

'At least let me give you the address, save you searching through all of those police files of yours.'

Briar then pulled a pen and a pad of paper out of their pocket (the benefits of being a journalist) and wrote the address down. Sean took it from them and pocketed it and left the house.

Damn. They'd forgotten to give him some ice for his head.

(Monroe and Rosalee's House - 3 Hours Later)

'Papa Haydn's all set with the cake, by the way.' Monroe said, placing the plates on the table.

'And you have the playlist for the reception?' Juliette asked.

Yep, that's done. And the place cards are ready. They just need to be picked up.'

'Oh. I'll do that.'

'No, I got it.' Rosalee replied.

'Wow. You're doing all that?' Nick asked.

'Full-service maid of honor.'

'There'd be no wedding without Juliette.'

'Wait a minute, what about the groom? Don't you need me?' Monroe questioned.

'Oh, for certain things.'

'Guys have it easy. All Nick has to do is...is not lose the ring and make a speech.' Briar said.

'What ring? What speech?' Nick joked, then shook his head when they all looked at him quizzically. 'Yeah, yeah, I got the ring.'

'And what about the toast?'

'It's getting there.'

'It better be there by Saturday.' Monroe stated.

'Saturday. This Saturday?' Nick said, laughing. Once again he received stares. 'Nobody gets me.'

'Yeah, no, we get you.' Briar sighed.

'Trubel, come on! We're hungry! We wanna eat!' Rosalee and Monroe called out.

'I'll get her.'

'No, you sit. I've got it.' Juliette said.

'Hey, how's Trubel handling all this, by the way?' Rosalee asked Nick. 'She seems to be handling it well.'

'I'm just glad I didn't find out when I was that young.'

'What about Juliette? How's she handling it?'

'Well, I think most women would have left me by now.'

How much do you actually know about Trubel?

'Not a lot. I've been trying not to push. I just know she's had years of people telling her that she's crazy.'

'Sorry. Was everybody waiting for me?' Trubel questioned, walking back over to the table and sitting down next to Nick.

'We thought we would all eat together.'

'Oh. I gotta get used to this too.'

'You like spaghetti?

'No.' Trubel said, and then paused. 'I love spaghetti.'

'Good. Then let's eat.'

'Can I say something, Trubel?' Monroe asked.

'Uh-huh.'

'I know I don't really know much about you. But I'd like to say that I think you're doing a pretty good job handling this, considering how incredibly difficult this must have been.'

'Well, I really didn't expect to live this long.'

Another uncomfortable silence followed this. Nobody at the table was used to anybody outright admitting their past troubles.

'Do you want more?' Rosalee offered, holding out the plate.

'Sure.'

'You remember the first time you saw a wesen?' Monroe asked.

'Yeah, I remember. It was in one of the foster homes I grew up in.'

'I was 13 when I found out I was a Fuchsbau.'

'You didn't know?'

'You don't really know when you're a kid. Kind of hits you later. But at least we had family to tell us what was going on. You really didn't have anyone to help you through this?'

'Mm-mm.'

'When did you find out?'

'Um...' Trubel began, hesitantly. 'There was this guy that used to fix things around the house. He was always really nice to me, till, uh... One day he asked me to help him in the garage. And he grabbed me. I saw his face change. And, um... he pushed me down on the floor. But I was so scared by what I saw, that I just grabbed, the first thing I could, which was a-a screwdriver. And really all I wanted to do was just push him away from me, but, um...' Trubel explained. Then, seeing the looks that everyone was giving her clarified what she meant. 'He didn't die... Or anything. He just... he didn't get off me really fast, though. And that was the first time I heard anybody say "Grimm." I-I told everybody what I saw. And that was the first time they locked me up. Said I was lying, and then when I said I wasn't, they said I had to be crazy so...Yeah, I got pretty used to being crazy. Until I met all you guys. I realised I wasn't alone.' Trubel then looked over to the pot of spaghetti. ' Can I have that now?'

'Yeah, sorry.' Rosalee replied, laughing.

Then Nick's phone rang and Monroe picked it up from where it had been placed on the table. 'I got it. Hello?' There was a pause as Monroe took in what the caller had said. 'Yeah, can I tell him who's calling?'

Monroe then took the phone away from his ear and turned to Nick.

'He says you won't know him,

but he needs to talk to you.' Nick took the phone from Monroe and continued the conversation.

What followed was a minute of a slow conversation, before Nick clicked the phone off and sat back down.

'What, he didn't want to give you his name?' Juliette asked.

'I get calls like that sometimes. They get cold feet. 'Nick said. 'It's probably nothing.'

Apparently Nick had been wrong, as a few hours later they were all in Nick's lounge sifting through the stuff that Josh's dad had left for Nick to look at.

'I can't find it.' Briar sighed.

'Me neither.' Hank said.

'If there's a key in here, I have no idea where it is.' Juliette said, shaking the suitcase the items had come in. 'But speaking of lost things, have you seen my grandmother's vase?'

'I think that was broken when Adalind hit Sean over the head with it.' Briar mumbled.

'What?' Juliette gasped.

'I'll explain it later.' Briar promised.

'Nick, there is stuff in here I have never seen in any of your books.' Rosalee exclaimed. 'You ever heard of an "Abartige Aasfresser"?' She then turned the book around to show Nick an illustration of someone with a unicorn horn in their head.

'Not until now.'

'You really see this stuff?' Josh asked.

'I haven't seen this one yet.' Nick replied.

'But it's all true?'

'Some people have kind of a monster within. And Nick can see them, Trubel can see them, and your dad could see them.' Juliette explained.

'Josh, just 'cause you can't see them now, doesn't mean you won't some day. Hit me pretty late, too.' Nick added.

'Well, at least I'll know it's real. Sort of.'

'I can't find this key.' Nick complained. 'Have you ever seen it?'

'No. All I know is he was really worried about it. Wanted to get it to someone who would understand.'

'So where else could it be?' Hank said.

'I don't know. I don't even know what we're looking for.'

'Well, he didn't drive all the way here without it,' Juliette said, shaking a small bag. 'So it has to be here somewhere.'

'When he told you about it, he was trying to get out of bed, like he was gonna show you where it was.' Trubel suggested.

'It wouldn't be in that hospital room. He never got out of bed.'

'Maybe he wasn't trying to get up.'

'He was asking for his cane.' Hank added.

'Yeah.'

'He's had this forever.' Josh said, lifting it up. 'He got it from his dad, who got it from his dad.'

Nick took it from Josh, and shook it. Then the end popped off and Nick looked at, stunned.

'Did I break it?'

'I don't think so.' Hank said. 'Can I see?'

Hank then inspected the top part of the cane, before placing into a small notch in the side and pulling out a nail. Hank handed Nick the key, once he'd tipped the cane.

'Is that a key?'

'It is now.'

(The Spice Shop)

Nick placed the net key in the ink and then transferred it over to the paper with the other key indentations.

Nick, remember that map I showed you at my house last year? Monroe questioned.

'Yeah, the one that your great-great uncle drew.

'It was actually great-great-great grandfather on my mother's side. But the point is... we are definitely talking Black Forest.'

'Germany.' Trubel mused.

'Yeah, it all seems to go back to Germany.' Juliette said.

'Well, we're one key closer to... God knows what.' Monroe stated.

'I wonder if we'll ever know.' Briar mumbled.

'I don't think I want to know.' Josh said. Well, at least I know my dad wasn't crazy. Unless all of you are.'

(Unknown Time - Nick's house)

'You know what?' Briar asked, looking up from their work at the computer.

'What?' Nick said, from the doorway. He'd gotten in late, once again.

'I've never realised how odd we must look to everyday people. Like, even as a person who could be classed as a 'beast' it's never really clicked until now. Does that make sense?'

'Yes, it does.' Nick replied. 'It was most certainly an odd adjustment when I was first learning the ropes. Had quite a few missteps, but I think I've told you about those. People thought I was crazy, hell, even Hank did for almost a full year!'

'Oh, I would have been insufferable had I known you back then.'

'You're not being insufferable right now?' Nick teased.

'Shut up!' Briar replied, playfully. 'Besides it's not like the way I met you was any better -- being brought to justify where you were because your mother murdered mine is not fun.'

Nick walked over to them and placed his arms around their shoulders. 'Come on, let's go to bed. Stop worrying about the past -- the future will be better.'

(If only he'd known how wrong he was.)

[yotosie]

Papa Haydn's dessert buffet.

[shannonwritespdx-blog]

Papa Haydn - botched wine recommendation

Halfway through the 25-minute wait on my French onion soup, I asked my server about a wine pairing. The 2021 Willamette Valley Pinot Noir on the glass pours menu instantly had my attention, as it's a favorite vintage of mine, but I suspected that the Columbia Valley Cabernet blend might suit the beef base of the soup better -- I didn't remember which cheese would be melted on top, though, and wanted a recommendation based on the knowledge of the staff. 

This did not prove a successful communication with my server, who initially attempted to enthusiastically sway me toward the Pinot that I mentioned liking, calling it "bold" even knowing I was considering the Cabernet as well (which didn't exactly foster trust in the knowledge or availability for assistance of my server). I had to really push to even get the server to offer to ask the bartender for a recommendation, who apparently liked both red meat and red wine more than this server did, leading the server to believe that the bartender would be a more reliable source of basic menu knowledge.

I was surprised when, several minutes later, a glass of the Cabernet blend was delivered to my table by someone whom was neither my server nor the bartender who might have been more knowledgeable. I had not yet received the information I was looking for to make my decision, nor had I even decided on ordering a glass at all; and yet, it seemed the decision had been made for me. 

Now, in attempt to ease the impression that this review is written in bad faith, I do understand that Sunday at noon is likely the height of Papa Haydn's busy lunch rush, and the wait time was not something I would reasonably take issue with. In fact, I could have happily waited even more time to ensure an experience worth returning for, and I don't blame the server for being woefully under-informed and simultaneously over-zealous to please the customer with as little pressure on the bar as possible. In my experience, that particular quirk of service is the direct result of under-supportive management with irresponsible training, and I made sure to tip appropriately so my server didn't suffer further negative consequences of an establishment that needed to comp a botched wine sale ($6 on a ticket that would have had a $15 glass with the $12 soup).

I decided it wasn't worth attempting to resolve this issue in the moment because the staff were so obviously swamped already -- far be it from me to increase the stress of a shift like that by refusing to adapt my expectations to the clearly-evident chaos. 

The only reason that this review of service is receiving a second star is the host who greeted me at the front, who was warm, inviting, professional, and highly competent. If my entire experience had reflected that initial impression, there would be five stars for service. 

Food-wise, the soup was fine. Not great, not inedible, just a well proportioned, if slightly jammy, French onion. Even though the Cabernet blend was probably technically the right call, I still found the mishandling of a simple recommendation request distasteful enough to disappoint for my first dining experience at a longstanding establishment in my neighborhood.

[krisfreedain]

Birthday dinner for the birthday girl ❤️ (at Papa Haydn) https://www.instagram.com/p/CmLK8zEryuq/?igshid=NGJjMDIxMWI=

[loganlynn]

Let there be cake.

[larryland]

SATURDAY, FEBRUARY 23, 2019, 6 PM AT SAINT JAMES PLACE

(Great Barrington, MA…) What constitutes a musical—or any other kind of—joke? Humor explodes our expectations and takes us by surprise. Three Haydn string quartets, including his “Joke” Quartet, provide an evening of ambiguous beginnings and fake-out endings; mismatched dialogues between instruments, misunderstandings, musical pratfalls and pretend memory lapses and digressions. What about those embarrassing long pauses, that daring modulation, that unexpected excursion into strange tonalities….? It’s all intentional and part of the fun! From the composer of the “Surprise” Symphony who wrote a cat’s meow into another comes a slightly tipsy “high” as well as “low” program of subversive humor. The audiences of Haydn’s day loved the kinds of things he put into his music, and so will you. Artistic director Yehuda Hanani and colleagues will lead us through this night of musical comedy with their expert playing as well as comments. Call it a master class in musical humor.

Humor and Gastronomy permeate Close Encounters’ current season.  Rossini named many works after foods among his hilarious onomatopoetic parodies (as demonstrated in the “Rossini Extravaganza” opening concert); Schubert created a mouthwatering feast for the ears with his “Trout” Quintet, enjoyed at our December 8 holiday concert; and Haydn could have been a stand-up comedian if he hadn’t been the musical genius he was, to be explored on February 23rd.

Audiences can savor the music and fun as well as the culinary connections with us at our thematic concerts and receptions this season!

Xiao-Dong Wang, violin

Dov Scheindlin, viola

Hagai Shaham, violin

Hagai Shaham and Xiao-Dong Wang violin: Dov Scheindlin, viola; Yehuda Hanani, cello

TICKET INFORMATION

Tickets, $38 general seating for our February concert and to inquire about pro-rated season subscriptions: www.cewm.org or 800-834-0778.

ABOUT THE ARTISTS

Artistic Director Yehuda Hanani’s charismatic playing and profound interpretations bring him acclaim and re-engagements across the globe. An extraordinary recitalist, he is equally renowned for performances with orchestras such as the Chicago Symphony, Philadelphia Orchestra, Baltimore Symphony, St. Paul Chamber Orchestra, Berlin Radio Orchestra, Israel Philharmonic, BBC Welsh Symphony, Buenos Aires Philharmonic, Honolulu Symphony, Jerusalem Symphony, Lithuanian Chamber Orchestra, I Solisti Zagreb, and Taipei and Seoul symphonies, among others. He has been a guest at Aspen, Bowdoin, Chautauqua, Marlboro, Yale at Norfolk, Round Top (TX), Great Lakes, and Grand Canyon festivals, Finland Festival, Great Wall (China), Leicester (England), Ottawa, Prades (France), Oslo, and Australia Chamber Music festivals, and has collaborated in performances with preeminent fellow musicians, including Leon Fleisher, Aaron Copland, Christoph Eschenbach, David Robertson, Vladimir Fedoseyev, Itzhak Perlman, Vadim Repin, Dawn Upshaw, Shlomo Mintz, Yefim Bronfman, the Tokyo, Vermeer, Muir, Lark, Avalon and Manhattan quartets, as well as members of the Cleveland, Juilliard, Borromeo, and Emerson. In New York City, Yehuda Hanani has appeared as soloist at Carnegie Hall, the 92nd Street Y, Alice Tully, and the Metropolitan Museum’s Grace Rainey Rogers Auditorium. In addition to his pioneering recordings of Charles Valentin Alkan (for which he received a Grand Prix du Disque nomination), Nikolai Miaskovsky, Leo Ornstein, and Eduard Franck, he is one of the originators of thematic programming with commentary that engages and illuminates contemporary audiences.

Hagai Shaham is internationally recognized as one of the astonishing young violinists who have emerged from Israel in recent years. He began studying the violin at the age of six and was the last student of the renowned Professor Ilona Feher. He also studied with Elisha Kagan, Emanuel Borok, Arnold Steinhardt and the Guarneri Quartet. In addition to winning first prize at the ARD International Competition in Munich in the violin-piano duo category with his duo partner Arnon Erez, Shaham’s other awards include first prizes at the Ilona Kornhauser competition, the Israeli Broadcasting Authority Young Artist competition, The Tel-Aviv Rubin Academy competition, four Clairmont Awards, and annual scholarships from the American-Israel Cultural Foundation. As a soloist he has performed with many of the world’s major orchestras, including the English Chamber Orchestra, BBC Philharmonic, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic, RTE National Symphony Orchestra of Ireland, Belgian National Orchestra and Orchestre Symphonique Francais; Taipei, Singapore and Shanghai Symphony Orchestras, SWF Baden-Baden Symphony Orchestra, Slovak and Belgrade Philharmonic, and the Israel Philharmonic Orchestra under Zubin Mehta. In 1985 he was invited to join Isaac Stern and Pinchas Zukerman in a gala concert at Carnegie Hall, following which, Zubin Mehta invited him to perform Brahms’ Double Concerto at Carnegie Hall. Hagai Shaham is a professor at the Buchmann-Mehta School of Music at Tel Aviv University, and his master classes in Europe and Israel attract a great many students. Together with his colleague, violinist Ittai Shapira, he is co-founder of The Ilona Feher Foundation.

Xiao-Dong Wang has been called the most talented violinist to emerge from China. He began his studies at age 3 with his father, concertmaster of the Shanghai Symphony; he then studied with the renowned teacher Zhao Ji-Yang at the Shanghai Conservatory. As first prize winner in the Menuhin International Violin Competition and the Wieniawski-Lipinski International Violin Competition at the ages of 13 and 15, he was brought to the attention of violin pedagogue Dorothy DeLay who arranged a four-year scholarship at Juilliard. Mr. Wang has performed as soloist with orchestras around the world, including the London Royal Philharmonic, the London Mozart Players, Adelaide, Perth, Queensland symphony orchestras and Sydney Opera Orchestra. His recording credits include the Bartok Concerto No. 2 and Szymanowski Concerto No. 1 for Polygram. He has also appeared performing on both violin and viola in chamber music concerts at Lincoln Center, Kennedy Center, Aspen, Ravinia and festivals and music series worldwide. Wang was the resident soloist of the Shanghai Symphony for the 2012-13 season, during which he also performed as a soloist with other major Chinese orchestras, including the China Philharmonic in Beijing. He is artistic director of the chamber music group Concertante, collaborating with world renowned musicians and producing a vast number of recordings.

Acclaimed by the New York Times as an “extraordinary violist” of “immense flair,” Dov Scheindlin is a member of Orpheus Chamber Orchestra and an associate member of the Metropolitan Opera Orchestra. He has also been violist of the Arditti, Penderecki and Chester String Quartets. His chamber music career has brought him to 28 countries around the globe and won him the Siemens Prize in 1999. He has appeared as soloist with the Royal Concertgebouw Orchestra of Amsterdam, the Radio Symphony Orchestra of Berlin, the Paris Radio Philharmonic Orchestra and the Munich Philharmonic. Mr. Scheindlin has recorded extensively for EMI, Teldec, Auvidis, and Mode, and won the Gramophone Award in 2002 for the Arditti Quartet’s recording of Sir Harrison Birtwistle’s Pulse Shadows. As a member of the Arditti Quartet, he gave nearly 100 world premières, among them new works by Benjamin Britten, Elliott Carter, György Kurtág, Thomas Adès and Wolfgang Rihm. He has also been broadcast on NPR, BBC, CBC, and on German, French, Swiss, Austrian, Dutch and Belgian national radio networks. Dov Scheindlin was raised in New York City, where he studied with Samuel Rhodes and William Lincer at the Juilliard School. He has taught viola and chamber music at Harvard, Wilfrid Laurier University and Tanglewood. He regularly participates in summer festivals such as Salzburg, Luzern, and Tanglewood, and has performed with the Chamber Music Society of Lincoln Center and the Met Chamber Ensembles. His chamber music partners have included members of the Juilliard, Alban Berg, Tokyo, and Borodin String Quartets, as well as concertmasters of many major symphony orchestras. He plays a viola made by Francesco Bissolotti in 1975.

ABOUT CLOSE ENCOUNTERS WITH MUSIC

Close Encounters With Music stands at the intersection of music, art and the vast richness of Western culture. Entertaining, erudite and lively commentary from founder and Artistic Director Yehuda Hanani puts the composers and their times in perspective to enrich and enlighten the concert experience. Since the inception of its Commissioning Project in 2001, CEWM has worked with the most distinguished composers of our time—Joan Tower, Judith Zaimont, Lera Auerbach, Robert Beaser, Kenji Bunch, Osvaldo Golijov, John Musto, and Paul Schoenfield among others—to create important new works that have already taken their place in the chamber music canon and on CD. A core of brilliant performers includes: pianists, Roman Rabinovich, Soyeon Kate Lee, Walter Ponce and Jeffrey Swann; violinists,Shmuel Ashkenasi, Vadim Gluzman, Julian Rachlin, Peter Zazofsky, Itamar Zorman and Erin Keefe; clarinetists Alexander Fiterstein and Charles Neidich; vocalists Dawn Upshaw, Jennifer Rivera, Danielle Talamantes and Kelley O’Connor; the Muir, Manhattan, Ariel, Vermeer, Escher, Avalon, Hugo Wolf, Dover string quartets; and the Los Angeles Guitar Quartet and guitarist Eliot Fisk. Choreographer David Parsons and actors Richard Chamberlain, Jane Alexander and Sigourney Weaver have also appeared as guests, weaving narration and dance into the fabric of the programs. Close Encounters With Music programs have been presented in cities across the U.S. and Canada—Miami, Fort Lauderdale, Omaha, Cincinnati, Calgary, Detroit, at the Frick Collection and Merkin Hall in New York City, at The Clark in Williamstown, at Tanglewood and in Great Barrington, MA, as well as in Scottsdale, AZ. Summer performances have taken place at the Clark Art Institute in Williamstown, MA. This year, the High Peaks Festival moved to the Berkshires to the Berkshire School in Sheffield, MA, where it has continued as the educational mission of Close Encounters With Music with fifty international students in residence for an immersive course of study and performance.

Artistic Director Yehuda Hanani has led the series since its founding, providing entertaining, erudite commentary that puts the composers and their times in perspective to enrich and amplify the concert experience. Each concert is framed by an introduction before the music, and is followed by an AFTERGLOW reception with an opportunity to meet the musicians. Venues include the landmark Mahaiwe Performing Arts Center and the newly renovated Saint James Place in Great Barrington. To complement the musical offerings, two guest speakers, Haydn scholar Caryl Clark, and composer Tamar Muskal are featured in the Conversations With…. series at the West Stockbridge Historical Society and Casana T-House in Hillsdale, NY.

  “Humor in the String Quartets of ‘Papa’ Haydn” Presented by Close Encounters With Music SATURDAY, FEBRUARY 23, 2019, 6 PM AT SAINT JAMES PLACE (Great Barrington, MA…) What constitutes a musical—or any other kind of—joke?

[suetravelblog]

Ion Bogdan Ștefănescu and Ad Libitum Quartet Bucharest Philharmonic Romania

Ion Bogdan Ștefănescu and Ad Libitum Quartet Bucharest Philharmonic Romania

[lessthansix]

what a wonderful day to remember that ‘papa haydn’ is a distinct wiki page

[stabs-cake-with-salieris-dagger]

Forgot to mention: I think it was like a thing to call musicians older than you 'papa'

I did remember a thing where Salieri and Mozart called Haydn papa and there was an instance of one of Salieri's students calling him großpapa, so yeah

Ah thank you for the information! My musical knowledge is not great but I do also remember Haydn as the father of the symphony because of his great contribution. That does make sense but I still think it’s interesting in this case 🤔 I could understand in Hayden’s case since he’s 18 years older than Salieri and there’s a certain dynamic between teacher and student. I guess this also adds to the intrigue of the historical relationship between Salieri and Mozart.

[nurhanarman]

Recipe for an amazing concert: - a beautiful Mozart piano concerto - a delightful work by Papa Haydn - the world premiere of a violin concerto - three composers - two soloists - an "astonishing" violinist - a "passionate" pianist - a "world-class" chamber orchestra - a "fascinating" maestro MOZART HAYDN RIVAL concert is on April 1 at Jane Mallett Theatre of the St. Lawrence Centre for the Arts. Not an April Fools' Day joke! #Mozart #Haydn #violin #piano #torontoorchestra #torontoclassicalmusic #torontoevents #virtualconcert #inpersonconcerts #digitalconcerts #digitalconcerthall #torontolifestyle #janemalletttheatre #streaming #violinconcerto #canadianorchestra #canadianmusic #composer #pianist #pianoconcerto #violinconcerto #TorontosChamberOrchestra #SinfoniaToronto #NurhanArman #torontopiano #orchestra #symphony #stringquartet (at St. Lawrence Centre for the Arts) https://www.instagram.com/p/CaxIdfhuu63/?utm_medium=tumblr

[tinyshe]

WASHINGTON, DC (Catholic Online) - “I started this list as the 100 Best Pieces of Sacred Music, but I decided instead to recommend specific recordings. Why? No matter how fine the music, say Bach's Mass in B minor, a poor performance will leave the listener wondering where the "greatness" went.  So the recommendations below represent a merging of both: All of the compositions are among the very best sacred music ever written, but the recorded performances succeed in communicating their extraordinary beauty.  

“I also dithered over whether or not to make a list of "liturgical" music, or "mass settings," or "requiems." Each of these would make interesting lists, but I chose the broader "sacred music" with the hope that this list might be of interest to a wider spectrum of people. Composers are not limited to any denomination -- some are known to have been non-believers -- although the music belongs to the Christian tradition.  

“I've also decided to limit my choices to recordings that are presently available on CDs, DVDs, Blu-rays, or digital downloads.  I don't expect those who are curious about a particular title to start hunting down LPs, especially since these vinyl recordings are suddenly in great demand and prices are rising.  

“This list is alphabetized, rather than listed in chronological order. This was necessary, since recordings will often include several pieces composed years apart, perhaps much more. Thus, to reiterate, there has been no attempt to arrange them in order of preference -- all 100 are among "the best" recordings of sacred music currently available. The recording label is indicated in parentheses.

What I would call 'Indispensable Sacred Music Recordings' are marked with an ***.

1.Allegri, Miserere, cond., Peter Phillips (Gimell).*** 2.Bach Mass in B Minor, cond., Nikolaus Harnoncourt (1968 recording;Teldec).*** 3.Bach, St. Matthew Passion, cond., Philippe Herreweghe (Harmonia Mundi).*** 4.Bach, Cantatas, cond., Geraint Jones and Wolfgang Gonnenwein (EMI Classics). 5.Barber, Agnus Dei, The Esoterics (Naxos). 6.Beethoven, Missa Solemnis, cond., Otto Klemperer (EMI/Angel). 7.Bernstein, Mass, cond., Leonard Bernstein (Columbia). 8.Berlioz, Requiem, cond. Colin Davis (Phillips). 9.Brahms,  Requiem, cond., Otto Klemperer (EMI/Angel).*** 10.Briggs, Mass for Notre Dame, cond., Stephen Layton (Hyperion). 11.Britten, War Requiem, cond., Benjamin Britten (Decca). 12.Brubeck, To Hope! A Celebration, cond. Russell Gloyd (Telarc). 13.Bruckner, Motets, Choir of St. Mary's Cathedral (Delphian).*** 14.Byrd, Three Masses, cond., Peter Phillips (Gimell). 15.Burgon, Nunc Dimittis, cond., Richard Hickox (EMI Classics). 16.Celtic Christmas from Brittany, Ensemble Choral Du Bout Du Monde (Green Linnet) 17.Chant, Benedictine Monks of Santo Domingo de Silos (Milan/Jade). 18.Charpentier, Te Deum in D, cond., Philip Ledger (EMI Classics). 19.Christmas, The Holly and the Ivy, cond., John Rutter (Decca). 20.Christmas, Christmas with Robert Shaw, cond., Robert Shaw (Vox). 21.Christmas, Cantate Domino, cond., Torsten Nilsson (Proprius).*** 22.Christmas, Follow That Star, The Gents (Channel Classics). 23.Christmas, The Glorious Sound of Christmas, cond., Eugene Ormandy (Sony). 24.Christmas: Moravian Christmas, Czech Philharmonic Choir (ArcoDiva) 25.Desprez, Ave Maris Stella Mass, cond., Andrew Parrott (EMI Reflexe). 26.Dufay, Missa L'homme arme, cond., Paul Hillier (EMI Reflexe). 27.Duruflle, Requiem & Motets, cond. Matthew Best (Hyperion) 28.Dvorak, Requiem, cond. Istvan Kertesz (Decca). 29.Elgar, The Dream of Gerontius, cond. John Barbirolli (EMI Classics).*** 30.Elgar, The Apostles, cond. Adrian Boult (EMI Classics). 31.Elgar, The Kingdom, cond., Mark Elder (Halle). 32.Eton Choirbook, The Flower of All Virginity, cond., Harry Christophers (Coro). 33.Faure, Requiem, cond., Robert Shaw (Telarc). 34.Finnish Sacred Songs, Soile Isokoski (Ondine). 35.Finzi, In Terra Pax, cond. Vernon Handley (Lyrita). 36.Gabrieli, The Glory of Gabrieli, E. Power Biggs, organ (Sony). 37.Gesualdo, Sacred Music for Easter, cond., Bo Holten (BBC). 38.Gonoud, St. Cecilia Mass, cond. George Pretre (EMI Classics). 39.Gorecki, Beatus Vir & Totus Tuus, cond. John Nelson (Polygram). 40.Gospel Quartet, Hovie Lister and the Statesman (Chordant) 41.Guerrero, Missa Sancta et immaculata, cond., James O'Donnell (Hyperion) 42.Handel, Messiah, cond., by Nicholas McGegan (Harmonia Mundi)*** 43.Haydn, Creation, cond., Neville Marriner (Phillips). 44.Haydn, Mass in Time of War, cond., Neville Marriner (EMI Classics). 45.Hildegard of Bingen, Feather on the Breath of God, Gothic Voices (Hyperion). 46.Howells, Hymnus Paradisi, cond., David Willocks (EMI Classics).*** 47.Hymns, Amazing Grace: American Hymns and Spirituals, cond. Robert Shaw (Telarc).*** 48.Lauridsen, Lux Aeterna & O Magnum Mysterium, cond. Stephen Layton (Hyperion).*** 49.Lassus, Penitential Psalms, cond. Josef Veselka (Supraphon). 50.Leighton, Sacred Choral Music, cond., Christopher Robinson (Naxos). 51.Liszt, Christus, cond., Helmut Rilling (Hannsler). 52.Liszt, The Legend of St. Elisabeth, cond., Arpad Joo (Hungaroton). 53.Lobo, Requiem for Six Voices, cond., Peter Phillips (Gimell). 54.Martin, Requiem, cond. James O'Donnell (Hyperion). 55.Machaut, La Messe de Nostre Dame, cond., Jeremy Summerly (Naxos). 56.Mahler, 8th Symphony, cond., George Solti (Decca). 57.Mendelssohn, Elijah, cond. Rafael Frühbeck de Burgos (EMI 58.Monteverdi, 1610 Vespers, cond., Paul McCreesh (Archiv). 59.Morales, Magnificat, cond., Stephen Rice (Hyperion). 60.Mozart, Requiem, cond. Christopher Hogwood (L'Oiseau-Lyre). 61.Mozart, Mass in C Minor, cond. John Eliot Gardiner (Phillips). 62.Nystedt, Sacred Choral Music, cond., Kari Hankin (ASV). 63.Organum, Music of the Gothic Era, cond., David Munrow (Polygram). 64.Palestrina, Canticum Canticorum, Les Voix Baroques (ATMA). 65.Palestrina, Missa Papae Marcelli, cond. Peter Phillips (Gimell). 66.Part, Passio (St. John Passion), cond., Paul Hillier (ECM New Series). 67.Parsons, Ave Maria and other Sacred Music, cond., Andrew Carwood (Hyperion). 68.Pizzetti, Requiem, cond., James O'Donnell (Hyperion). 69.Poulenc, Gloria & Stabat Mater, cond., George Pretre (EMI Classics). 70.Poulenc. Mass in G Major; Motets, cond., Robert Shaw (Telarc). 71.Puccini, Messa di Gloria, cond., Antonio Pappano (EMI Classics). 72.Purcell, Complete Anthems and Services, fond., Robert King (Hyperion). 73.Rachmaninov, Liturgy of St. John Chrysostom, cond., Charles Bruffy (Nimbus). 74.Rachmaninov, Vespers, cond., Robert Shaw (Telarc). 75.Respighi, Lauda Per La Nativita Del Signore, cond., Anders Eby Proprius). 76.Rheinberger, Sacred Choral Music, cond., Charles Bruffy (Chandos). 77.Rossini, Stabat Mater, cond., Antonio Pappano (EMI). 78.Rubbra, The Sacred Muse, Gloriae Dei Cantores (Gloriae Dei Cantores). 79.Rutter, Be Thou My Vision: Sacred Music, cond., John Rutter (Collegium).*** 80.Russian Divine Liturgy, Novospassky Monastery Choir (Naxos). 81.Rutti, Requiem, cond., David Hill (Naxos). 82.Saint Saens, Oratorio de Noel, cond., Anders Eby (Proprius). 83.Schubert, 3 Masses, cond., Wolfgang Sawallisch (EMI Classics). 84.Schutz, Musicalische Exequien, cond., Lionel Meunier (Ricercar). 85.Spirituals, Marian Anderson (RCA).*** 86.Spirituals, Jesse Norman (Phillips) 87.Telemann, Der Tag des Gerichts, cond., Nikolaus Harnoncourt (Teldec). 88.Thompson, Mass of the Holy Spirit, cond., James Burton (Hyperion). 89.Shapenote Carols, Tudor Choir (Loft Recordings) 90.Stravinsky, Symphony of Psalms, cond., Robert Shaw (Telarc). 91.Tallis, Spem in alium & Lamentations of Jeremiah, cond., David Hill (Hyperion).*** 92.Tschiakovsky, Liturgy of St. John Chrysostom, cond, Valery Polansky (Moscow Studio). 93.Taneyev, At the Reading of a Psalm, cond., Mikhail Pletnev (Pentatone). 94.Vaughn Williams, Five Mystical Songs, cond., David Willcocks (EMI Classics).*** 95.Vaughn Williams, Mass in G, cond. David Willcocks (EMI Classics). 96.Vaughn Williams, Pilgrims Progress, cond., Adrian Boult (EMI Classics).*** 97.Verdi, Requiem, cond., Carlo Maria Guilini (EMI Classics).*** 98.Victoria, O Magnum Mysterium & Mass, cond., David Hill (Hyperion).*** 99.Victoria, Tenebrae Responsories, cond., David Hill (Hyperion). 100.Vivaldi, Sacred Music, cond., Robert King (Hyperion).   “ -----

Deal W. Hudson is president of the Pennsylvania Catholics Network and former publisher/editor of Crisis Magazine. Dr. Hudson also a partner in the film/TV production company, Good Country Pictures.