Haydn Violin Concertos
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Haydn Violin Concertos

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Description

Haydn Violin Concertos

Almost every commencing violinist comes in contact with the violin concertos of Joseph Haydn. Which one has not practiced his cheerful G-major concerto? However, these wonderful gems of Haydn’s extensive oeuvre are nowadays rarely heard on the concert stage.

After the death of Haydn, his violin concertos unfortunately became used more as study material for young violinists than concert pieces. Perhaps this is due to the lack of a certain grandeur, extraversion, and obvious virtuosity for the violin soloist, but these concertos are Haydn at his best; full of simplicity, elegance and an abundance of charm. The transparency of these works actually makes them a great challenge for performers. Initially written for the Esterhazys and presumably for the solo violinist of the court ensemble at that time, Luigi To- masini, this album will draw the listener back into the 18th century.

As was common for the time, Lisa Jacobs has written her own cadenzas for these concertos in which she briefly expresses her thoughts on the musical material and adds a shimmer of her own personality to every movement.

Violin virtuoso Lisa Jacobs is known for her passionate performances, interesting programs and communicative qualities on stage.

Dutch violinist Lisa Jacobs performs three of Locatteli’s concertos with bold characterization, and meets their formidable technical challenges with commendable athleticism and élan.
(The Strad, UK, 2017)

Tracklist

1.
Violin Concerto No.1 C major Hob.VIIa 1 - Allegro moderato
10:32
2.
Violin Concerto No.1 C major Hob.VIIa 1 - Adagio
05:50
3.
Violin Concerto No.1 C major Hob.VIIa 1 - Finale. Presto
04:26
4.
Violin Concerto No.3 A major Hob.VIIa 3 - Moderato
12:42
5.
Violin Concerto No.3 A major Hob.VIIa 3 - Adagio moderato
08:19
6.
Violin Concerto No.3 A major Hob.VIIa 3 - Allegro
06:18
7.
Violin Concerto No.4 G major Hob.VIIa 4 - Allegro moderato
09:00
8.
Violin Concerto No.4 G major Hob.VIIa 4 - Adagio
06:38
9.
Violin Concerto No.4 G major Hob.VIIa 4 - Allegro
04:11

Additional information

Recording dates:

April 19 & 21, 2017
Microphones

Bruel & Kyaer
Cables

Acoustic Revive
Digital Converters

dCS904
Editing Software

Pyramix
Recording Engineer

Tom Peeters
Producer

Tom Peeters
Notes

The recording was originally digitized using the dCS 904, which operated at DSD64. 
The original session tracks were edited and rebalanced (which meant going through the mixer) in the only available format for that purpose; the Pyramix 352.8KHz/24bit PCM (DXD). Prior to the advent of direct digital delivery, the next step in the production process from 352.8KHz/24bit PCM would be the DSD64 edited master for SACD production. What we have done now is also make a direct conversion to DSD128 and DSD256 from that original DXD edited master, without going through any interim processing steps.
Those DXD to DSD conversions are not up-samplings, as they would be going from one PCM sampling rate to another, for they are different encoding systems. PCM is a digital value sample based system, and DSD is a digital bit density modulated system. Conversion from any PCM sample rate to any DSD bit rate system is a remodulation, not an up-sampling.
We feel there is an audio advantage to this process in using the original files so we give you the choice and you can decide.
Mixing Board

Rens Heijnis
Mastering Engineer

Tom Peeters
Recording location

Cunerakerk, Rhenen, The Netherlands
Recording Software

Merging
Recording Type & Bit Rate

DSD64fs
Format

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Type

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Artists

,

Composers

Label

Genre

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Press reviews

Positive feedback

As The Strad notes in their May 2018 issue, Lisa Jacob’s accounts of Haydn’s three surviving violin concertos from the 1760s “combine delicacy, vitality, and striking attention to expressive characterization.” Jabobs creates stylish performances that are energetic, incisive, and articulate. They literally dance to the ear and stay in one’s memory.

Rushton Paul - Source

Stretto.be

Lisa Jacobs heeft een magnifieke toon en een superbe beheersing van haar rechterarm, hét geheim van het vioolspel. Daarenboven bespeelt ze een heel bijzondere “Francesco Ruggieri” uit 1683 met een schitterende, Franse strijkstok, gebouwd door Joseph Henry (1823-1870). De strijkstok is omzeggens de vervolmaking en de verfijning van de strijkstokken vervaardigd door Henry’s voorgangers, de Franse archetiers uit de eerste helft van de 19de eeuw, Dominique Peccatte, Pierre-Paul Simon en François Xavier Tourte. De cd werd opgenomen in de laat-gotische hallenkerk, de Cunerakerk in het Nederlandse Rhenen (provincie Utrecht), onder de perfecte, sonore supervisie van Sound engineer Tom Peeters en zijn magische opstelling van zijn gesofisticeerde “Brüel & Kjaer” microfoons. Hopelijk draagt de opname van deze prachtige concerti bij tot de publieke revival van deze onbekende maar schitterende Haydn muziek in de concertzaal, hoopt Lisa. Een heel mooie soliste op een fenomenaal mooie cd die u geenszins, maar dan ook geenszins, mag missen!

Michel Dutrieue - Source

Musicalifeiten

“Lisa Jacobs leidt het in 2015 opgerichte enthousiaste, merendeels jonge vrouwelijke elftal String Soloists van concertmeester Janneke van Prooijen vanaf de strijkstok en toont zich een heel stijlvolle en sensitieve soliste die zich nooit opdringt. Vooral haar serene lezing van het sereen-overpeinzende adagio-molto deel uit het Concert in C is memorabel. Ook de mooie cantilene, het middendeel van het Concert in G met pizzicato begeleiding viel erg fraai uit. De snelle delen sprankelen.
De in een kerk gemaakte opname klinkt mooi in balans. Opdracht volledig geslaagd. Met bijna zwaarteloos spel, een grote zorg voor homogeniteit en een dwingende overredingskracht kom je een eind.”

Jan de Kruijff - Source

Pizzicato 6.25 out of 5

Joseph Haydn’s Violin concertos are less forward-looking, less characteristic and therefore less popular than larger parts of his other works. Young Dutch violinist Lisa Jacobs presents her view on this charming music together with The String Soloists from Amsterdam. Putting her own stamp on this music is further enhanced by her own cadenzas.
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Der jugendliche Elan der Ausführenden überträgt sich hörbar auf die Musik. Damit tragen sie diese Konzerte schwungvoll an die Ohren der Hörer, ohne deren musikalische Gestalt zu leugnen oder zu überfordern.
Ihren persönlichen Stempel drückt die Solistin den Konzerten dadurch auf, dass sie ihre Sicht auf diese Werke mit eigenen Kadenzen darbietet.

Uwe Krusch

BBC Music Magazine 6.25 out of 5

Crisp, clean playing buoyant orchestral interaction and superb recorded sound all make this a very pleasurable listen.

JP

Opus Klassiek

“Het is een en al gesublimeerde levenslust (Presto nr. 1 en Allegro nr. 4!) maar ook dichterlijke diepgang (Adagio nr. 1 en 4!) die zij uit haar viool tovert. Die intense muzikaliteit wordt nog eens uitdrukkelijk bevestigd door de fraai geproportioneerde cadensen van haar hand. Maar ook het virtuoze en glanzende spel van het ensemble deed mij herhaaldelijk denken aan die welgemeende uitspraak van Mozart. Een beeld overigens dat we ook terugvinden op haar Locatelli-cd. Tom Peeters toont zich weer de opnametechnicus bij uitnemendheid. Wow!”

Aart van der Wal - Source

Luister

‘Een orenspitsende luisterervaring..De openingsdelen zitten vol energie, de langzame delen vol poezie en de finales vol aanstekelijke virtuositeit. Voor een violist lijkt me dit heerlijk om te spelen en aan Lisa Jacobs is dat ook wel te merken. Zij mag best eens haar gerechte plaats opeisen naast Janine Jansen, Liza Ferschtman, Simone Lamsma en de nieuwste ster Noa Wildschut, want ze doet niet voor hen onder. Met The String Soloists heeft ze haar eigen strijkje dat met dirigentloos samenspel de perfectie dicht benadert en toch spontaan blijft klinken. Past helemaal bij Haydn’

Gerard Scheltens

Gramophone

Lisa Jacobs fields a band of no more than 14 string players, with a very present harpsichord accompaniment. Ensemble and phrasing are ideal, and Jacobs’s own cadenzas are in keeping with their surroundings. Her tone is clear and consistent.

David Treasher - Source

De Gelderlander 5 out of 5

De violiste bevestigt op dit in de Cunerakerk van Rhenen opgenomen album wederom haar reputatie als iemand die de uitdaging van cadensen moeiteloos aangaat. We horen met plezier hoe zij telkens weer een eigen signatuur weet te communiceren zonder buiten de stijlconventies te treden.

Maarten-Jan Dongelmans - Source

The Strad

The fast outer movements are incisively articulated, sprightly and energetic, especially the punchy, rhythmic finales of nos.1 and 4, and their changing moods are admirably contrasted. The reflective central slow movements are interpreted with beauty and poise, albeit with an intensity that barely stops short of Romanticism, especially the Adagio moderato of no.3. However, they showcase perfectly the sonority and tonal purity of the soloist’s 1683 Rugeri.
She seems very much at home with her small group of Amsterdam-based string players, who, led by Janneke van Prooijen, interact with her alertly and sensitively.

Robin Stowell - Source

Musicweb International

Young Dutch violinist Lisa Jacobs takes a very appealing approach to Haydn’s under-appreciated violin concertos…These violin concertos are from an early period in Haydn’s career, and Jacobs presents them with en ear to their baroque connections. This means embracing their long melodic lines, and recognizing that the music is more discursive than the more concise compositions of middle and late Haydn. Jacobs recognizes that the violin concertos are episodic, and that it is not a bad thing to explore this aspect. In the earliest C major concerto, Jacobs’s opening fanfare rings confidently. Her cadenza is both graceful and showy. The concluding presto is full of gentle tension. The A major ‘Melk’ concerto opens with a measured pace, but is not slow. In Jacobs’s hands, we are reminded of C.P.E. Bach more than Beethoven. The G major concerto is perhaps the least interesting of the set, until the dazzling rondo finale, which here makes a great conclusion to the disc…this new Haydn set is stylish, well-recorded, and rather addictive.

Richard Kraus - Source

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