The Boston Musical Intelligencer: H+H+Christophers Synched Haydn, Enlightened
by David Patterson “This aperiodic visitor to live period instrument music-making found much to take in. The Handel and Haydn Society’s Sunday Symphony Hall outing with Harry Christophers definitely encouraged future visits—for more Haydn, especially. Thirty-eight symphonies apart, Nos. 49 and 87 offered thriving real-time, real-space illustrations of evolution. Earlier and later Haydn resounded. Mozart’s …
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Handel and Haydn Society to Perform The Complete Bach Brandenburg Concertos
FOR IMMEDIATE RELEASE Contact: Erin Callanan, Callanan & Klein Communications erin@callananklein.com l 617.431.1171 HANDEL AND HAYDN SOCIETY TO PERFORM COMPLETE BACH BRANDENBURG CONCERTOS February 16, 2018, Sanders Theatre, Cambridge February 17-18, 2018, Jordan Hall, Boston Press performance is Friday, February 16 at 7:30 PM Email for high resolution images, interviews, press tickets, and more information …
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On Commission
Most composers throughout history have written primarily on commission, or at least with specific ensembles and occasions in mind for the first performances of new pieces. This guarantees that their pieces will be played, and usually ensures that the composer will be paid for them.
Orchestras and choruses commission new works to stimulate the creation of new music, create excitement, and enlarge their repertoire. Commissioning an especially famous composer also brings prestige on an organization.
With that in mind, imagine if H+H had commissioned Ludwig van Beethoven himself. In fact, we tried in 1823, when Samuel Richardson, a founding member of H+H, reached out to Beethoven through a Viennese banker. But the great composer was busy writing his Ninth Symphony and about to embark on his late string quartets. He didn’t accept the commission from the upstart ensemble across the Atlantic, but did remark that he was glad his fame had reached America.
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The Boston Globe: Eminent Local Releases from 2017, Beethoven, Sonatas for Fortepiano and Violin, Volume 3
Ian Watson and Susanna Ogata (Coro) Is there room for another set of recordings of Beethoven’s Op. 30 violin sonatas? Certainly, when performed with the buoyancy and rhythmic acuity with which violinist Ogata and keyboardist Watson, both of the Handel and Haydn Society, infuse them. The drama underpinning the C-minor Sonata and the effortless charm …
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