This late masterwork received its first performance at the same London concert at which Haydn's final Symphony (No. 104) was also performed for the first time (4th May 1795). Points of interest in the Scena di Berenice include the prominent wind writing, the presence of (somewhat discreet) clarinet parts, and the extraordinary range of keys covered during this work - as exemplified by the fact that the final two arias are in the distantly related keys of E major and F minor, respectively (the same principal keys as in the second movement of Schubert's late String Quintet in C major from 1828). Modulations between remote keys in the Scena di Berenice are handled with great panache. The final aria is a locus classicus of Haydn's use of F minor to project an agitated state of mind; the mood is reminiscent of other works and movements in this key by the composer, including the Symphony No. 49 from 1768 ("La Passione"). Interestingly, the quiet first 3 bars in the present performance of the Scena were deleted in the autograph manuscript, reportedly by Haydn (as stated by H. C. Robbins Landon in Volume 3 of 'Haydn: Chronicle and Works', page 373; 1976).
Es ist meine erste Gelegenheit, dieses Werk zu hören. Unglaublich schön und gut komponiert. Die klare Stimme der Sängerin klingt auch wunderschön. Danke fürs wertvolle Hochladen!
+HORUS S. DIGITAL there are very many compositions to this, probably the one by Marianna Martines is an other one? :) But I have admit that I didn't found any proof, so it's probably really stolen by Haydn:)
HORUS S. DIGITAL There is no debate whatsoever about who wrote this piece - it is by Haydn; the autograph manuscript is in the Vienna Stadtbibliotek. It was written by him for probably the most famous diva of the 1790’s Brigida Banti and first performed by her at Haydn’s huge benefit concert in London on 4 May 1795. (Haydn was not overly impressed with La Banti, and noted rather amusingly in his newly acquired English ‘Signora Banti, she song (sic) very scanty’). Apart from anything else, simply listening to the piece should suggest to any listener that it is one of the finest vocal scenas of the Classical period. As such, Berenice, che fai ? is way beyond the capabilities of any second or third-rank composer - it is certainly way beyond the ability and competence of Marianna von Martines, and anyone else apart from Mozart. (I would suggest that Haydn’s Berenice, che fai ? and Mozart’s Ch’io mi scordi di te are the two single greatest works of this type from the second half of the 18th century).
That explains why Cecilia Bartoli can make her version it is repertoire in Concertgebouw. Valuable post - I recommend searching for her interpretation. Cecilia has developed enormeously as an artist - not to everyones taste; but definately developed.
This late masterwork received its first performance at the same London concert at which Haydn's final Symphony (No. 104) was also performed for the first time (4th May 1795). Points of interest in the Scena di Berenice include the prominent wind writing, the presence of (somewhat discreet) clarinet parts, and the extraordinary range of keys covered during this work - as exemplified by the fact that the final two arias are in the distantly related keys of E major and F minor, respectively (the same principal keys as in the second movement of Schubert's late String Quintet in C major from 1828). Modulations between remote keys in the Scena di Berenice are handled with great panache. The final aria is a locus classicus of Haydn's use of F minor to project an agitated state of mind; the mood is reminiscent of other works and movements in this key by the composer, including the Symphony No. 49 from 1768 ("La Passione"). Interestingly, the quiet first 3 bars in the present performance of the Scena were deleted in the autograph manuscript, reportedly by Haydn (as stated by H. C. Robbins Landon in Volume 3 of 'Haydn: Chronicle and Works', page 373; 1976).
Boss level useful and helpful information. With gratitude.
Great music, almost unknown. Thanks for posting.
This is great. Thanks for posting!
A lot of thanks !
Es ist meine erste Gelegenheit, dieses Werk zu hören. Unglaublich schön und gut komponiert. Die klare Stimme der Sängerin klingt auch wunderschön. Danke fürs wertvolle Hochladen!
I know this aria but as far as I know, was composed by a 18th Century German composer Marianna Martines. She studied with Joseph Hydn
+HORUS S. DIGITAL there are very many compositions to this, probably the one by Marianna Martines is an other one? :)
But I have admit that I didn't found any proof, so it's probably really stolen by Haydn:)
th-cam.com/video/Bg2UOU9S8PA/w-d-xo.html
HORUS S. DIGITAL
There is no debate whatsoever about who wrote this piece - it is by Haydn; the autograph manuscript is in the Vienna Stadtbibliotek.
It was written by him for probably the most famous diva of the 1790’s Brigida Banti and first performed by her at Haydn’s huge benefit concert in London on 4 May 1795.
(Haydn was not overly impressed with La Banti, and noted rather amusingly in his newly acquired English ‘Signora Banti, she song (sic) very scanty’).
Apart from anything else, simply listening to the piece should suggest to any listener that it is one of the finest vocal scenas of the Classical period.
As such, Berenice, che fai ? is way beyond the capabilities of any second or third-rank composer - it is certainly way beyond the ability and competence of Marianna von Martines, and anyone else apart from Mozart.
(I would suggest that Haydn’s Berenice, che fai ? and Mozart’s Ch’io mi scordi di te are the two single greatest works of this type from the second half of the 18th century).
linda
That explains why Cecilia Bartoli can make her version it is repertoire in Concertgebouw. Valuable post - I recommend searching for her interpretation. Cecilia has developed enormeously as an artist - not to everyones taste; but definately developed.