Joseph Haydn: Harmoniemesse & Symphony "The Clock"

Joseph Haydn wrote 104 symphonies, the last of which, his “London Symphonies”, belong to the most fully developed and most significant of them all. The “Clock” symphony Hob. I:101 is rich in content and expression, as well as the composer’s characteristic humor, even if its name does not originate with Haydn himself. The Gera Reuss Chamber Orchestra under the direction of the Frauenkirche’s (Church of Our Lady) cantor Matthias Grünert so impressively comprehends the musical depiction of time, that one could almost believe to hear the ticking of a clock in the symphony’s second movement: meter and formal expression – two interdependent parameters of a composition. Haydn translated all of this brilliantly into music, and the present recording affords the listener a fascinating glimpse into the structure of his music. The same applies to the interpretation of the “Harmoniemesse” Hob. XXII:14. Haydn, as with other composers during the years in which an imperial decree permitted no large orchestral masses to be performed in churches, lay up a rich store of musical ideas. These then broke out exuberantly in his last completed composition. Ina Siedlaczek (Soprano), Bettina Ranch (Alto), Tobias Hunger (Tenor) and Tobias Berndt (Bass) together with Dresden’s Chamber Choir of the Frauenkirche and Gera’s Reuss Chamber Orchestra show why the “Harmoniemesse” rightly earned its name.

Ina Siedlaczek
Bettina Ranch
Tobias Hunger
Tobias Berndt
Kammerchor der Frauenkirche Dresden
Reußisches Kammerorchester
Frauenkirchenkantor Matthias Grünert

MDR Kultur (Oktober 2016, Claus Fischer)

„Solisten, Chor und Orchester musizieren frisch, klar und transparent. Der Chor ist intonatorisch perfekt, singt wunderbar frisch und leicht. Auch das Orchester […] agiert ganz auf der Höhe der Zeit, was derzeitige Haydn-Interpretation angeht. […] Bitte mehr "regionale Produkte" dieser Qualität!“

Der neue Merker (13. Dezember 2016, Dr. Ingobert Waltenberger)

„[…] der Chor stößt in der dynamischen Ausdrucksbreite nach oben hin an natürliche Grenzen. Und dennoch wird man als Hörer mit der CD ganz und gar glücklich. Die Phrasierung, das Atmen mit der Musik und das Setzen von Akzenten folgen einem organisch musikantischen Ansatz, was auch für die Interpretation der Symphonie Nr. 101, die dieses schöne Album sinnvoll ergänzt, gilt."