Haydn/Stegmann: PRESTO from Symphony no 44 "Trauer"

Joseph Haydn: Symphony no 44, "Trauer" - IV. Finale: Presto
Transcribed for solo piano by Karl David Stegmann (1751-1826)
Ivan Ilić, piano - www.IvanCDG.com
Karl David Stegmann (1751-1826) was a German tenor, harpsichordist, conductor, and composer.
Stegmann was born in Staucha near Meissen. He received his initial musical training from the local organist at Staucha, then studied in Dresden with J.F. Zillich (from 1760), at the Kreuzschule (1766-70) and later under Homilius and the violinist H.F. Weisse. Thereafter he rose rapidly as singer, actor, and harpsichordist; he went to Breslau in 1772 (with the Wäser theatre company), Königsberg in 1773, Heilsberg in 1774 (as court harpsichordist to the Bishop of Ermeland), Danzig in 1775, Königsberg again in 1776 (with the Schuch company) and later appeared in Gotha (at the court theatre). From 1778 to 1783 he made the first of two extended visits to Hamburg, winning particular renown as a harpsichordist. By that time, six of his operas and Singspiels, first produced earlier in Königsberg and Danzig, were attracting performances elsewhere in northern Germany. In 1783 he left Hamburg to join the Grossmann company in Bonn. He then became attached to the court theatre at Mainz in association with which he made highly acclaimed guest appearances in Frankfurt. He sang in the first German-language Don Giovanni (Mainz, 13 Mar 1789), produced or conducted other operas by Mozart, Salieri, Gluck and Gassmann, composed incidental music (e.g. to Bürger's version of Macbeth, 30 Aug 1785) and acted in dramas by Lessing and Schiller.
The summit of Stegmann's activities in Frankfurt was the production of his allegorical Singspiel Heinrich der Löwe (15 July 1792) to commemorate the coronation of Emperor Franz II. By the time of his return to Hamburg in November 1792, he was esteemed as a leading operatic producer and adapter, which compensated for the declining vocal prowess that forced him to restrict his appearances to comic roles. In 1798 he joined the directorate of the Hamburg Theatre, remaining there until 1811; thereafter he moved to Bonn and attracted attention mainly as a composer of incidental music and a series of instrumental works, including keyboard and multiple concertos. His earlier close acquaintance with the operas of Gluck and Mozart, and his later keyboard arrangements (published by his friend Simrock) of Haydn's symphonies, Mozart's string quintets and Beethoven's Trios op. 9 enabled him to produce instrumental music notable for contrapuntal and textural ingenuity, combined with an imaginative, if sometimes overladen, instrumentation.
As a composer for the theatre, Stegmann has attracted attention for his harmonic and tonal organisation and for using antecedent forms of leitmotif, showing an early interest in dramatic and psychological continuity. He died in Bonn.
Works
Erwin und Elmire (1776)
Philemon und Baucis (1777)
Montgolfier (1788)
Sultan Wampun (1791)
Heinrich der Löwe (1792)
Der Triumph der Liebe (1796)
Source: en.wikipedia.o...
Also, see:
Slipped Disc
slippedisc.com/...
Limelight Magazine
www.limelightma...
Classique mais pas has been
classiquemaispa...
Gramophone
www.gramophone....
Pianist Magazine
www.pianistmag...

[@katiamarin9425]

Ivan, votre proximité et gentillesse valent autant que votre talent.

[@pqx33]

Quelle énergie dans ce presto, à écouter tous les matins pour repartir gonflé à bloc. En même temps, Ivan retraduit toutes les couleurs et nuances de l'orchestre...époustouflant !

[@richardcole5090]

I am astonished that a Haydn Symphony could sound this good on the piano. Liszt’s transcriptions of Beethoven’s Symphonies come to mind as another example. But this actually sounds like it was written for the piano, whereas with the Liszt you keep missing the full orchestral sound.
All those transcriptions from the 19th century languishing in libraries... I wonder whether any of them were meant to be performed? This certainly seems like it was. It’s rare for orchestral textures to make such pianistic sense.
Where is the score available? Was it published? At any rate, an exhilarating discovery.

[@johnlaurencepoole6408]

Piano transcriptions Haydn Symphonies (duet, 2 piano 8 hands) make for an excellent introduction for piano ensemble playing as they tend to be percussive. I always start with Haydn when I have a new mix of sight-readers playing in an 8 hand ensemble, only when the group behaves and listens to itself do I dare move to Brahms.

[@MusicandMediaConsulting]

Amazing!

[@scottalbers9314]

Really great!! thanks so much!!

[@zimnaya]

Marvellous, convincing, crisp and delightful. This just doesn't sound like a transcription.

[@katiamarin9425]

Thank you

[@IvanCDGvideos]

merci :) c'est le répertoire de mon prochain disque, qui sortira fin août 2019 chez Chandos.

[@Erika-lm6of]

nice^^

[@robertovecchiolkn8030]

Grandiose…..

[@JOSELIO23]

😀 que bonito tocas

[@toren-touissannt]

Amazing
Do you know where one could acquire the score

[@annakimborahpa]

Nice. How about recording a duet with English guitarist Robin Trower performing Haydn's Trauer Presto?

[@MrEbaby2011]

Hairy arms!

[@BrontalMusik]

Wonderful!