Exploring Haydn: A Listener's Guide to Music's Boldest Innovator (w/Two Full-length Naxos CDs).

[website] Exploring Haydn: A Listener's Guide to Music's Boldest Innovator (w/Two Full-length Naxos CDs), by David Hurwitz. Amadeus Press, LLC (512 Newark Pompton Plains Tke., Pompton Plains, NJ 07444), 2005. 256 pp. $27.95.

Exploring Haydn: A Listener's Guide to Music's Boldest Innovator elicits reading, and the musical examples contained on the two accompaniment CDs eloquently illustrate Haydn's creativity.

In the first part, "Extraordinary Musician, Ordinary Man," author David Hurwitz illustrates Haydn's compositional method using a relatively obscure symphony--No. 90, in C Major, CD 1--as an example of formal organization. Hurwitz suggests listening to the seven-minute movement in its entirety, then listening again as you read the commentary, and the world of composition--according to Haydn, including his sense of humor--will be revealed to you.

Beginning with the first four tracks on the first CD, the glorious complete symphony--G Major, No. 88, with listening guide--is included. Part two, "Movement Types in Haydn's Instrumental Works," explores the various movements found in Haydn's large form compositions, always with examples that are easy to understand. Of special note is his fine exploration of the opening largo from " The Creation." Of course Hurwitz discusses the slow movement of the ever-popular "Surprise" Symphony, No. 94.

Included also is the strange and affecting E-minor movement from the Trio in E Major, a work I have performed with utter amazement at the richness and daring of Haydn's imagination. The third movements include the delightful Menuetto: Presto from the G Major Quartet, Op. 76, No. 1. This movement surely served as a model for Haydn's headstrong but grudgingly appreciative student Beethoven. The choice of Symphony No. 13, is instructional: its opening theme anticipates the final movement of the great Jupiter Symphony of Haydn's dear friend Mozart. Hurwitz points out that material may not always be original--it is the treatment of the material that is important. Haydn's incorrigible sense of humor is represented by the E-Flat Major String Quartet Op. 33, No. 2, subtitled the "Joke." No composer could exploit silence with more eloquence than Haydn, and this example is a perfect illustration.

"A Topical View" is the title of the third part of this book and contains valuable information. I would also take special note of the fine commentary on Haydn in chapters "Minor Keys" and "Making Music Funny." Hurwitz's conclusion includes a "top ten" list that identifies the qualities that make Haydn sound like no one else. The book concludes with four appendices listing the complete symphonies, quartets, trios and keyboard sonatas along with the names and performers of the 33 examples contained on the CDs. For "Kenner und Liebhaber"--for professional musicians and people who wish to learn more about Haydn--this book is a must. It is beautifully planned, engagingly written and filled with wisdom. Reviewed by Louis Nagel, Ann Arbor, Michigan.

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