The director of the Haydn Society, Denis McCaldin, writes:

“So we come to the end of the year. What a special year it has been for the Society! It was almost two years ago that we decided to commit ourselves to putting up the first plaque to Haydn in London. March this year saw this accomplished when Sir Neville Marriner, beside the Austrian ambassador, unveiled the plaque at 18 Great Pulteney Street. Almost a hundred people came to see the event for themselves.

The process of putting up the plaque caused me to sift through many an old file. I was pleased to turn up this poster (right) advertising an early concert series which the Society put on at Wigmore Hall (in 1980). Of course the lifetime of the Society is but a slight cross section of the period over which Haydn’s music has been admired and celebrated – for the best part of 250 years. We hope that the plaque will remind people to seek out and try his music for at least 250 years to come.

We hope you have a Happy Christmas and a peaceful New Year and we look forward to hearing about your interest in, discovery of and, as always, enthusiasm for the music of Joseph Haydn in 2016.”

Peter Cropper, image via The Strad

Director Denis McCaldin writes following news of the death of Peter Cropper.

“Peter Cropper, founder/leader of the Lindsay Quartet and a member of the Haydn Society’s Committee of Honour, has died aged 69. The Lindsays (as they chose to be called) established their reputation through their performances Haydn’s chamber music, and later with the quartets of Michael Tippett.

After leaving the Royal Academy of Music in 1967, where they had been coached by Sidney Griller, the quartet rapidly aquired an international recognition. But rather than touring world-wide, Peter Cropper’s love of the north of England led him to secure residencies for the group at Keele, Sheffield and Manchester universities.

Artistically, Peter Cropper was a daring risk-taker, both in repertoire and in interpretation. ‘I don’t say it was always immaculate,’ he once said of the quartet’s performing style. ‘Who wants perfection? Perfection is sterile. We’re human beings.” For many, this was a refreshing change of attitude for audiences brought up on the sleek, polished recordings of the Amadeus and the Beaux Arts Trio.

As the pianist Martin Roscoe, who partnered him in many sonata and trio concerts has said. ‘Peter was completely fearless. He took huge risks all the time, to get to the bottom of the music in terms of its character. He was inspirational.’”

(l to r) Austrian Ambassador Martin Eichtinger, Sir Neville Marriner, Haydn Society Director Professor Denis McCaldin and Walter Reicher of the Haydn Festspiele Eisenstadt

It is with a tremendous sense of pride but also of accomplishment that we unveiled our plaque to Joseph Haydn today at 18 Great Pulteney Street, London. We were totally overwhelmed by the crowd (perhaps over a hundred strong) that gathered to see His Excellency Austrian Ambassador Martin Eichtinger, Sir Neville Marriner and Professor Denis McCaldin, Director of the Haydn Society of Great Britain, finally achieve what seems to have eluded so many others over the previous fifty years of attempts at such a commemoration.

After an introduction from Denis McCaldin, Martin Eichtinger spoke at length of Haydn’s life and achievements. Denis then thanked all those who had contributed money to commission the plaque and have it installed, as well as: the owner of the building; its enthusiastic and welcoming tenants Feref London; and English Heritage and Westminster City Council for their help and support (the plaque has been put up independently of either body but both have been helpful). He then introduced Neville Marriner (reminding us that the conductor has recorded one hundred CDs of Haydn’s music!) and invited him to pull the cord.

The crowd at the unveiling of the Haydn plaque listen to Haydn Society of Great Britain Director Denis McCaldin speak. Photo: Ben Palmer

And, with a few words – tussling, appropriately, with the noisy Soho traffic that Haydn also struggled with – Sir Neville pulled back the curtain and revealed the plaque. The plaque is fixed in the wall, recessed and cemented in place. It’s there for anyone to see, made possible by public support and designed to inspire passers-by to consider the composer and perhaps try his wonderful music.

Yesterday we watched the installation of the Haydn plaque at 18 Great Pulteney Street. The operation took around three hours as a hole was cut into the wall and the plaque fixed in place with cement. The plaque attracted a great deal of interest from passers-by, many of whom stopped to take photographs and ask about the composer.

The plaque was left covered with tape for the time being. You are welcome to come and see the unveiling on 24 March at 12pm when Society Director Professor Denis McCaldin will join Sir Neville Marriner and the Austrian Ambassador in an official presentation.

Director Denis McCaldin writes following news of the death of John McCabe.

“Composer and pianist John McCabe CBE has died at the age of 75. A person of striking honesty, humour and integrity as well as being a fine musician, John managed a successful dual career as both pianist and composer.

He studied at the Royal Northern College of Music under pianist guru Gordon Green, who fired his interest in Haydn by playing a Richter recording of one the keyboard sonatas. John recorded all the Haydn sonatas for Decca between 1974 and 1976, setting new standards of musicianship and insight into the music. The discs are still in the catalogue.

John was a member of the Haydn Society of Great Britain’s Committee of Honour. His article ‘Five works inspired by Haydn’ (Haydn Society Journal 1993 p 44 et seq) describes the diverse ways in which the older composer influenced John’s own music. He ends with the words ‘Haydn is a model who sets himself challenges, sometimes obviously, sometimes subtly, within the context of music that seems spontaneous and unforced. Whatever one’s success in trying to learn from his lessons, the effort is unfailingly enjoyable and revealing.'”