Michael Fendre
It was about time ...
www.haydn13.com, www.haydn107.com … both homepages emerged from special moments. While the compendium haydn13 marks the “virtual” conclusion of a research exam, the second current version of haydn107 was a rescue measure. At the time of the relaunch of haydn107, there was no concept to continue this series. Admittedly, the idea of taking up the oratorios appealed to me – I could not let it go already while working on haydn13. But above all, there was the fact that some of the oratorios are considered the most frequently performed works in the concert business, while operas, which are no less fascinating, are completely ignored. Why is that so? I had already developed theories, but without publishing them.
On these two homepages www.haydn-joseph.com and www.haydn5.com I will publish my ESTORAS THEORY, which “processes” two further theories that I have put forward. All theories, however, address the question of why Haydn’s public image is so ambivalent. Let us be honest: when we think of Joseph Haydn, the image is that of the “funny” papa who is always in the mood for musical jokes. A nice, harmless picture full of clichés.
Well, a closer look behind the scenes reveals a completely different image of Haydn – by the way, a much more sympathetic and above all more exciting, in the truest sense of the word.
So it was really about time ... to publish my theory.
Dr. Michael Fendre, October 2020
