The Haffner Serenade in D major was written in 1776 for Marie Elizabeth Haffner's wedding celebration and was commissioned by her brother Sigmund, later the recipient of the Haffner Symphony. Though this composition has elements of Mozart's symphonic style – particularly in its dramatic first and last movements, the grand Menuettos, and the sixth movement Andante – it is cast in eight movements of diverse character and has a casual ambience that belongs to the serenade. The violin solos in the second, third, and fourth movements lend a concertante air to this work, though they have a private quality unlike the bravura displays of the concerto style…
Drummer Wolfgang Haffner is one of Germany's most respected and experienced jazz musicians: his 30 year career features recordings with Al Cohn, Joe Pass and Till Bronner as well as numerous albums as leader. On Kind Of Cool he's joined by an excellent line-up of European jazzers, including pianist Jan Lundgren and trombonist Nils Landgren: their mix of classics and Haffner originals is a delight from first note to last.
Early 90s founded the guitarist Chuck Loeb, the keyboardist Mitchel Forman and drummer Wolfgang Haffner fusion formation Metro, which has since published several albums. Headed by Michael Abene, these three musicians now took on the album Big Band Boom together with the WDR Big Band and guests Nicolas Fiszman (bass) and Roland Peil (perc). The name says it all: Metro pieces in big band with funky horns and driving rhythm section!
Sebastian Haffners Geschichte eines Deutschen handelt von einem Jungen aus bürgerlicher Familie, der den Ausbruch des Ersten Weltkrieges als Zerstörung seines Ferienidylls empfindet. Der die galoppierende Inflation 1923 beobachtet, mit ihren jugendlichen Aktienspekulanten und hilflosen Vätern, ihrem Januskopf von Hunger und Verschwendung. Der Jahre später Deutschland verlässt und ins Exil geht, weil die Nazis "seiner Nase nicht passten", weil er Stellung bezieht, für sich und sein Gewissen.
Die Aufzeichnung gilt als der bedeutendste Fund in Haffners Nachlass.
…Turning to the grand and glorious Haffner, we find Brown’s tempos more aligned with Harnoncourt’s and surprisingly similar to George Szell’s early stereo-era recording, an interpretation that prefigured the biting articulation, clear textures, and propulsive energy of authentic (read: modern) performance practice. (…) Hänssler’s sound reflects the performances–vibrant, full, and dynamic. A great Mozart disc.