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Haydn: Symphonies No 41-47, 50-52, 64-65, 82-90 / Weil, Tafelmusik

Haydn,J. / Weil,Bruno Release Date: 06/10/2016
Label: Sony Catalog #: 88697963402
Composer:  Franz Joseph Haydn Conductor:  Bruno Weil Orchestra/Ensemble:  Tafelmusik Number of Discs: 7

"Another cycle of the Haydn symphonies! You never know, non-specialist orchestras might even start programming them from time to time as a result of all this exposure. In the meantime, these first two volumes from the Canadian period-instrument group Tafelmusik strike me as distinctly more promising than those already released by Messrs Hogwood, Fischer or Goodman (or, for that matter, the complete Dorati set). The orchestra is quite small (30 players), but capable of a big sound – the string tone is especially refined, the oboes mercifully sweet-toned, and Ab Koster copes manfully with the taxing horn solos in No. 51. There’s no keyboard continuo, which again is a relief after the ‘harpsichord continuo’ approach of some Read more recordings...Tempi are generally fast, but this never affects the strings’ superb articulation. The notes (by ‘Musicological and Artistic Consultant’, HC Robbins Landon) and the sound are both first rate. I await the next issues with interest."

-- Stephen Maddock, BBC Music Magazine

Composed in Eszterhaza, away from the centre stages of Europe, these six symphonies date from c 1772-3, the infant years of Beethoven. Here is invigorating, inspired, perennially original music, still capable of taking one's breath away. The character of Haydn — master symphonist, genius of surprise and silence, of phrasing and cadence, a man variously grand, melancholic, temperamental, witty and playful - is stamped everywhere. The bold invention of these works, their compositional intricacy, tonal adventures, easy, fresh polyphony and arresting orchestration (notably woodwind and horns), make them a unique historical experience. In his notes, HC Robbins Landon, musicological and artistic consultant to this Haydn project, rightly calls No. 45 (the Farewell) 'one of the most noble, tragic symphonies of its century'. And he draws interesting attention to the Sturm undDrang 'nervous, fiery writing, pungent harmonies and slightly sinister overtones' of Nos. 46 and 47. Mozart admired the latter. Did Beethoven perhaps know the former, with the unsettling minuet interpolation of its finale? Ceremonial C major Haydn informs No. 50, written in honour of Maria Theresa. Incidental music for theatre may have been the origin of Nos. 64 and 65.

All are played on period instruments (or reconstructions) pitched to concert A=430, without keyboard continue (Robbins Landon's recommendation nearly 40 years ago, rarely observed however). They are vibrantly alert to 18th-century rhythmic practice (the double-dotted introduction of No. 50, for example).

Tafelmusik under Bruno Weil offers an account of these trail-blazing masterworks that's as near definitive as you can get — though you'll find their minuet da capos to be at variance with the Academy of Ancient Music/Hogwood model.
Performance 5 (out of 5); Sound: 5 (out of 5)

-- Ates Orga, BBC Music Magazine

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