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75 of 76 people found the following review helpful:
5.0 out of 5 stars
LEGENDARY, CLASSIC, and MONUMENTAL, June 27, 2009
This review is from: Complete Symphonies (Box) (Audio CD)
I own this set in its multi-jewel box, entire shelf length previous incarnation - so I cannot say anything about improvements in remastering. But in terms of the performances, this newest collection of "discs-in-sleeves-at-a-fraction-of-their-original-price" is, argumentatively, the greatest classical music bargain currently on the market. (Note: At amazon's current 07/09 price you are paying approximately $1/disc! Unbelievable!)
Dorati was known primarly for his 50s and early 60s recordings on Mercury Living Presence recordings (recordings which stand the test of time well - both in terms of performance, as well as recording sound). By the time he made these recordings, he had well settled into the "second rank" of conductors. Upon the release of these recordings - the first complete cycle of Haydn's symphonic output - Dorati secured his place in the pantheon of notable conductors.
This is a cycle for the ages. Never mind that you won't listen to each of the discs in succession (and in fact, you shouldn't) Never mind that you're apt to replay the later symphonies with much more frequency then most of the others (excepting those from the sturm und drang period (you will). This series is the wellspring of classical music. A musical "first lake" that leads to smaller streams, than greater rivers, and eventually leads to the oceans of Mozart and Beethoven. These are the musical source waters containing the rich and fertile nutrients that lead from the Baroque into the great Classical period of music.
The joy in listening to this series, is that you can hear Haydn's personal growth throughout these many years. Dorati treats his symphonic oeuvre with much greater respect than most other conductors at the time did. As a result, the great symphonies emerge not as light counterpoint to the later masterpieces, but as significant works in their own right. Papa Haydn - so often, and all too easily dismissed as a Kappellmeister (have you ever heard of a summer "All Haydn" festival?) is revealed as a composer of substance, vitality, and tremendous innovation. That latter point cannot be overemphasized.
As a listener who long ago tired of the "original instruments" movement, I simply love the full sonority of Dorati's orchestra and the recordings. The recordings, particularly the strings, sound glorious. These recordings still sound beautiful - whether you are one of those (us?) old enough to remember the richness of Decca / London recordings during the 1970s, or you're a younger listener used to listening on MP3 files on an iPod. Place one of these discs in a fine audio listen and revel in the majestic sound of a full, modern orchestra.
It should be noted that there are other cycles that have received laudatory reviews, particularly Fischer's on the mid-priced Brilliant Classics label which I have not heard Haydn: Complete Symphonies (33 CD Box Set). But then again, it is nearly twice the price of this series. Scott Morrison - a deeper, and in all honesty, more knowledgable listener than I has also written an extraordinary review of Naxos set featuring a number of different orchestras. F.J. Haydn: The Complete Symphonies (Box Set) Again, this set is about twice the price of the Dorati.
For those who continue to question the need for owning Haydn's complete symphonic output, I point out that Pinnock's Sturm Und Drung symphonies are exemplary, and the original instruments' timbre fit this period quite well - despite my earlier protestations! Haydn: The "Sturm und Drang" Symphonies [Box Set]
And then there is Bernstein Leonard Bernstein Conducts Haydn (Box) whose interpreations are vastly underated by the general public these days. Recorded at the peak of his conductorial prowess, Bernstein's performances of Haydn were revelatory, just as his Mahler recordings were. Gone was the dainty Kapellmeister Haydn, replaced by a more passionate and energetic Haydn. Well worth hearing, this set of the Paris and London symphonies (and Masses) is, once again, more expensive than Dorati's complete set.
Is there a down side to Dorati's magnum opus? Well, yes. While these performances range from light hearted to the dramatic you will not hear the excitement of discovery present in say, Bernstein. Listen to more than two discs at a time, and you'll likely feel a degree of sameness to the interpretations. On the other hand, Dorati's consistancy - and equal respect for all of the symphonies - is also this set's strength.
I truly believe that this set is legendary, and classic. It restored Haydn to his proper place in the recorded pantheon of classic composers. And it continues to sound fresh and vibrant nearly 35 years after its release. It may not be the only Haydn you will listen to, but you will not be deprived if it is.
This set remains one of the glories of recorded classical music. 5 stars!
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26 of 27 people found the following review helpful:
5.0 out of 5 stars
Dorati's Haydn: A Reconsideration, July 31, 2009
This review is from: Complete Symphonies (Box) (Audio CD)
A couple of years ago I wrote a largely negative review of Dorati's Haydn symphony cycle for this website. In that review, I cited as reasons for my appraisal Dorati's tendency to lumber (particularly in the Menuets) and his Hungarian ensemble's occasional lapses in executional polish. These concerns arose from two auditions of this series--one during the 1970's (when these performances were available in 6-LP volumes on Decca's Stereo Treasury label), and another in the early 1990's (when the cycle was first issued on CD in separate mid-priced boxes of four discs apiece).
In honor of the 200th anniversary of the composer's death, when I discovered that Decca/Universal had reissued this monumental set in a super-bargain box at a small fraction of what it cost in previous CD incarnations, I decided to give it another, and, if possible, more appreciative hearing. This time around, while noting the problems that aroused my critical disapprobation previously, I found these performances consistently enjoyable, and indeed far better than most period- or modern-instrument performances that I have encountered in the past two decades or so.
Dorati manages to convey the requisite vigor without sacrificing charm. His phrasing is usually shapely (and indeed often ravishingly beautiful in many of the slow movements); his choice of tempi apt (I found the slow Menuets charming this time around--with plenty of time to spare for delicious pointing of detail); and the playing of the Philharmonia Hungarica usually adequate to Haydn's frequently exorbitant demands (the alto horns, in particular, are outstanding in their stratospheric parts, even if the woodwind tuning in general is not always spot-on).
In the earliest symphonies, Dorati and his doughty band are clearly on a voyage of discovery, and their enthusiasm is quite contagious. Some of the *Sturm und Drang* Symphonies convey more nervous energy, and sometimes more *Innigkeit* with Scherchen, Janigro, Barenboim and (for period performance practice) the seriously underrated Solomons. Moreover in several of these works Dorati's penchant for slow and stately Menuets is a relative disadvantage (the ones in nos. 44, 46, and 49 really hang fire). Some of the finales, too, could do with more alert playing and dramatic emphasis. Overall, however, Dorati confirms Haydn's inexhaustible invention more often than not in these highly experimental middle-period works. The frothier, more "operatic" symphonies which follow (roughly from 60 onward, with the exception of no. 72, which is actually an early work) are given nicely variegated treatment, even if the capricious humor in some of them is underplayed. Dorati really excels, however, in the slow movements of this group, some of which (such as those from nos. 66, 67, 73-78) count among the most sublime of Haydn's utterances. The more familiar *Paris* group (usually denominated as nos. 82-87, but also including 88-91) receive crisp, lively, dapper readings that rank with the best (Bernstein, Ansermet, Böhm). The great "Oxford" (no. 92), by contrast, is relatively disappointing: Dorati doesn't quite discern its more expansive architecture and emotional ambiguities, nor does he point the humor in the finale quite as effectively as some others. Dorati is at his best in the concluding *London* group, however. Once again, he demonstrates that broadly paced but lilting Menuets can charm the ear more effectively, not least by anticipating the Viennese waltz idiom, than brisk, businesslike one-in-a-bar scherzi. Dorati is particularly good at balancing the orchestral choirs in these often contrapuntally dense works, and I really appreciate the timpanist's use of what sound like hard sticks, enabling his contribution to cut through the texture effectively.
Listeners should be aware that this is, I believe, the only "complete" Haydn cycle to include the *Symphonia Concertante* (superbly done), alternate movements of certain symphonies, and textual variants (such as the original version of the *Drumroll*'s Finale). Like Fischer, Dorati also includes the extra-canonical Symphonies "A" and "B", to make this the most complete survey of Haydn's symphonic output on record. The remastered recordings sound fine to my ears, though some listeners (including some who have heard my copy of this set) have complained about dry and aggressive sounding strings. I find the engineering more than acceptable, both in terms of balance and overall orchestral sonority (richer-sounding than a period ensemble, but never too weighty or opaque).
In sum, then, my revised estimation of Dorati's Haydn is mostly positive. Comparing his interpretations, and the distinctive sound he evokes form his ensemble, with the interpretations and sonorities on Fischer's rival set (which I also own), I found myself gravitating more toward Dorati's priorities this time around. Fischer captures the experimental qualities in Haydn's invention often more effectively than Dorati, but Dorati evokes what I can only call an old-world geniality (not to be confused with the false image of "Papa Haydn") which satisfies my appetite for graciousness in a world increasingly given to relentless multi-tasking. Younger listeners may not agree: indeed, perhaps my re-evaluation of Dorati's achievement in Haydn signals that I am now "over the hill." But I think this set will appeal to all listeners who want to embark on a thrilling voyage of discovery through one of the great musical achievements in the history of music--and not just to grumpy old men who enjoy life in the slow lane.
Strongly recommended to all intrepid explorers.
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12 of 12 people found the following review helpful:
5.0 out of 5 stars
Yes, September 17, 2009
This review is from: Complete Symphonies (Box) (Audio CD)
This remains, hands down, the reference cycle of the Haydn Symphonies with one orchestra and conductor. While Adam Fischer's cycle may feature some better ensemble work here or there, Dorati simply has in abundance what most Haydn performances lack, and that is the respect and reverence for this fantastic music. Not one Haydn symphony can be considered negligible, and Dorati treats every one of the canonic one-hundred and four as a masterpiece.
There are so many fantastic moments throughout the cycle to highlight individually, but there are standouts even in this crowd. Dorati's handling of Haydn's C-major symphonies, which the composer usually wrote for festive purposes, are outstanding. Just listen to the thrilling opening to the Forty Eighth, imbued with an abundance of energy. Dorati's performance of Ninety remains the best available, beating out the likes of Bruggen, Rattle, and Fischer, among others, due to absolutely stunning work from those alto horns and by reveling in the ridiculousness of one of Haydn's most surprising finales. Ninety Seven is equally fine, due to crisp tempos and full-bodied brass playing. The minor-keyed symphonies are also particularly effective due to Dorati's keen understanding of the Haydn idiom. The first movement of the Hen does not wallow in romantic extremes like other conductors while his Farewell is about as touching a performance as you are likely to hear. Ninety Five stands, along with Harnoncourt's, as one of the two best performances of the C-minor London Symphony. Dorati's spirited and quick-witted Drumroll remains my favorite in this glutted field while his Chase symphony will never fail to bring a smile.
Indeed, since Dorati's seminal set, we've had dozen's of London cycles, from Solti, Szell, Davis, Bruggen, Karajan, Harnoncourt, and Fischer to name a few, just as many Paris sets, Bruggen, Marriner, Harnoncourt, Bernstein, fine S&D sets from Pinnock and Bruggen, as well as fabulous individual performances here and there from Fey, Rattle, Jacobs, and Harnoncourt. And, since Dorati, the rise (and fall) of the period movement as well as current historically informed performance trend have added new insights and improvements to Haydn performances, such as stereophonically placed violins, quicker minuets, and more clarity of part writing. Indeed, to many, Dorati's minuets will sound dated and old-fashioned, his traditional orchestral layout somewhat grey-toned, and the ensemble work sometimes wanting. Thank being said, I challenge any listener to find performance with more vigor, more brio, more energy, more humor, more life, more joy, and more honesty than these performances, over thirty-three compact discs. I bought the previous incarnation at a little under $200, thinking it was a steal. But to get these performances for about $2 a disc is insanity. Buy it now and enjoy it for the rest of your life. I assure you, these are performances to which you will turn over the years with a constant sense of rediscovery and joy.
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