Customer Reviews

Haydn: The London Symphonies, Vol. 1

5 star:		(11)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Jochum and London Phil deliver the highest level of Haydn playing just like Colin Davis and Concertgebow do. I own both and tried to compare between two.

Jochum adds plenty of personal touches that decidedly grab your attention. You hear poignant romanticism or Beethoven-like roar in many places. Colin Davis, by comparison, lets the music flow naturally and makes it sound more balanced. Colin Davis sure gets a lot of help from the gorgeous Concertgebow band - silky but vivacious strings, show-stopping woodwinds, bright brass section, etc. In his set, you hear more of the orchestra than Colin Davis. I think it's the other way around in Jochum set. Concergebow's sound is more transparent and charmingly light-footed while London Phil sounds fuller and creamier without losing crispness. You get more agility and refinement from Davis set. You get more expressiveness and warmth from Jochum's.
Let me emphasize that all of the good qualities I attributed to either of the sets actually exist in both (they are inherently in Haydn's writing). It's just that some qualities are more apparent in one than the other.
As to the recording, Colin Davis set has more sparkle and vividness. It sounds more modern. Jochum's has a typical old-fashioned analogue sound in a very good way. It has plenty of natural ambience but doesn't sound muddy.
I recommend you buy both of these delightful and affordable sets. I never regretted doing so :-)

Haydn's twelve London Symphonies represent the culmination of Haydn's long and slow development as a symphonist. They remain among the greatest most varied set of symphonies ever written. Haydn composed them in two sets of six, for two lengthy trips to London in 1791 --1792 and 1794 -- 1795. The symphonies have been recorded in their entirety by many conductors, including Beecham, Scherchen,Bernstein, Jochum, and Van Karajan, but the set by Sir Colin Davis conducting the Royal Concertgebouw Orchestra is justly renowned. Davis's readings are available on two two-CD sets from Phillips, each of which sell at a modest price. There is no better way for the newcomer to get to know Haydn's masterworks. The first of the Phillips volumes, which I discuss here includes three of the earlier symphonies of the group, nos. 95,96, and 98, together with the magisterial final three symphonies, nos 102, 103, and 104.

Haydn's music speaks to the beginner in music (Remember the slow movement of the "surprise" symphony, known to every child.) as well as to the most demanding listener. The London audience for which he wrote them consisted both of people who knew little of music together with highly knowledgeable and sophisticated music lovers. Haydn had the ability to please both. The London symphonies are full of memorable and simple tunes, concertante solos for many instruments, jokes, and gimmicks. But they also include great musical variety, highly original slow introductions which become deeply integrated with the body of the work, deep slow movements, great development of material, creative orchestration, and extensive use of counterpoint. The symphonies have best been described as exemplifying a "sense of grandeur". They are large-scale, serious compositions, full of ease and mastery. They are also very much products of the Enlightenment as they move from their slow and mysterious openings through to their lively, positive, and triumphant conclusions.

The earliest of the London symphonies is the Symphony no. 96 in D major sometimes called the "Miracle". This is a simpler work than most of its companions. It opens with a fanfare slow introduction followed by a lively theme. Moments to listen for include the oboe solos at the end of the introduction and in the trio of the third movement, the counterpoint in the minor key in the slow movement, and the solos for flute and violin near the end of the slow movement.

The symphony no 95 in C minor is the only one of the London symphonies in a minor key and the only one without a slow introduction. It juxtaposes major and minor key elements coming to a major, triumphal close in the first movement. The first movement consists of an angular, angry minor key opening theme, followed by a long, lyrical theme in a major key. The second movement is a theme and variation while the minuet returns to the minor. The solo cello has large roles in the two middle movement. The finale is in the major with a great deal of fugal writing.

The symphony no 98 in B flat major is together with the following symphony no. 99, on of my favorites of the first nine of these symphonies. The slow introduction is, unusually, in the minor key and it is followed by a movement of great lightness with much counterpoint. The slow movement is one of Haydn's most sublime, probably written to commemorate the death of Mozart, with echoes of the slow movement of Mozart's "Jupiter" symphony. The minuet includes a trio for wind soloists while the swirling, humorous finale includes solo passages for the violin and, at the end, for the piano. (Haydn accompanied from the keyboard during the initial performances of these works.)

The final three symphonies of the "London" set are large-scaled masterpieces, the summit of the series. They were written for performance at the Opera Hall; and Haydn took full advantage of the orchestra and accoustics available to him to say his last word in symphonic form. There is much to hear and rehear in these symphonies.

The sympnony no. 102 in B flat major opens with a slow, largo introduction for the strings followed by a fast movement with two contrasting themes and a large-scaled development. The second movement is probably Haydn's best, as it glows with feeling and romance. The finale is a perpetuum mobile, developed canonically, with a theme that is tossed continually among the various instruments of the orchestra.

The "Drum-roll" symphony no. 103, opens with the instrument for which it is named followed by a growling introduction in the lower strings. In many ways, this symphony is similar to Haydn's Oratorio, "The Creation", composed subsequent to the London symphonies, with its movement from darkness to light. Unusually, the opening introductory material returns at the conclusion of the first movement. In the minuet of this symphony, Haydn moves from some simple, rustic writing for woodwinds to an immediately following theme for the violins of great urbanity. Haydn develops his final movement from some simple material, which he uses contrapuntally and with variety.

With its combination of depth, sophistication,wit,and highest mastery, the London symphony, in D major, No. 104, is my favorite of the set. It is a large work which begins with a minor-key and solemn introduction followed by an unusually lively and triumphant opening allegro. The slow movement is song-like with a darker middle section in the minor key. The minuet again features solos for winds in the trio, but the highlight of this symphony is its finale. Over a continuous drone, the orchestra articulates a theme, possibly derived from an English street tune, and develops it thoroughly from wit to grandeur. It is an apt conclusion to Haydn's symphonic career.

This is a set that can be heard many times, with increasing pleasure and discovery. Haydn's London Symphonies are among music's lasting joys. They are beautifully performed by Sir Colin Davis and the Amsterdam Concertgebouw.

Robin Friedman

This set is good of course, but if you are looking for great performances for EACH of Haydn's 12 London symphony, you may want to buy individual discs. Here is my collection of the 12 'London' Masterpieces.

Symphony 93: Goodman/Hanover Band (Hyperion 66532)
Symphony 94: Monteux/Vienna Phil (Decca 452893-2)
Symphony 95: Britten/ECO (BBC 8008)
Symphony 96: Harnoncourt/Concg. Orchestra (Teldec/Warner 21337-2)
Symphony 97: Szell/Cleveland (Sony 67175)
Symphony 98: Jochum/LPO (DG 437 201-2)
Symphony 99: Davis/Concg. Orchestra (Phillips 442 614-2)
Symphony 100: Walter/Columbia (Sony 64485)
Symphony 101: Mackerras/St. Luke's (Telarc)
Symphony 102: Dorati/Philharmonia Hungarica (Decca 452 259-2)
Symphony 103: Kuijken/La Petite Bande (DHM 77362)
Symphony 104: Hickox/Collegium Musicum 90 (Chandos 0655)

This is an exceptional collection. Recorded two decades ago it is still over all the best set of Haydn's London Symphonies. Haydn's remarkable career is notorious among other things for having encompassed Mozart's life, and witness Beethoven's start. Most remarkably still is that he was able to evolve and adapt to the changing music that he heard through life. From a court composer who defined what symphony would be from then on, he listened to the enriching genius of Mozart and wrote his set of London Symphonies between 1791 and 1795. There his very own genius clearly shows, by writing music that had little to envy the later Mozart masterpieces. At 60 Haydn went from a court composer of playful and entertaining music of high quality to an almost pre romantic composer of subdued but real passion, of impeccable taste, of thoughtful meditation. Then he just went on to his third career as a mass and oratorio composer. The secret to interpret Haydn is to understand that, that he was a serious composer, not a showman like Mozart or a Passionaria like Beethoven. Haydn is ever the gentleman and his music should always be played with restraint and elegance, even in the more extroverted pieces like these. Colin Davis succeeds admirably to create an unrivalled ensemble. Certainly, you will find an individual symphony here and there that is "a better performance" than what Mr. Davis serves here. But the virtues here is the ensemble, the scope over a total of 12 symphonies rolling for 4 CD of 70 + minutes each. Mr. Davis `s work here is simply a tremendous feat, unmatched. And at bargain prices it is a steal.

Mr. Vernooy (who posted an unfavorable review of the first volume of these performances) is onto something. Now, while he has posted his cable in 'Vienna' ("the situation is hopeless but not serious"), I am telegraphing from 'Berlin' ("the situation is serious but not hopeless"). But I agree with him on two points :

(1) I also dislike most 'authenticist' Haydn, which, in the name of stripping away "post-Romantic sameness," tends to impose an all-purpose, ascetic Rococco "sameness" of its own. This can diminish the unique "personality" of each of these symphonies. It even tends to obliterate personality differences between composers of genius (i.e, Handel & Haydn, or Handel and Mozart, BARELY sound any different from each other).

(2) IMHO, about half of these performances tend toward the bland and careful - except for 95, 98, 99, 101, 102 & 104, which by themselves are enough to earn "5 stars" from me.

The "London Twelve" posess far too much variety of invention and richness of content, for any one conductor-and-orchestra to have inscribed definitive versions of "each and every" one of 'em. Boxed sets may be a good, economical introduction to cycles of great works (in which case, either Jochum's LPO or Bernstein's NY set might be "the one"). But if you want the VERY best, at THIS level of genius, then you must overcome the "boxed set" mentality and go piecemeal. Bottom line : these symphonies are WORTH IT.

My favorite recordings of the "Londons" :

93 & 94 : Szell / Cleveland (1967-68). Nobody executes the chamber music "filagree" of # 93 more exquisitely - or gets a more "foul emination" from the bassoons at the end of # 93's 2nd movement...A "wafting" which stinks all the more for being so stylistically - almost Shakespeareanly - disciplined ("Dost thy other mouth call me?").

(Think of the quaint, old custom of nick-naming Haydn's symphonies after some odd feature - sometimes in the second movement. In which case..."2 points" for guessing what NO. 93 should be called.)

The "Surprise" chord in # 94's 2nd movement is crisp, violent, disciplined and A SURPRISE. (Here, as Haydn himself joked, the "Ladies" really do "jump.") In fact, the whole performance is THAT good. The Minuet's tempo is perfectly considered, and it moves along - not at the plodding gait which marrs most other versions (even Van Beinum's 1951 Concertgebouw, which, but for its stodgy Minuet, would have been my favorite).

95 : Sir Colin Davis / Concertgebouw, i.e., the performance in this collection. For the most part, this has been one of the more neglected of Haydn's late symphonies...Which is too bad because its overall level of invention, humor and energy is no less than the others. (True, it lakes a nick-name.) I used to favor Fritz Reiner's September 1963 performance (which, along with his 101, is his very last recording). Der Fritzl brings an almost Beethovenian weight to this work - which it certainly can bear - but 'authenticism' or no, # 95 really needs a more lithe gait, which it gets with Sir Colin.

96 & 97 : Van Beinum / Concertgebouw (1952) . The Concertgebouw's "keening" woodwinds and "tangy" strings must be heard to be believed. Everything works at perfectly judicious tempi, and every detail bristles with disciplined life and affection. In short, these performances are INSPIRING. Comparatively, the later Davis / Concertgebouw 96 & 97 are indeed bland, proper, and (to quote Mr. Vernooy) "as flavorless as bottled water."

98 : I have two favorites : Davis / Concertgebouw (1979) and Jochum / Berlin (1962). The 2nd movement's stately and mournful melody (reminiscent of the 2nd movement of Haydn's own 75th, not to mention the Mozart JUPITER's Andante AND "God Save the King") is projected absolutely "right" by Sir Colin and the Concertgebouw, and the archaic humor of the Finale's harpsichord episode is nicely pointed. The Jochum performance exudes these same qualities - and also reflects the polish which Karajan had brought to Berlin by 1962 (prior to the onset of his pentultimate Glossy Period). Please note, I am NOT talking about Jochum's early 1970s London Philharmonic 98th (which is good-but-not-great), but the 1962 Berlin. It can only be had by purchasing DG's recent 5-CD Jochum-Haydn box. This includes all 12 of the 1970s LPO "Londons", this 1962 Berlin 98th, and Jochum's earlier Bavarian Radio Orchestra versions of 88 & 91.

99 : Davis / Concertgebouw and Bernstein / NY (c. 1975). Both performances feature exquisite playing, high spirits, and a flawless "feel" for this symphony's melodic "arches" and contours - but Sir Colin and the RCOA have the edge. True, until Bernstein, Szell's 1957 Cleveland was perhaps the greatst available performance of 99. But Szell - while never committing any stylistic "infringements" - seems determined (as Der Fritzl did with 95) to show us "where Beethoven came from."

100 : Beecham / RPO (1958-59). For the most part, Beecham's late 1950s traversal of the London Symphonies is a somewhat turgid, high-cholesterol affair. But there are two exceptions. One of them is this # 100, which emerges as spring-y, youthful, and just a tad "naughty" - as befits Sir Tommy. Let it be said : this version POPS. It is especially the 2nd movement which confounds conventional expectations : Beecham & the RPO are faster and far more lithe than Sir Colin & the Concertgebouw would be, nearly two decades later. This movement makes more sheer SENSE at Beecham's tempo than any other; ironic, that among all the supreme "pre-authenticist" Haydn conductors, only the "frivilous" Sir Tommy gets it dead-on. And it goes without saying that nobody (but NOBODY) extracts more fun, sparkle and "tintinabulation" from this movement's percussive "turquerie." (His 1956 recording of Mozart's ENTFUHRUNG AUS DEM SERAIL pulsates with the same qualities.) Beecham had a real affection for this symphony ; appropriately, it appeared on his final concert program in Portsmouth, on May 7, 1960.

(Only Bernstein's "Hundreth" comes close.)

101 : Davis / Concertgebouw, with Reiner & "His" Symphony Orchestra (1963) as runner-up. Reiner's 2nd movement's "clock-ticking" is slower than we are used to (at least, slower than Sir Colin & the Concertgebouw take it), but who's to say what size "clock" we are beholding : a mantle clock or a stately Grandfather? Sir Colin's tempo exhibits an open kind of "amusement" at the ticking "clock"; while the humor of Reiner's slower "pendulum swing" (yes, I actually used the words "humor" and "Reiner" in the same subjunctive clause) is a bit more droll, growing on the listener as it plods along. The only drawback is that, during the first time through the Minuet's "Trio" section, Der Fritzl "corrects" the famous tonic-pedal "discord" up to the dominant chord (which was the common practice, until more scholarly editions of this symphony became available). Thus, one of Haydn's more piquant 'jabs' - at incompetent musicians - is lost.

102 : Davis / Concertgebouw (1979). This wins, hands down. (BTW, THIS symphony, not # 96, should be called the "Miracle", because a chandelier fell during its premiere, with no resulting injuries. An early Haydn biography confused the two works; and out of deference to "tradition", the nickname "stuck" to # 96.) Sir Colin outdoes himself here, and the Concertgebouw woodwinds and strings illuminate this work's spirit of generosity and pockets of hidden color, better than anyone else, ever. A rare achievement. Beecham's 1949 RPO, available in Volume 5 of the Dutton RPO LEGACY series, comes in a close second - but NOT the 1958-59 stereo remake.

103 : Beecham / RPO (1958-59). Along with Sir Tommy's # 100, this is the other "twin peak" in his set of the London Symphonies. And - in a rare instance of later-being-better - in playing AND in spirit it outshines Beecham's early 50s mono version. The whole performance fairly REEKS of disciplined energy and elan, as well as a sense of mystery (of which this symphony often gets short-changed). The 2nd movement may seem "slower than usual" but it shines as polished lead crystal. Beecham also has a dead-on "feel" for the hybrid, rondo/sonata nature of the Finale; it comes up quicksilverish and elusive, yet lucid.

104 : Davis / Concertgebouw (1977). There are some other great # 104s : Rosbaud / Berlin, Bernstein / NY, Munch / Boston, and a live Reiner / Chicago which is nearly impossible to find. But the Davis / Concertgebouw takes the cake for perfect tempi (the 2nd movement, for once, is warm and reflective without morphing into a DIRGE) and unsurpassed playing. (By now, does anyone REALLY need to reiterate the Concertgebouw's unique qualities ?)

With all due respect to Mr. Vernooy (who really does seem to have some of that "joy, love, humor and personality," himself), I am grateful for both volumes of this set; in one purchase, they provide half a "dream" Haydn-London Cycle.

Anyone acquainted with the music of Franz Joseph Haydn is aware of the prestigious position these symphonies hold in his vast output. What amazes is the fact that these works can delight anyone with an ear; they are definitely not exclusively for the classical music aficionado, but then, they were never intended to be. Like Mozart's operas, they were written with the general public in mind and their ability to delight the average listener is unsurpassed. Unlike the earlier Deutsche Grammophon set with Eugen Jochum, the slow movements are more detached (less legato, which can be good, as in the gloriously beautiful Andante Cantabile of #95) and the finales are more deliberately placed (which is not always a good thing, as in the finale of #96, which Haydn marked Vivace assai - and I think he meant it).

The only qualm I have with the present recording is Maestro Davis' disconcerting habit of grunting and moaning along with the music during certain movements. I'm thrilled that the music moves him so, but I could do without the audio confirmation.

These critically acclaimed recordings are regarded in the Penguin Guide and Grammophone's Guide to Classical CDs, as the best of Haydn's "London" symphonies. Although they were recorded almost twenty years ago, the sound quality is exceptional, due to Philips' state-of-the art remastering. Sir Colin Davis gives dramatic, magnificient performances with the Royal Concertgebouw Orchestra; these easily outshine any I've heard from the likes of Bernstein or Karajan. His tempi sound right, not excessively slow or fast. At this price they are a bargain and do belong on the shelf of any classical music lover's CD collection.

Despite the reputation of this set (and its companion Vol. 2) as the "definitive" set of London Symphonies, I dissent. Davis obviously thought carefully about each symphony. The balances are perfect. Each voice, each melodic line, shines through effortlessly. Everything Haydn wrote is audibly there: nothing is obnoxiously overdone, nothing is swept under a rug. The Concertgebouw Orchestra, as always, is in top form as perhaps the best symphony orchestra in the world.

But where is the joy? Where is the love? Where is the humor? Where is the personality? Haydn composed music of warmth and humanity. None of those qualities are present in these recordings. It's hard to believe that music so quintessentially human, could ever sound as faceless as Davis makes it sound in these performances.

Davis has an unfortunate ability to push the music too fast, as he does in some of the movements of these symphonies, without sounding urgent or passionate about it. Szell or Toscanini were fast conductors, but when they went fast it sounded as though the music was being urged on by a furious and passionate heart. When Davis goes fast, it sounds as if he wants to get the whole thing over with so he can go home and watch Wheel of Fortune.

It's true that music from the classical era is not conducive to performances of roaring passion and heart-on-the-sleeve romanticism, as if it were Beethoven or Schumann. But Davis, and the reviewers, make a huge mistake when they assume that "no romanticism" equals "no feeling". As I said in the one-line synopsis, these performances are like distilled water: no impurities, and no flavor. I bought both volumes of this set, listened to them once, and probably will never listen to them again.

Alternatives? By far the first recommendation is Beecham, although the sound of his recordings is hissy, and all of his recordings are not always available. But it's hard to imagine Davis himself listening to Beecham's performances next to his own, without being embarrassed. Szell recorded a few of these, most of them excellent, and his 93 is particularly good. Personally I think I'll stick with Fischer as the best combination of sound and performance, and I also like Jochum's performances. And unless you have trouble distinguishing between music as a joyful human experience and music as a museum exhibit, for heaven's sake stay away from the "original instruments" recordings!

Franz Joseph Haydn was the musical colossus of Europe in the second half of the eighteenth century (at least until Mozart and Beethoven came along), although he didn't realize his immense popularity until he left the Esterhazy estate and began traveling throughout Europe late in life. He has rightly been called by musicologists the "father of the modern symphony;" he more than any other composer transformed the symphony into the form we all know today. His "London" symphonies, written between 1790 and 1792, are perhaps his greatest achievement in this genre. This 2-CD set, along with its companion, "The London Symphonies, Volume 2," are simply the greatest recordings of these masterpieces available today. The Royal Concertgebouw Orchestra (from Amsterdam), under the direction of Sir Colin Davis, give performances which can only be called magnificent in every way. Fast movements are lightly sprung, slow movements are played with just the right touch of gravity, and "menuettos" rollick merrily along. Through it all, Haydn's sunny, optimistic disposition, and his tremendous musical originality and inventiveness shine through.

This CD set and its companion, "The London Symphonies, Volume 2" were each awarded a rosette by the Penguin Guide to Compact Discs. (The rosette is the Penguin Guide's highest accolade, given to recordings of special distinction). Both belong on every classical music collector's CD shelf.

I bought both Vol I and II. I personally find that it is a great CD produced by Philips. It is well recorded (in term of sound quality). Sir Colin Davis has done a good job. If you want to keep a complete collection of Haydn's famous and last 12 Symphonies, this is definitely the right one. The pricing is attractive, considering the 4 CDs with more than 5 hours of playing times. Why hesitate? Keep both in your CD library!