Customer Reviews

Haydn: Symphonies Nos. 88-92; Sinfonia Concertante

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

 

 

The most famous Haydn recorded by the Berlin Phil. was under Furtwangler and Karajan, neither of whom came within a mile of being Historically Informed. Here Rattle goes for total HIP-ness, employing fleet tempos, small forces, and no vibrato in the strings. In this outing he goes a few steps farther than his semi-period-style Beethoven cycle. There, his biggest successes came in the two earliest symphonies, so it's no wonder that he finds Haydn congenial, and one must admit that Haydn's symphonies take more naturally to period styling.

The only named symphony here is the 'Oxford,' No. 92, although Sym. #88 is equally popular. For many youger listeners No. 89-91 may come as entirely new, and to encourage buyers EMI offers a great two-for-one bargain. If you want to hear Haydn in HIP style from world-class musicians, here's your chance. There's no doubt that the Berliners play exquisitely, and for that reason alone Rattle's reading of the wonderful Sinfonia Concertante ranks close to the top of the list. There is a hint of timidity in the interpretation, however.

I feel a little guilty not giving this delightful set five stars, because my reservations are intangible. It's not enough to say that the minuets shouldn't be taken super-fast, basically as Scherzos without a hint of court dance. But Rattle makes everything so fizzy and bright that I don't find enough relaxation, much less tenderness; he doesn't leave space for this music to be loved. Many listeners may not agree, and if you want exhiliration above all else, you shouldn't hesitate to buy this new set. God knows it's getting harder and harder to hear Haydn's music in the concert hall.

I would be surprised if there is another orchestra on earth this versatile, and capable of playing with such "oneness". An unparalleled dynamic range, perfect intonation, and historically informed phrasing are all featured here. The Berlin Philharmonic is the world's top orchestra, and this disk is representative of their consistently high level; this is a live recording. Highly recommended if you are looking to hear the best doing what they do best.

I have no idea what Rattle is attempting here - but somewhere in his rise to the top of his profession he's managed to forget all the things that once made him an excellent Haydn conductor - or for that matter, an excellent conductor, period!

From the lame unsprung rhythms of the Minuet of 88, where, instead of the bracing life-affirming fff stomp of a Furtwangler or a Scherchen, Rattle gives us a matter of fact statement of the forte carefully played and incapable of awakening anybody to stepping out - let alone back from the dead as Scherchen plays it! - and all the way to Rattle's handling of the final Presto of 92, where the opening woodwind's notating is completely smeared - and all the way between - this is just a total mess. Volumes too often merge together, rather than contrast. Playing continually runs down rhythmically, like water seeking the lowest level. One minute Rattle goes for rubato and odd tempo changes with all the trimmings and odd quirks ala Frans Bruggen and his Orchestra of the 18th Century, forgetting that Bruggen can do this without losing his edge because he brings far more alacrity to his proceedings through knowingly playing off the harsher contrasts of his period instruments. By comparison, Rattle's ensemble using modern instruments designed and played by the Berlin players for optimum melding sounds like a nun on a burleske stage. Then, just as you wonder what possibly could be the point to such contradictory proceedings, Rattle suddenly alters his style, and rushes things along to a strict metronome count as unyielding as Gardiner. It's positively crazy - there's no overall unifying vision, and the playing ends up saying nothing.

I have no idea whose idea was this disaster - but why would one go out of his - or her- way to drastically reduce the forces of the Berlin Philharmonic in the first place for such grandly symphonic music is beyond my comprehension. We have far too many examples of smaller bands! As I have said before, and often, Haydn would LOVE to hear the full Berlin play his music. I mean really, would you tell Haydn, "We're only going to use the full orchestra for this Shostakovitch piece later in the program, your music gets the small group." Yeah, right. Haydn was a reasonable man, but he knew his worth, and were he brought back from the grave I'm sure his reply would be ferociously and clear - "Like Blazes you're going to sell my music short! You play it with the full orchestra or don't bother!"

Why articifically create another smaller ensemble from a group so peerless as the Berlin? Is this what we can expect from Rattle in the futrue when he essays Mozart's Jupiter? It makes no sense - especially for this large scaled - yes, even Olympian music. But worse, having shrunk the forces, one might at least expect period instruments and far more careful delineation, and better more precise readings. The idea that one reviewer claims, that you can have your cake and eat it too, with 18th century period style and late 20th century super smooth intonation and teamwork is laughable! This is the worst of both worlds.

Symphony 88 is one of the grandest, most heroic symphonies in the entire classical repetorie. And 92 is not far behind. Denying these works their true glory with the full complement of the Berlin Philharmonic, as Furtangler used, is not so much a blunder, as unmitiagted baloney! Rattle does not expand our vision of the mighty works, he shrinks it!

Boo!

And I stood on the shore of the Sea, and behold, a Beast emerged from its waters, crowned with curly hair and a smirk on its face. And . . . and . . . I woke up at that point and worked on this review.

If Sir Simon's intention at the outset was to miniaturise Haydn - one of the great symphonists - then he has succeeded admirably, assisted no end by a Berlin Philharmoniker that appears to be sponsored by Weight Watchers. Others, such as Uncle Karl in Haydn: Symphonies No. 88, 89, & 92 'Oxford' (Vienna Philharmonic Orchestra/Karl Boehm) and even Karajan in his early 1980s cycles 6 Paris Symphonies/12 London Symphonies (Box), have demonstrated that power and clarity can be jolly bedfellows in Haydn. And how fussy Rattle is: does he really have to make an expressive point with every bar? The slow movement of 89, for instance, is narcissistic in the extreme. Bohm in contrast allows the music to speak for itself.

Magic is also in short supply - witness, for example, the slow introduction to the Oxford. As the epitaph of the Ancien Regime, it should blaze with the luminescence of sunset. As rendered by Sir Simon it is exceedingly well played, superlatively recorded and as dull as dishwater. Could it be time for another tofu burger with a sprinkle of alfalfa . . . . . ..

Oh, the sadness of it all. As much as I want to 'convert' my kids to classical music, I am embarrassed to play these performances to them in the car. One can only pray that Sir Simon is not afforded an opportunity to maul the London Symphonies. And I daresay that Mozart is on the menu . . . . .