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Symphonies 31 & 45

J. Haydn Audio CD
4.4 out of 5 stars  See all reviews (7 customer reviews)

Price: $10.15 & FREE Shipping on orders over $35. Details
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MP3 Music, 8 Songs, 1989 --  
Audio CD, 2003 $10.15  

Frequently Bought Together

Symphonies 31 & 45 + Symphonies 100 & 103
Price for both: $21.79

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  • Symphonies 100 & 103 $11.64

Product Details

  • Audio CD (August 26, 2003)
  • Number of Discs: 1
  • Label: Telarc
  • ASIN: B000003CUK
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #193,966 in Music (See Top 100 in Music)

1. l. Allegro
2. II. Adagio
3. III. Menuet: Trio
4. IV. Finale: Moderato Molto - 1. Theme - 2. Variation 1 - 3. Variation 2 - 4. Variation 3 - 5. Variation 4 - 6. Variation 5 - 7. Variation 6 - 8. Variation 7 - 9. Presto
5. I. Allegro Assai
6. II. Adagio
7. III. Menuet: Allegretto: Trio
8. IV. Finale: Presto; Adagio

Editorial Reviews

Customer Reviews

4.4 out of 5 stars
4.4 out of 5 stars
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Most Helpful Customer Reviews
17 of 17 people found the following review helpful
5.0 out of 5 stars Charm, intimacy, beauty and great sound! February 27, 2008
Format:Audio CD
I would hate this to get overlooked only because no one else has taken the time to type a review. I'll admit I first heard this at an audiophile expo many years ago - to some extent sound IS music (and I'm saying this unashamedly as someone who nonetheless collects historical records!). It's a so-called "one-point" recording using just one microphone per channel, a method that when well-applied, yields the finest spatial reproduction (depth and width!). It can be difficult to get orchestral balances right, and/or the right sense between overall impact (sound pressure) and detail, but if done right, nothing (and I mean nothing - forget multi-channel) sounds this real. And this is one of the finest one-point recordings I have ever heard.

More importantly, this seems to me the best of the three Haydn discs Mackerras recorded for Telarc musically. Why? Because he's unashamed to go right to the heart of the chamber music-like intimacy of these earlier symphonies. These performances exude a charm (and, among other, beauty of solo playing in the slow movements) that will warm you up in a cold winter night. Even in the company of the recordings of admittedly more popular symphonies, this is a desert island disc. If you're wondering why Mackerras, apart from recording the obvious Nos. 100, 101, 103 and 104, chose these two earlier symphonies, this may well be the answer: these are hidden treasures that sound as if they're possibly closer to his heart. Played and recorded like this, they've certainly become close to mine.

Greetings Switzerland, David.
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2 of 2 people found the following review helpful
4.0 out of 5 stars Blowing out the Candles August 28, 2011
Format:Audio CD
Felix Mendelssohn revived many a forgotten work. Haydn was little played in his time - after all, Schumann had likened him to an avuncular figure from whom there was nothing to learn. When Mendelssohn conducted the Farewell Symphony in Leipzig, he conceded afterwards that it was a melancholic little piece.

It is a lot more than that. The Farewell Symphony is just as much an act of valediction as the Song of the Earth or the Ninth Symphonies by Bruckner, Dvorak or Mahler. Sure, it is garbed in the Classical idiom but its restraint is no barrier to depth of feeling. This softness in the slow movement; the soliloquy of the horns in the minuet and of course the inexorable departure of the musicians, one by one, in the last movement: are they not are all deeply human gestures? How can they not resonate?

Before penning this review, I thought to myself: is there a definitive performance of this masterwork? A veritable legion has stepped up to the podium: Marriner, Solomons, Koopman, Barenboim, Weil, Goodman, Harnoncourt, Pinnock, Bruggen, Haechen, Hogwood, Klee, Dorati and Fischer (the list could go on). Many of them are meritorious - others seem to be conducting the Valley of the Dry Bones Symphony Orchestra.

Mackerras, to my mind, is the frontrunner. His sense of scale is impeccable. There is a nocturnal intimacy to the music-making that hardwires us back to the original performance at Esterhaza. Assuredly, a departure is upon us; it remains to be seen if the parties will ever see each other again - and if a reunion does occur, time has slipped away in the interim - and yet we are meant to experience such transience. We would not be human without it. Blessed be Terminus, the Roman God of Ends and Boundaries.
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1 of 1 people found the following review helpful
Format:Audio CD
...elan in both symphonies. I found the Mackerras symphonies #s 101-104 more mixed, with quick tempi sometimes too brisk
for comfort. On the plus side, all three discs preceded Mackerras's periodista mode. Even better is the warmth
and compassion in the slower movements of both, e.g. the solo strings in #31/2, the cello variation in #31/4, two slow variations beginning at the 8 minute mark of #31/4,and the second/increasingly dominant farewell theme of #45/4. All are deeply felt and unrushed. Re competition, I slightly prefer the Karl Ristenpart #31/CO Saar, the best performance on his disc which also includes #s 48 and 85. Marriner/ASMF are also excellent in #s 31 and 45 but slightly less poetic than Mackerras and Ristenpart. Hearing the Mackerras impels me to re-audition
his #s 101-104, even though I have discarded them twice.

Peers in #45: Janigro/Vanguard; Solomons/Sony; Orpheus/DG; Pinnock/Archive; Fischer/Nimbus
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5.0 out of 5 stars charming and well-played September 11, 2013
Format:Audio CD
These two symphonies, from 1765 and 1771, aren't the greatest symphonies Haydn wrote, but they are inventive and charming, and in both the leading players in each section are given a chance to strut their stuff, to put it in a way that Haydn wouldn't. In the variations finale to No. 31, each variation is given to a soloist from the orchestra, with the horns, which had opened the symphony, having the final, invigorating word. In No. 45, in the adagio part of the finale, each player has a solo moment, after which (in the original performance) he would pick up his music and walk off the stage. Even the double-bassist has his moment (just as he has his variation in No.31 too). This supposedly was Haydn's way of hinting to his patron, Prince Nicholas Esterhazy, that his musicians deserved more time off with their families. It's a charming idea, and the ending of No. 45 has a touch of melancholy about it, very far removed from the storm and stress of the vigorous first movement. Telarc records the Orchestra of St. Luke's beautifully on this 1988 disc, and Mackerras conducts with vigor, clarity, grace, and feeling. According to the booklet, the orchestra in this recording was about the size of Haydn's Esterhaza group -- and judging by the solo parts, Prince Nicholas had provided Haydn with some very high-quality players. At its current low price, this disc is a bargain worth considering. I don't know of any better modern-instrument performance.
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