Haydn: The London Symphonies, Vol. 1

Someone once commented on the "sulphurous devilishness" of Haydn's surprises in the London symphonies. But it should come as no surprise that one of the best recordings of these works is from Sir Colin Davis, whose accounts with the Concertgebouw Orchestra stand among the most exalted phonographic accomplishments of recent years. There is a Beechamesque quality to these readings, and when it comes to Haydn, that is praise indeed. They are exceptionally personable, characterful, likable interpretations, with wit, warmth, and life in every measure. All 12 symphonies are wonderfully played and very well recorded. At full price, these recordings would be a top choice; as midprice offerings, three symphonies to a disc (averaging more than 75 minutes of music each), they're a steal. --Ted Libbey Amazon.com

The best modern set of the London Symphonies - Magical

There are certainly many very good choices for Haydn's masterful last 12 symphonies, named the London Symphonies" because he was a resident of London at the time he wrote the masterpieces.

Some obvious choices include Bernstein's classic set (Haydn: The 12 London Symphonies), the Beecham legendary traversal (in two double-CD sets - Haydn: Symphonies #99-104 and Haydn: Symphonies Nos. 93-98 - or in a 6 CD box with the Beecham recording of The Seasons sung in English - Haydn: 'London' Symphonies; The Seasons). Kuijken is a good choice if you must have a period instrument rendition, though a bit pricey - Haydn: London Symphonies Nos. 93-104. And Eugen Jochum's fine set on DG is also a contender - Haydn: The 12 "London" Symphonies.

But Colin Davis works a magic charm in all 12 symphonies that sets this set (the current selection and the companion disk with the other 6 symphonies - Haydn: The London Symphonies, Vol. 2) apart from all others, especially when you add the outstanding acoustics of the Concertgebouw auditorium and Philips excellent recording.

A clear first choice for casual listeners and collectors alike.
August 27, 2008

Yeah...but how about Leslie Jones?

As long as reviewers of this set are citing their favorite recordings of these symphonies by conductors OTHER than Colin Davis, I might as well get in a plug for the wonderful set of the 12 "London" Symphonies conducted by the fairly obscure Leslie Jones and his Little Orchestra of London, which appeared on the Nonesuch label in the U.S. in 1968.

The recordings were the first to make use of the new H.C. Robbins Landon
critical edition; but in additon to their scholarly value, the performances themselves represent a wonderful combination of proper 18th-century style and raucous, earthy sounds, with strings, horns, trumpets and tympani often plugging away like the proverbial village band, to thrilling effect. Yet this rather raw energy rarely disturbs the orchestral balance, so that we continually hear the all-important woodwinds and inner string voices in their proper perspective.

The one stand-out feature that always grabbed the headlines in this set was the use of HARPSICHORD continuo throughout, in a somewhat questionable attempt to recreate the first performances of these great works with Haydn himself "presiding at the keyboard." Whether one agrees with this choice or not, it adds loads of color and flair to the music.

OF course, Nonesuch has released very little of its great 60's repertoire on cd, so I must now carefully transfer my precious LP set to cd so that I may continue to enjoy them.

The BEST Haydn "London" recordings? I'm not necessarily making that claim; but it's really unfortunate that Nonesuch has not seen fit to preserve them for posterity, since they clearly rate a place alongside the sets by Solti, Jochum, Davis and yes...Beecham. June 29, 2008

25 % OF A PERFECT HAYDN-LONDON CYCLE

Mr. Vernooy is onto something. Now, while he seems to be in Vienna ("the situation is hopeless but not serious"), ICH BIN BERLINER ("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) Most of the performances in this cycle lean toward the bland and careful - except for 98, 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 combo of 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 Jochum's LPO 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. These symphonies are WORTH IT - and besides, Haydn wouldn't "mind."

My favorite recordings of the "Londons" :

93 & 94 : Szell / Cleveland (1967-68). Nobody executes the chamber music "filagree" of # 93 more exquisitely - and nobody 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?").

The "Surprise" chord in # 94's 2nd movement is crisp, violent, disciplined and A SURPRISE. (Here, 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 : Reiner & "His" Symphony Orchestra (1963). This (along with # 101) was recorded with an extremely high-quality "pick-up" orchestra in New York, during Der Fritzl's final recording sessions. This somewhat neglected (and often blandly played) work gets the Reiner Treatment. Particularly, the 2nd movement shines like polished lead crystal.

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 Mozart 40th'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 98 (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 98, and earlier Bavarian Radio Orchestra versions of 88 & 91.)

99 : Szell / Cleveland (1957) and Bernstein / NY (1975). Both of these sport exquisite playing, high spirits, and a flawless "feel" for this symphony's melodic "arches" and contours. Choosing between these two winners would depend on your preference : higher spirits (Bernstein) or higher polish (Szell).

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, over a decade 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" out of 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.

101 : Reiner & "His" Symphony Orchestra (1963). This is from the same sessions as Reiner's # 95, and full of similar virtues. (The same disc, on either BMG or Testament, also includes Reiner's unsurpassed 1960 Chicago 88th.) The 2nd movement's "clock-ticking" may seen slower than we are used to (certainly it's 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? If anything, in this movement Reiner's slower "pendulum swing" has a droll humor which is lacking at Sir Colin's tempo. The only drawback is that in the Minuet's "Trio" section, the famous tonic-pedal "discord" is "corrected" up to the dominant chord (which was the common practice, until more scholarly editions of this symphony became available).

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 "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 a high point of his otherwise disappointing 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. And although the 2nd movement may seem "slower than usual," it falls perfectly on the ear - radiating the same "polished lead crystal" kind of beauty as Reiner does in the 2nd movement of # 95. Beecham also has a dead-on "feel" for the unusual rondo/sonata "hybrid" nature of the Finale : it comes up quicksilverish and elusive, yet lucid. You would not go wrong with this.

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 for unsurpassed playing. (By now, do I 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 this set ; in one purchase, it provides one-quarter of my "Dream" Haydn-London Cycle. May 7, 2008

Comparison - Jochum's Set vs. Colin Davis'

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 :-)
May 2, 2006

Haydn's London Symphonies

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 January 28, 2006

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