The one disclaimer I will make before I begin this review--and it's an important one--is that I have not hear John Elliot Gardiner's "The Seasons," which should be comparable to Rene Jacobs's in many ways. That said, I will proceed to opine that if you know just about any modern-instruments version of this choral-music gem--well, you don't really know the work. Haydn was supposed to say in his latter years that he had just learned how to use the wind instruments and now, doggone it (I'm paraphrasing) "I must leave this world." Jacobs will instantly show you what Haydn meant. This "Seasons" is chock-full of especially piquant utterances from the winds, especially oboe and bassoons (including contrabassoon), which Haydn cleverly uses to portray birds, beasts, thunderstorms, bagpipes: never has the ingenuity and downright beauty of Haydn's orchestral mastery been clearer. That goes for strings and brass as well. Flying insects, country fiddles, hunting horns: Haydn may simply be mimicking the coloristic use of instruments he learned from hearing works like "Israel in Egypt" while in London, but how wonderfully he adapts these sounds to an expanded late-eighteenth-century orchestra.
From the very beginning, Jacobs gives notice that the orchestra will have a special prominence in this performance. The orchestral introduction to the first section, "Spring,' depicts the raging winter winds. Jacobs's orchestra does so with a bounding energy that almost requires Baritone Dietrich Henschel to shout his first entry. But he does not. In fact, he gives an elegant, far-from-shouted performance throughout and provides the rock-steady low-voice underpinning that Haydn requires. I'm just as happy with Tenor Werner Gura, who has a tender, Wunderlich-style delivery that's exactly right for farm-boy Lucas. Others have expressed dissatisfaction with Marlis Petersen. It's true that compared to, say, Eugen Jochum's unforgettable Gundula Janowitz, Petersen is a non-starter. But in ensemble work, at least, she does quite well enough--especially with Jacobs shaping numbers such as "Ihr Schonen aus der Stadt" so effectively, with such wonderful cumulative force. The RIAS Chamber Chorus is simply outstanding; just sample the storm chorus or, even better the wine-celebration chorus "Juhe! Der Wein ist Da."
Harmonia Mundi provides rich, resonant, bigger-than-life sound that captures both the beauty and the occasional thrilling rawness of that excellent period orchestra. How else can you capture a summer thundershower? Or a barn dance?