- Audio CD (10 Sep 2001)
- SPARS Code: DDD
- Number of Discs: 2
- Label: Universal Classics
- ASIN: B00005LKEI
- Other Editions: MP3 Download
- Average Customer Review: 5.0 out of 5 stars See all reviews (3 customer reviews)
- Amazon Bestsellers Rank: 178,217 in Music (See Top 100 in Music)
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Customer Reviews
Most Helpful Customer Reviews
7 of 7 people found the following review helpful
Format:Audio CD
These performances, though on period instruments, are not stuffy and straightlaced. Indeed Bruggen is romantic on occasion, showing how Haydn anticipates harmonies and key progressions that we tend to think were first used by Beethoven. The violins are separated, as they should be, and Bruggen combines power with delicacy and charm. He even includes the original, longer, Finale to Symphony 103, which Haydn shortened, and weakened, when he returned to Vienna.
These performances may take a while to win you over, if you are used to Colin Davis or (ugh) Beecham. But I would suggest that they are a lot closer to what Haydn was trying to say.
These performances may take a while to win you over, if you are used to Colin Davis or (ugh) Beecham. But I would suggest that they are a lot closer to what Haydn was trying to say.
1 of 1 people found the following review helpful
Format:Audio CD
Esecuzione veramente magistrale e, credo, tuttora insuperata, questa guidata dal grande Frans Bruggen. Il suono caldo e insieme chiaro degli archi si combina con i fiati in modo da creare una sintesi fatta di eleganza, garbo ed equilibrio. Bruggen tiene a bada la tentazione di accentuare la velocità (così di moda, oggi, tra specialisti del repertorio barocco ma non solo tra loro): il risultato è un approccio più arioso, che esalta sì la finezza arguta della musica haydiniana, ma ne riconosce anche la vena sottilmente malinconica. Si evidenzia l'eredità barocca di Haydn, ma si esprimono vivamente la componenti preromantiche delle sue ultime grandi sinfonie. Di grande impatto, in questo cofanetto, la strabiliante Sinfonia 99 in mi bemolle maggiore. Non si può non riconoscere, dopo l'ascolto di questi cd, la fondatezza dell'affermazione di Luciano Berio che definì Frans Bruggen un grandissimo musicista.
4 of 5 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Why we like what we like in the field of music would be an interesting area for study. When does one interpretation displace a previous favourite, and why? I don't have the answers to such questions but, at the risk of resorting to cliché, I know what I like. And when it comes to late Haydn symphonies, Frans Bruggen is the man. His are now the definitive versions for me.
There's only one criticism I have here. The decision to consign Symphonies 97 and 98 to different double CDs meant having to buy all 12 'London' Symphonies. To my mind, these two works represent the crowning achievement not just of this particular cycle but of Haydn's entire symphonic output. Hearing them under Bruggen was my musical 'discovery' of the year.
As with Rattle, Bruggen seems to have an unerring ability to choose the right tempo, dynamics and tone colouring. His slow movement of No 98, marked Adagio cantabile, provides a good example. The foregrounding of the cello solo, with unvibrated bleakness, creates appropriately darker hues when compared to decent alternatives such as Harnoncourt's or Dorati's. 'Appropriately' because this is supposedly the movement that Haydn wrote in tribute to Mozart, news of whose death reached him while working on the symphony. The Harnoncourt version has the single advantage of being a budget-priced CD on the Elatus label, an important consideration when you reflect on the very high price of Philips's own 1994 coupling of these same two symphonies under Bruggen (which, incidentally, sounds like exactly the same recording as those offered in this collection). The final movement of No 98, the Presto, helps to restore the equilibrium with its playful quirkiness and its sudden shifts of tempo, colour and mood. It just sounds so much more authentic, to my mind, than other versions, with significantly more depth, life and conviction.
The same sureness of touch is found across the whole set of 12 - a series which has been rightly identified as one of the peaks of inspired and sustained composition in the entire history of music.
There's only one criticism I have here. The decision to consign Symphonies 97 and 98 to different double CDs meant having to buy all 12 'London' Symphonies. To my mind, these two works represent the crowning achievement not just of this particular cycle but of Haydn's entire symphonic output. Hearing them under Bruggen was my musical 'discovery' of the year.
As with Rattle, Bruggen seems to have an unerring ability to choose the right tempo, dynamics and tone colouring. His slow movement of No 98, marked Adagio cantabile, provides a good example. The foregrounding of the cello solo, with unvibrated bleakness, creates appropriately darker hues when compared to decent alternatives such as Harnoncourt's or Dorati's. 'Appropriately' because this is supposedly the movement that Haydn wrote in tribute to Mozart, news of whose death reached him while working on the symphony. The Harnoncourt version has the single advantage of being a budget-priced CD on the Elatus label, an important consideration when you reflect on the very high price of Philips's own 1994 coupling of these same two symphonies under Bruggen (which, incidentally, sounds like exactly the same recording as those offered in this collection). The final movement of No 98, the Presto, helps to restore the equilibrium with its playful quirkiness and its sudden shifts of tempo, colour and mood. It just sounds so much more authentic, to my mind, than other versions, with significantly more depth, life and conviction.
The same sureness of touch is found across the whole set of 12 - a series which has been rightly identified as one of the peaks of inspired and sustained composition in the entire history of music.
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