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Product Description
BBC Music Magazine
'When we speak of Joseph Haydn,' wrote Ernst Ludwig Gerber in his Lexicon der Tonkunstler of 1790-92, 'we think of one of our greatest men: great in small things and even greater in large... Everything speaks when he sets his orchestra in motion.' Gerber was among the first to recognise 'new and surprising' traits in Haydn's output, particularly among his Sturm und Drang (Storm and Stress) works of the early 1770s. Espousing spontaneity and passion as sources of creativity, Sturm und Drang despised the new rationalism of the Enlightenment, offering darkness and pessimism to counterpoise its orderly logic.
Minor-key angst, melodic fury, and vehement dynamic contrasts inform Haydn's symphonies from this period, and while they're unlikely ever to attain the popularity of his last 12 (written for London two decades later), the examples heard here are certainly no less remarkable. Consider No. 26 in D minor, Lamentatione, with its austere plainsong interpolations, the terse canonic minuet of No. 44 in E minor, Trauer, or the daringly reductive finale of No. 45 in F sharp minor, the Farewell.
Trevor Pinnock's insightful accounts recreate these scores without technical compromise or expressive reserve - each performance is studiously conceived and brilliantly executed. This set is also tastefully presented, with a full reprint of Nicholas Kenyon's helpful booklet notes. Only Bruno Weil's far less comprehensive overview with Tafelmusik (Sony) approaches the wild impulse and drama that Pinnock and the English Concert manage to sustain throughout these spellbinding recordings. Nobody interested in the evolution of the Classical symphony should be without them.
Performance *****
Sound *****
© BBC Music Magazine 2001
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Most Helpful Customer Reviews
14 of 14 people found the following review helpful:
5.0 out of 5 stars
bright, alive and most rewarding,
By
This review is from: Haydn: The 'Sturm und Drang' Symphonies (Audio CD)
These performances have recently been criticised in some quarters as lacking in charm. I couldn't disagree more and have rarely been more baffled by the critical establishment! I have heard many versions of these symphonies and love Pinnock's so much more than any others. They are truly envigorating and sparkling, and Pinnock cunjures up a lovely sound world for Haydn. They are in no way "driven" but they also avoid a tendency that many have to drag or indulge in overly formal rhythms in the minuet movements. Everyone I have played these records to - including many who would not think to explore "Haydn before the London Symphonies" - have fallen in love with them. And now, they are available at a price that is a real bargain. Buy this set!
29 of 31 people found the following review helpful:
5.0 out of 5 stars
ASTONISHINGLY FRESH, ORIGINAL, VITAL,
This review is from: Haydn: The 'Sturm und Drang' Symphonies (Audio CD)
Excellent value, and excellent music - words can scarcely describe the sheer inventiveness, beauty and power of these revolutionary works! Lean, taut playing from the English Connert, unfussy and direct interpretations, and marvellous ensemble playing bring these incredible works to instant life. Sound quality is superb and the presentation - six discs in six envelopes in a plain card box - will surely be the norm in future for the serious collector.This is the best value purchase I have made in years, and one of the most inspirational. Buy it!
4 of 4 people found the following review helpful:
5.0 out of 5 stars
Haydn at his most earth-shattering!,
By
This review is from: Haydn: The 'Sturm und Drang' Symphonies (Audio CD)
These recordings are the absolute pinnacle of Haydn symphony recordings on CD in my humble opinion. Why didn't Pinnock record the other early symphonies? Such a shame. Don't let anyone tell you that Haydn's best symphonies were his final twelve. I think the London Symphonies are marvellous, but for profundity of expression and sheer genius of originality, the 'Sturm und Drang' period is unsurpassed. Haydn owes nothing here to Mozart, as he did later...he was his own man, and what an artist! People who go on about the depth and humanity of Beethoven's last quartets, or the Saint Matthew Passion, ought to listen to the Andantino of Symphony No.42, or the Adagio of No. 44, and perhaps they would then value Joseph Haydn more highly. In symphonies like the 'Trauer' and the 'Farewell' Haydn crates a mood, and a sound picture, which is quite unique in my experience, both tragic...almost desolate...and dramatic at the same time. The spareness of the Esterhazy period orchestra only magnifies its emotional impact. Nothing I have ever heard in the classical repetoire affects me the same way as these works.
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