~ Franz Joseph Haydn
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~ Charles Mackerras
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On this CD:
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Symphony No. 88, 'Letter V' in G
Composed by Joseph Haydn
Performed by Orchestra of the Eighteenth Century
Conducted by Frans Brüggen
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Symphony No. 89 in F
Composed by Joseph Haydn
Performed by Orchestra of the Eighteenth Century
Conducted by Frans Brüggen
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Sinfonia Concertante in B flat
Composed by Joseph Haydn
Performed by Orchestra of the Eighteenth Century
with Ku Ebbinge, Danny Bond, Lucy van Dael, Wouter Möller
Conducted by Frans Brüggen
Product Description
Amazon.co.uk Review
Period-instrument bands used to have a reputation for excessive (or at least "sprightly") tempos, and this--coupled with a certain thinness in the string section (gut strings) and roughness in brass and woodwind (no valves)--was enough to deter many traditionally minded collectors from embracing the authentic movement's values. But in recent years, pioneers like Frans Brüggen and his Orchestra of the 18th century have mellowed considerably. Their performances on this attractive programme are not opportunities to evangelise period-instrument practice, but simply the best way to express the dynamic nuances and colourful subtleties of Haydn's music. Tempos are relaxed; articulation--while still pointed--has plenty of legato: the emphasis here is on the composer as supreme tunesmith and master of orchestral colour. Written in 1787 for the fashion-conscious Parisian market (Haydn's last six symphonies had just been premiered there), Nos 88 and 89 are replete with some of the composer's most rapturous melodies and some of his boldest touches (sample the sudden trumpet and timpani interludes in the "Largo" of No.88, for example). Equally popular and just as frequently recorded, the B-flat Sinfonia Concertante of 1792 was written for the Salomon concerts in London, where Haydn's fame reached its height. A fashionable hybrid concerto-symphony form in which various combinations of oboe, bassoon, violin and cello take the prominent solo parts, the virtuosic instrumental flights and playful sense of musical colour are given added vigour here by the soloists. --Mark Walker
Period-instrument bands used to have a reputation for excessive (or at least "sprightly") tempos, and this--coupled with a certain thinness in the string section (gut strings) and roughness in brass and woodwind (no valves)--was enough to deter many traditionally minded collectors from embracing the authentic movement's values. But in recent years, pioneers like Frans Brüggen and his Orchestra of the 18th century have mellowed considerably. Their performances on this attractive programme are not opportunities to evangelise period-instrument practice, but simply the best way to express the dynamic nuances and colourful subtleties of Haydn's music. Tempos are relaxed; articulation--while still pointed--has plenty of legato: the emphasis here is on the composer as supreme tunesmith and master of orchestral colour. Written in 1787 for the fashion-conscious Parisian market (Haydn's last six symphonies had just been premiered there), Nos 88 and 89 are replete with some of the composer's most rapturous melodies and some of his boldest touches (sample the sudden trumpet and timpani interludes in the "Largo" of No.88, for example). Equally popular and just as frequently recorded, the B-flat Sinfonia Concertante of 1792 was written for the Salomon concerts in London, where Haydn's fame reached its height. A fashionable hybrid concerto-symphony form in which various combinations of oboe, bassoon, violin and cello take the prominent solo parts, the virtuosic instrumental flights and playful sense of musical colour are given added vigour here by the soloists. --Mark Walker
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