On 09/05/2014, David Lewis wrote:

> I have more "modern" tastes in Haydn -- I think Dorati's attempt(s) to
> record all of the symphonies contain some superb interpretations,
> particularly of my favorite, No. 93. The discs I have heard out of
> Adam Fischer's series for Nimbus with the Austro-Hungarian Haydn
> Orchestra were also outstanding. I can see why Robbins-Landon
> liked Karajan, as his recording of No. 49 is intense and dramatic, and
> this comes from a listener who can take or leave HvK.
> I have a friend, Greg Fernandez, who is a listener very well steeped
> in Haydn. I one made him a CDR of some very old recordings of Haydn.
> He was impressed by Toscanini's recording of "The Clock," but didn't
> like Beecham -- at all. We both agree that we could use more of
> Scherchen -- his recording of No. 45, "The Farewell," is something
> else! 

Look for Scherchen's 1958 recording of the "Military", one of the few
recordings by him in stereo. It is on a 2-CD set in the series "Great
Conductors of the 20th Century" -- a valuable set. 

Klemperer could be surprisingly good in Haydn.

I agree the Toscanini "Clock" from the 1920s is good. 

> I think Haydn really is one of the greatest of all Western
> composers; works like "The Seven Last Words of Christ," his "Sunrise"
> (Op. 76/4) and "Fifths" (Op. 76/2) string quartets and some of the
> piano sonatas are daring and innovative beyond comprehension within
> their own era. The old notion of friendly "Papa Haydn" in his little
> wooden music shed, pumping out samey music for the prince like
> piecework from a sewing machine, does not come anywhere near his
> capabilities, nor what he actually achieved.
And the late Masses.

Don Cox
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