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My favorite Haydn recordings are mostly from the 40s-70s Josef Krips,Hermann Scherchen,Serge Kossevitzky,Eugen Jochum,George Szell,and all those old guys,but as a whole Paavo Jarvi is my favorite modern conductor.Here he is in the Haydn #84 
 
http://www.youtube.com/watch?v=qUhvKbbJ0OM
 
> Date: Thu, 8 May 2014 22:27:00 -0400
> From: [log in to unmask]
> Subject: [ARSCLIST] Haydn
> To: [log in to unmask]
> 
> Thanks Alex. I don't listen to enough Classical period music to know what I
> like necessarily, but I know I don't like portentous. That's what came to
> mind from LB's #88 on DG, until the finale, which seems more engaged than
> the rest of the performance. On the flipside, #92 fairs better, but not
> anything to treasure, IMO. Inner movements don't go anywhere; they're played
> the same at the end as at the beginning. I first encountered his Haydn
> records in the mid-80s and thought: great, hopefully they play him like they
> play Gershwin. But I was disappointed. Three are in a give-away pile, along
> with the DG.
> 
> LB wasn't generally a stickler for textual fidelity and he wasn't always
> well prepared. Orchestra's know this when they see it. According to one
> biographer, he could be quite casual about some of his recordings. Sessions
> for short, war-horse pieces were sometimes noted on his calendar as "shit."
> They were said to be quick, barely-rehearsed sessions. When it worked, the
> spontaneity could be delightful. When it didn't, ...
> 
> They shouldn't have had any technical problems with Haydn, but the NYP could
> also be rather inconsistent. [<-Understatement.]
> 
> Who would you say does nail FJH in recent years?
> 
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Alex McGehee
> Sent: Thursday, May 08, 2014 7:37 AM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Mitrop[olous was Dora Labbette, Soprano with string
> quartette:
> 
> Sorry for the delay, was working on deadline for another project. The
> Bernstein performances have been widely praised, held up as models, etc.,
> but I can't board that train. The string playing is sloppy, intonation
> questionable at times, especially in the "Paris" cycle. Now please don't ask
> me for specifics because I gave my sets away years ago. Unable to make the
> connection many others have made with the late Haydn symphonies conducted by
> Bernstein, I jotted down a few notes and was glad to have the empty shelf
> space open up. Sections in the outer movements were on occasion especially
> egregious for poor ensemble.
> 
> My favorite Bernstein/Haydn performance is on YouTube (don't have the link
> but it's easy to find) where Bernstein uses only his facial gestures to
> conduct the VPO in the final movement of no. 88 in G major. It's a "look Ma
> no hands" moment of priceless peacock-ary, and of course the orchestra can
> play the piece superbly even with blindfolds on. Bernstein was truly a great
> man and he would have been the first to tell you so. I apologize in advance
> to his many fans for being a little harsh here, and on checking see that I
> still have his DG performances of 88 and 92.
> 
> On May 6, 2014, at 5:33 PM, Carl Pultz <[log in to unmask]> wrote:
> 
> > Alex, I'm curious how you feel about Bernstein's Haydn performances.
> > 
> > -----Original Message-----
> > From: Association for Recorded Sound Discussion List 
> > [mailto:[log in to unmask]] On Behalf Of Alex McGehee
> > Sent: Tuesday, May 06, 2014 9:45 AM
> > To: [log in to unmask]
> > Subject: Re: [ARSCLIST] Mitrop[olous was Dora Labbette, Soprano with 
> > string
> > quartette:
> > 
> > Hi guys,
> > 
> > The Haydn literature is replete with spurious timpani parts and over 
> > the years they've gained a large group of devotees, never mind that 
> > Haydn never wrote them and had the resources available to do so. Maybe 
> > Haydn played the drums and that would cool off this simmering musical 
> > brew of yes-he-did, no-he-didn't continuo crowd led by James Webster of
> Cornell.
> > 
> > The German authorities (who must be obeyed): at the Joseph Haydn 
> > Institute in Köln, responsible for the complete edition of Haydn's 
> > work that got underway in the late 1950's. Why it's taken so long I 
> > can't go into detail here, but it's almost done, give or take another 
> > seven years. A scholar there has laid down a serious argument for 
> > several symphonies that don't really have high alt horns. I kind of 
> > like the symphonies that way and so did H. C. Robbins Landon (he had a
> passion about them).
> > 
> > The credo (within reason) must alway aim at the composer's original 
> > intentions which do include later revisions and authorized 
> > arrangements (like the flute and string instruments Johann Peter 
> > Solomon wrote out from Haydn's symphony scores). I enjoy the playing 
> > of the BPO with Karajan at times, but it's not Haydn. (And Landon 
> > thought it the gold standard)The wind and string parts are all out of 
> > balance and the timpani part (so important to Haydn when he actually 
> > wrote one) has trouble getting through. I'm not a cat gut wing-nut, 
> > just someone who likes these works served up with true balance and not 
> > overly controlled with spot mics. And don't get me started on Harnoncourt.
> Yikes!
> > 
> > Alex McGehee