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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!
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.

David N. "Uncle Dave" Lewis
Lebanon, OH


On Fri, May 9, 2014 at 12:38 AM, Dave Burnham <[log in to unmask]> wrote:

> I don't believe the Colin Davis set on Philips can be beat.
>
> db
>
> Sent from my iPhone
>
> > On May 9, 2014, at 12:03 AM, Roger Kulp <[log in to unmask]>
> wrote:
> >
> > 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
> >
>