|
|
Published in a 33CD capbox special edition, this remarkable set is a must for any collector. Originally released in the early 1970s, the set was one of the most ambitious recording projects ever undertaken by Decca, and the scale and zeal of it continues to impress nearly 40 years later. In fact, the cycle paved the way for many other 'complete works' box sets during the LP era, including the complete Haydn String Quartets, Operas, Masses and Piano Trios.
For many listeners then and now, this Dorati cycle was the only way of hearing Haydn's earlier and less familiar symphonies, given their continued and unjust neglect in the concert hall. On record, Beecham's advocacy paved the way in the 1950s, but until period instrument cycles by Christopher Hogwood and - more recently, Adam Fischer - came along, Decca's Dorati set held sway.
In fact, this set has now become a memorial to the Philharmonia Hungarica. Founded in 1956,the orchestra comprised musicians exiled by the Soviet invasion of Hungary and was Based in Baden, near Vienna. Generously funded by the West German government, the orchestra was eventually disbanded in 2001. These Haydn recordings, made between 1969 and 1972 in the church of St.Bonifacius in the Westphalian town of Marl, are practically all that's left of what was once regarded as one of Europe's finest orchestras.
No further proof of their excellence is needed than in these recordings, which have worn exceptionally well. What strikes you immediately is the sheer consistency of both musical and technical quality. From the bounding opening movement of Haydn's first symphony to the grand designs of his beloved 'Paris' and 'London' sets, Dorati and the Philharmonia Hungarica achieve conducting and playing of remarkable discipline, polish, sparkle and above all, freshness.
Although these performances are modern instrument or 'big band' in style and are therefore quite full-bodied compared to 'period' instrument recordings, the playing remains clean and well balanced with plenty of textual detail. String playing is both articulate and expressive without undue legato and never swamps the all-important woodwind detail for which Haydn's orchestration is famed. It's good also to hear brass and timpani both naturally and vividly projected on these recordings, with only a slight cloudiness in some tutti passages. The orchestra for the most part surmounts the various technical demands of the music with impressive ease, notable examples being the tricky first movement of Symphony No.13 and the relentless opening of No.44, the 'Trauer'.
Dorati's actual interpretations certainly hold their own with other Haydn symphony recordings of the time. His versions of the 'Paris' symphonies are very similar in style to those of Sir Neville Marriner while his renditions of the 12 'London' Symphonies fare well against famous analogue sets by Eugen Jochum and Sir Colin Davis. In fact, the combination of tonal warmth with lively rhythms and phrasing is every bit as impressive, especially when Dorati both times and excecutes Haydn's various jokes and effects with just the right sense of style.
Over time a commonly held myth arose concerning Dorati's tempi for minuets; namely that they were always too slow. Strictly speaking, this is not really the case. A random sample of minuets from Nos.82, 88 and 94 actually reveals phrasing and tempo which are quite brisk and athetic. In fact, there are times when speeds are nearer to those of a scherzo: something normally found on 'authentic' recordings.
Dorati usually takes a slower tempos for minuets when the mood of the music dictates: for example in those of No.37 or 49, where Haydn evokes a more reflective, inward mood. Dorati is similarly expansive in the minuet of No.86, but then this is one of the 'Paris' Symphonies, serving the somewhat larger court of the Bourbons. By contrast, minuets in the 'London' Symphonies are much more bucolic in tone, reminding us that Haydn was now writing for the mercantile classes of a London depicted in the paintings of Hogarth.
Elsewhere, Dorati's approach is commendably straightforward. Observing the myriad textual amendments of celebrated Haydn scholar H.C.Robbins Landon, these recordings were - at least at the time - as near as one could get to an 'authentic' version of these symphonies. In fact, Dorati was the first conductor to take a literal approach to the scores, stripping away the somewhat dubious 'adjustments' imposed on the music by Beecham, Scherchen and - ironically - Haroncourt, who practically mangles Haydn's dynamics out of all recognition.
Again, those who presuppose that Dorati is too straitlaced will be surprised at how exciting and spontaneous-sounding these performances can be - even wilful at times, like in the slow movement of No.43 which hurls along at breakneck speed. There's plenty of affection in these versions, too. Just listen to any second subject or lyrical section in the cycle to hear both warmth and pliancy at work in the sound of the playing.
What emerges throughout the whole cycle, though is the bracing inventiveness of this life-enhancing music. Anyone who thinks all Haydn symphonies sound alike are in for an impressive wake-up call with this newly reissued special edition. And scholars won't be disappointed too with alternative versions of Symphony No.22 and the extended finale to that of 103 plus the two missing 'A' & 'B' symphonies which escaped numbering.
Meanwhile, actual recording quality is everything one would expect from Decca during this, the height of the analogue period: warm and immediate with plenty of middle-register and a typically glowing acoustic which is both natural in tone and perspective. Handsomely presented with an excellent booklet, I can't think of a better way to begin Haydn's anniversary year than with this richly enjoyable edition.
Robert Kenchington.
