Hungarian conductor Ádám Fischer returns to Haydn: his complete recording of all of the symphonies with the Austro-Hungarian Haydn Orchestra. Here he is again, in a less remnant acoustic this time (the concert hall of th Royal Academy of Music in Copenhagen) for three of the late symphonies.
The two nicknamed symphonies here: ‘Military’ and ‘Clock’ are well-known. But the curse of no nickname has befallen Symphony No. 99 in E flat. It is far less popular both in the catalogues and in the concert hall (I had only heard it liv once, with the Hallé Orchestra in 1982. Part of the reason the symphony is not performed often was heard in that performance: there es a top D (sounding G) for first horn in the third movement which, shall we say, did not work. So a double-whammy acts agains this piece.
The first movement is lithe and powerful: Fischer’s earlier recording, in a more reverberant acoustic, with the Austro-Hungarian Haydn Orchestra on Nimbus feels flat in comparison.
The Adagio flows nicely in the Danish performance, with much varied articulation. It is a proper Adagio, but still faster than the Nimbus (which sounds rather staid in comparison, almost Beethovenian in its refusal to shift).
That Menuet and Trio has a nice rustic charm to it here in Denmark. It is fresh as a daisy – really, this symphony needs to get out more. As the scampering finale proves, too:
Here’s a live performance of the symphony, complete by these forces:
The so-called ‘Military’ symphony cleanly has a marital gait in its opening slow introduction. There is charm aplenty in the first movement proper; the recording is just a touch brash here though:
The second movement is a touch lacklustre; it is the Menuet that has real punch:
The finale is a thing of magnificent contrasts, though, and real grit.
Here’s a complete performance:
The so-called “Clock” Symohony is next, No. 101 in D. For what it’s worth, it is a personal favourite of mine – it is fun how early records (LPs), bought simply because they fired within pocket money, can carve ou our expectations and likes later in life! That one was Marriner I seem to remember; relevant as Fischer has a Marriner-like care to everything he touches in this symphony, and particularly the opening Adagio:
No missing the tick-tock (as opposed to Tic oc) of the second movement, really rather deftly done here. It is a nice Andante pace, too:
Once again the Menuet is a highlight, positively bracing, across-he-barline rhythms nicely highlighted. The tasteful final Vivace rounds of a very satisfying disc:
This link to the live performances by these forces starts working at 1700 UK time on the day of this post, so I haven’t seen it at the time of writing: enjoy!
A rather enjoyable disc! This Naxos disc is available for purchase a Amazon here, Spotify below.
.png?w=160&resize=160,160&ssl=1 "Letting in the Light: from Rameau's Pygmalion & Wagner's Parsifal to Christian Forshaw, Anna Semple and Schumann's Kerner Lieder at Temple Music")
