Search - Franz Joseph Haydn, Howard Shelley, Swiss-Italian Radio Orchestra :: Haydn: The London Symphonies

Tight, crisp, well-propelled

SBeckmesser | New York City | 03/24/2009

(4 out of 5 stars)

"The sound is relatively up-close, yet clean and natural. The orchestra plays on modern instruments and is audibly smaller than, say, the Concertgebouw orchestra in the Colin Davis (Philips) and Nikolaus Harnoncourt (Warner) performances. The performances here are well-propelled and more rhythmically snappy and either of those worthy cycles. The orchestral layout, disappointingly, is the standard "modern" layout, with both violin sections on the left getting in each other's way. And unfortunately, the only modern-instrument cycle I know of with divided violins (which approximates the layout actually used by Haydn in London) is the comparatively slack set led by Leonard Slatkin (BMG/RCA)"

THE set I've been waiting for!

Lawrence Rapchak | Whiting, IN United States | 06/13/2010

(5 out of 5 stars)

"With all of the other big-name competition available, how will Haydn lovers EVER find their way to this set, I wonder? As I've listened through these marvelous performances, I have felt in every instance that I am encountering the wonders of this music for the very first time --- fresh, bold, full of that unique joy that only Haydn was able to convey.



The Swiss-Italian radio orchestra is a FABULOUS ensemble, as their recordings of Spohr, Gossec and Casella have made amply clear. Their brilliant, virtuostic, precise and colorful playing is EXACTLY what this music requires, and pianist-turned-conductor Shelley has surpassed himself---and several other more famous maestros---in instilling each of these masterworks with special insight, nuance, and detailed care.



Rhythmic playing is unequalled--articulate, propulsive, and "buoyant" beyond belief! The balances are amazingly good---the sound is very present and extremely clean, with a great combination of brilliance, power, and that ravishingly transparent string sound that only first-rate orchestras can produce. The woodwinds are stunningly good, and project the character of the music consistently; in addition, the balances are so beautifully rendered that you hear a good deal of inner voicing and counterpoint that is all but inaudible in most other performances; and this applies especially to the second violins which, although seated along with the firsts, are always prominent in their interactions

with the rest of the section.



Maestro Shelley CLEARLY loves this music, and lavishes great care on every page; he occasionally gives in to interpretive gestures that deviate form the score, but in every case, they make musical sense; and since everyone seems to be having such a great time, WHY NOT go for broke? Case in point: near the very end of the first movement of #96, Mr. Shelley adds a slight ritard in the last bar before the unexpected shift into d minor; as I was listening, I somehow SENSED it was coming, and when it did....it was thrilling--absolutely what was needed at this profoundly dramatic moment.



I found myself, page after page, saying out loud: "It's SO GOOD..." How did they DO it?" -- referring to the conductor and orchestra. Of course, when you come away from these performances, the main question one asks is: "How did HAYDN do it!?"

And that's a sure sign that the performance has served the creator of the music, just as Haydn continually acknowledged HIS creator at the end of each of these great works (with his "Laus Deo" inscription). I will definitely be getting rid of my Adam Fischer set, Esterhazy Orchestra and all....the blurry acoustics (some of his set sounds as if the microphones were placed in the next room) and the conductor's "unecessary roughness" with the music is something I will gladly do without, now that the Shelley set has arrived.



Having said all of this, I must mention a couple of reservations: the trumpets and horns, as colorful and full of character as the rest of the orchestra, are occasionally too loud, covering the 1st violins a bit. Maestro Shelley also tends to push the music in repetitive cadential phrases, and some of his slow movements are less than ideal due to a sense of impatience on his part (the second mvt. of #98 in particular). Also, a low audible hum is somewhat distracting during portions of symphony #99...



But, despite these things, I come away from this set already looking forward to going back to it for another listen; it's really an astoundingly solid, spirited rendering of Hadyn's magnum opus. Yes, I know that Beecham supposedly has cornered the "humor" market in Haydn, probably for all time...but it may be time to adjust our thinking regarding that claim. I'd suggest you sample some of the sound files here on Amazon for yourself; try the 3rd Movement Minuet of #93 and see what you think.



Then get this set while you still can!



LR"