Search - Franz Joseph Haydn, Ferenc Fricsay, RIAS Symphonie-Orchester :: Haydn: Sinfonie Nr. 44 e-moll (Trauer-Sinfonie); Sinfonie Nr. 95 c-moll

Humble, Joyful Greatest of Pleasures

J. F. Laurson | Washington, DC United States | 06/30/2006

(5 out of 5 stars)

"Perhaps the coupling of Haydn's 44th, 95th, and 98th symphonies strikes you as slightly random - a little _Sturm & Drang_ (no. 44, the _Trauersymphonie_ - "Mourning-Symphony"), a little _London_ (nos. 95, 98). Perhaps a 1954 mono recording doesn't obviously kindle your interest or tickle your fancy? And maybe you have not thought much of the short lived (1914-1963) Ferenc Fricsay - apart perhaps from enjoying a wonderful Beethoven or Dvoák 9th.



Well, here it is then, to point out that this budged disc from Deutsche Grammophon's Europe-centric "Musik...... Sprache der Welt" collection is an absolute gem and that (at least for those who do not have a Haydn #44 in their collection) there is no reason not to indulge with this recording. The sound quality belies its age (better still than the remastered 58/60 Beecham EMI recordings and better than Audite's live recording recently issued), the playing of the RIAS Symphony Orchestra Berlin under Fricsay is positively infectious. And "mourning" as may be its title, it is actually an unadulterated joy to listen to; the kind of Angst- and tension-free music that allows you to smile, apprehending only skilled, honest beauty and goodness. It's music with little wings. And a delighting 70 minutes of it."

... if you love Haydn...

F. Wooley | san francisco, ca | 07/14/2004

(5 out of 5 stars)

"... you will love this recording; it sings and dances the music in a way that feels so right. I will neither make excuses for it not conforming to the so called "original" or "authentic" strictures of the trend so prevalent in music today, nor the apology of a conductor who for a change, is not before you to impose some new, personal interpretation - no, just fine musicians bringing you a sound reason why Haydn should get more recognition than is given to this composer. For ten dollars, almost seventy minutes of sheer delight. Incidentally, this recording also gives us reason to rejoice in the fact that Deutsche Grammophon continues an excellent job of making available the treasures of its catalogue, in a gimmick and frill-free way, as quality speaks for itself. Give it a try!"

Exploring the Haydn Symphonies -- Nos. 44, 95, 98

Robin Friedman | Washington, D.C. United States | 10/13/2004

(5 out of 5 stars)

"I have been listening to the Haydn symphonies on the outstanding budget-priced series on Naxos. But I recently came across this CD on Deutsche Grammophon with Ferenc Fricsay (1914-1963)conducting Haydn's symphonies 44,95, and 98 and found myself unable to resist. This disc is part of a series called "The Legendary Deutsche Grammophond Sound of the 1950s." The recordings of the 44th and 95th symphonies date from 1954, with the recording of the symphony 98 one year later. The CD sells for only slightly more than the Naxos recordings and it will delight lovers of Haydn. Fricsay's Haydn is beautifully nuanced. It tends to be rounded and lyrical in character with excellent dynamic and tempo control. The finales generally are taken slightly faster than other performances I have heard while the remaining movements tend to be somewhat slower. The mono sound is listenable and clear and the wind parts generally come through well.



The disc offers a welcome combination of a symphony from Haydn's "storm and stress" period with two symphonies from his period of greatest maturity. The early symphony no. 44, "Trauer" (mourning) in e-minor is througout a somber, tragic work. The opening movement, allegro con brio, is based upon a stern, rhythmic theme in the violins. As the movement progresses, there is a running theme in the strings accompanied by horns in the background. There are dramatic shifts of tempo leading to a fast close. The second movement of this work is a minuet which is also highly rhythmic, features horn and string combinations, and is in the minor key. The third movement, adagio, is taken appropriately slowly on this recording. This is a lovely radiant movement in the major key. Haydn asked that it be played at his funeral. The finale returns to the minor key with an angry, quick, and brushing theme that begins in the lower strings, moves to the upper register, and proceeds at last with the entire ensemble.



The symphonies nos. 95 and 98 are from Haydn's final set of the twelve "London" symphonies and were composed in 1791-1792. The symphony 95 in c-minor is the only one of the set in the minor key and also the only "London" symphony without a slow introduction. The symphony alternates between a minor, somber character, and a more lyrical, major cast. It shows the influence upon Haydn of Mozart's late symphonies. The opening movement, allegro moderato, contrasts a severe minor theme which opens the work with a lyrical, flowing second theme which I find dominates the movement.(The major key also dominates the work as a whole.) The contrast between major and minor continues throught the development section and into the recapitulation. The second movement, andante cantabile, features an innocent theme which contrasts well with the minor theme of the opening movement. The theme goes through a set of three variations. The minuet is in the minor key and opens with an angular theme over plucked strings. The trio features a quizzical theme for the solo cello followed by brief solos for the violin. The finale, marked vivace, opens with a flowing theme in the major key for strings with accompaniment by the bassoon. This theme is subjected to a great deal of treatment in counterpoint in a way similar to the finale of Mozart's "Jupiter" symphony.



The final work on this CD, the symphony no. 98 in B-flat major, also shows the influence of Mozart. It opens with a slow but short introduction in the minor based upon the tonic chord which develops into the theme of the opening allegro. The second movement, an andante cantabile opens with a flowing, tranquil theme which builds in intensity in its middle section before returning to a peaceful close with solos for the bassoon, oboe, and flute. This movement is said to be a tribute to Mozart, who died while Haydn was visiting London. The third movement is a glittering minuet with a somewhat slower trio. There are solos for the flute in both the minuet and trio. The finale is a round based on a light theme which illustrates Haydn's sense of humor. It is fast and ebullient with pregnant pauses and solo passages for the violin. There is also an important solo passage for the piano near the end of the movement, which, alas, is not used here. This is the one serious disappointment I had with the recording of this symphony and with this CD. (I also should point out that the liner notes are sparse and uninformative.)



Haydn remains substantially under-appreciated. This disk offers idiomatic and convincing performances of three great symphonies that show that his music deserves to be better-known.



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