Franz Joseph Haydn (1732-1809)
Symphony No 96 in D major, Hob. I: 96 ‘Miracle’ (1791)
Symphony No 97 in C major, Hob. I: 97 (1792)
Symphony No 98 in B-flat major, Hob. I: 98 (1792)
Danish Chamber Orchestra/Ádám Fischer
rec. 2022, Concert Hall, Royal Danish Academy of Music, Copenhagen, Denmark
Naxos 8.574517 [69]
The present release, Volume 2 in a projected series of the final 25 symphonies (Nos. 79-104) by Franz Joseph Haydn, has been a pleasure to review because it builds upon the knowledge gained from historically-informed performance practices while adding a degree of passionate commitment that these symphonies demand but rarely receive. These recordings surprised me initially because I am familiar with Ádám Fischer’s cycle of all the Haydn symphonies (1987-2001). These performances of three symphonies from the winter of 1791/92 during Haydn’s first visit to London are executed crisply and clearly at brisk tempi that never feel forced or hard driven.
A rousing performance of Symphony No. 96 in D Major opens the disc with an ‘Adagio – Allegro’ that sets the tone for the proceedings. The slow introduction leads into an urgent allegro that eschews vibrato in favour of clarity without astringency. It is refreshing to hear the ‘Andante’ taken as the tempo indication suggests, not adagio, as some conductors are wont to do with this movement. The ‘Menuetto – Trio’ moves swiftly while remaining elegant and danceable. The ‘Finale: Vivace assai’ is vivacious in a way that corresponds to Fischer’s perception, outlined in the accompanying booklet, of how these symphonies aroused their original audiences.
In the ‘Adagio -Vivace’ first movement of Symphony No. 97 in C Major, Fischer enables the mysterious opening to transition gracefully into the exciting vivace section. The ‘Adagio ma non troppo’ conveys profundity without ever dragging; the ‘Menuetto: Allegretto – Trio’ is played at a true allegretto that imparts the movement’s dance-like character; the ‘Finale: Spirituoso’ is an effervescent closure to this bright symphony.
Symphony No. 98 in B-flat Major opens with an ‘Adagio – Allegro’ that conveys the ‘darkness to light’ pattern subsequently developed by Ludwig van Beethoven (e.g., in the first movement of his Symphony No. 4 in B-flat Major, Op. 60). The ‘Adagio cantabile’ is a doleful tribute to Haydn’s then recently-deceased friend, Wolfgang Amadeus Mozart. Fischer makes Haydn’s references to the ‘Andante cantabile’ second movement of Mozart’s final Symphony in C Major, K. 551, especially poignant. Once again the ‘Menuetto – Trio’ is dancey, while the ‘Finale: Presto’ follows the tempo indication literally.
Fischer’s experience with these symphonies is apparent in that his decisions seem logical and respectful of Haydn’s texts. I have heard many recordings of these works, including Antal Doráti’s cycle with the Philharmonia Hungarica, which is one of the monuments in the history of recorded sound, and Fischer’s previous cycle with the Austro-Hungarian Haydn Orchestra. I also know many individual performances of these symphonies, such as those conducted by George Szell, Eugen Jochum, Colin Davis, Frans Brüggen, and Nikolaus Harnoncourt, all of which have their respective merits. I admire Dorati, who communicated the humour and seriousness in these symphonies, and Harnoncourt, whose readings remain fresh and satisfying with repeated listening. Szell’s fiery, engaging performances make me wish that he had recorded more Haydn; Jochum and Davis provided immaculately-articulated accounts that sound perfunctory; and Brüggen, in spite of using period instruments, missed some of the wit and ‘earthy’ humanity inherent in these symphonies.
Fischer’s new recordings are satisfying supplements to a well-stocked library of Haydn’s music and safe introductions for those discovering this music. I hope that Naxos will give Fischer an opportunity to record a second full cycle of Haydn’s symphonies, an undertaking that would make him the first conductor to do so. The only other nascent cycle of which I am aware is that by Il Giardino Armonico and the Kammerorchester Basel under the direction of Giovanni Antonini, volume 13 of which I reviewed. I have refrained from comparing Fischer with Antonini because the latter has not yet released recordings of these symphonies.
Daniel Floyd
Previous review: Ralph Moore (November 2023)
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