Joseph Haydn (1732-1809)
Complete Symphonies
Heidelberger Sinfoniker/Thomas Fey, Johannes Klumpp
rec. 1999-2023
Hänssler Classic HC24042 [36 CDs]
I have several cycles of Haydn Symphonies in my collection. There’s the Ernst Märzendorfer on Scribendum which I had the good fortune to review back in 2019. It’s a very engaging set, but the audio quality sounds dated now. Other sets I hold are the famous Dorati cycle, which I consider to be a milestone in the history of recorded music. Then there’s the Adam Fischer on Brilliant Classics, not a great favorite, and finally the period instrument cycle on Decca divided between Hogwood, Brüggen and Dantone, up to now my recording of choice. It’s also worth mentioning a very fine incomplete cycle of 45 Symphonies & 3 Overtures conducted by Max Goberman and issued by Sony, which I would highly recommend, though it is now deleted. Finally, there’s an ongoing cycle on the Alpha label conducted by Giovanni Antonini, a project due for completion in 2032, the composer’s tercentenary anniversary. As far as I’m aware it has now reached Volume 17, and many have been positively reviewed in these pages. Having reviewed a couple, I can say it’s a superb and significant series.
Recently issued and under review here is the Hänssler Complete Symphony cycle. Individual volumes have been released over the years, garnering enthusiastic critical acclaim. The label has now brought them together under one roof in this 36 CD package. The orchestra is the Heidelberger Sinfoniker; though not a period instrument ensemble, they deliver period informed performances. Modern strings are used, but the players don’t have to play with vibrato. The rest consists of woodwinds, period brass and hard timpani sticks. A harpsichord continuo is also employed occasionally. Some extra symphonies are included in the set, Nos. 105-108 plus the Sinfonia Concertante.
A bit of background to the evolution of this cycle is useful here. Thomas Fey initiated the cycle back in 1999. He’d studied under Nikolaus Harnoncourt, an Austrian conductor known for his historically informed performances, hence the approach Fey took when he took on the task. Fey recorded sixty-one symphonies and the Sinfonia Concertante before disaster struck. In October 2014 he sustained a severe head injury falling down a flight of stairs. It eventually became clear that his conducting career was over. In order for the cycle to be completed, a couple of CDs were recorded under the direction of Benjamin Spillner, the orchestra’s concertmaster. This was an interim measure, as eventually the conductor Johannes Klumpp stepped in to complete the cycle of the remaining thirty-nine symphonies.
Fey launched the cycle with two London Symphonies, Nos. 94 ‘Surprise’ and 104 ‘London’. He conducted eleven of them, with Benjamin Spillner completing it with No. 101. The performances are thrilling, lively, life-enhancing and dispatched with panache. Nos. 94 and 104 set the tenor for the remaining symphonies in the set. Fey does, on occasion, show a predilection for speedy tempi. Some will find the minuets of both symphonies on the fast side. The trios on the other hand seem rather drawn out. These contrasts take some getting used to. Nevertheless, the approach to all the London Symphonies is bold and innovative, with a real sense of spirit and flair.
The group of six, Nos. 82-87, are otherwise known as the Paris symphonies, and Fey completed all of them. Once again, the playing is superb. I would single out the slow movements for special mention. They don’t drag, with Fey keeping them flowing and well-paced. The outer movements exude confidence and élan. Great attention is paid to horn and wind playing, which is detailed and well-profiled throughout. The opening movement of the Symphony No 83 in G minor ‘The Hen’ is one of the finest I’ve heard. It’s rhythmically punchy and bristles with vitality.
Here are some individual symphonies which piqued my interest. The Symphony No. 39 in G minor is performed under Thomas Fey. The opening movement isn’t short on ardour, and there’s plenty of punch in the rumbustious finale. Johannes Klumpp makes a terrific job of the Symphony No. 71 in B-flat major. The opening Adagio introduction is dramatic by all accounts, and leads into a sizzling Allegro. Grace, elegance and charm imbue the slow movement; it’s a theme with four variations and a coda. Klumpp injects plenty of gusto and buoyancy into the Menuetto. All is rounded off with a sprightly final movement. A great favorite of mine is the Symphony No 48 ‘Maria Theresa’. Fey’s rhythmic chutzpah in the outer movements rivals the very best. Notable is the exquisite playing in the slow movement
Johannes Klumpp emphasizes the joy and celebration in the opener of the three-movement Symphony No. 30 in C ‘Alleluja’. There’s a luminous and well-profiled flute solo in the slow movement. The final movement is a minuet with a dancing lilt. Fey directs a sunny, fresh-faced account of the symphony No. 64 ‘Tempora mutantur’, and a marvellous account of No. 69 ‘Laudon’. In the latter, everything is kept fairly lightly textured, with the themes throughout accessible and memorable. My number one Haydn symphony is No. 92 ‘Oxford’ and, I have to say, in the hands of Thomas Fey, this is the finest account of it I’ve ever heard. The outer movements are riveting and the slow movement exudes gentle grace and soothing elixir. The driving tempo of the finale may bother some, but not me. I just love it.
The whole enterprise is beautifully presented, with German notes by Matthias Roth and English translation. These historically informed performances from the Heidelberger Sinfoniker bring energy and zest and breathe new life into these wonderful symphonies. Sound quality is consistent throughout, allowing detail to be satisfyingly discerned. This will now be my cycle of choice for the Haydn Symphonies. I cannot praise this set enough.
Stephen Greenbank
