Franz Joseph Haydn (1732-1809)
Symphony No. 94 in G “The Surprise” (1791)
Symphony No. 99 in E flat (1793)
Symphony No. 95 in C minor (1791)
Symphony No. 98 in B flat (1792)
Deutsche Kammerphilharmonie Bremen/Paavo Järvi
rec. 2021, Die Kammerphilharmonie, Bremen, Germany
Reviewed as a download
RCA 19802 861852 [95]

In the summer of 2023, RCA released the first volume of a projected Haydn London Symphonies set by the Deutsche Kammerphilharmonie of Bremen with their chief Paavo Järvi. I enjoyed it very much and its sequel is now available. This second instalment is a 2 CD set containing four wonderful works in lively, considered performances. Paavo is certainly taking after his father Neeme in amassing a considerable discography of astonishing variety with many orchestras. He has been with the Bremen group now for over twenty years and they have worked on projects including Beethoven, Schumann and Brahms, all represented on records.

In comparing these performances, I have listened to another group of similar size who have now finished their London cycle. The Danish Chamber Orchestra did all twelve symphonies for Naxos. I note that two of the four discs were reviewed here (review ~ review). They were conducted by the great Ádám Fischer who is a wonderful Haydn enthusiast and a superb musician in all respects (review).Funnily enough, this Copenhagen-based group gave us the Haydn on disc after working on Beethoven and Brahms cycles, exactly as the Deutsche Kammerphilharmonie have done.

There are places in the four symphonies were Järvi’s interpretation differs from Fischer’s and places where they agree. Both sets of performances are fresh, lively and insightful and contain a large dose of wit and humour, perfect for Haydn. In Symphony No. 94, the Surprise, both conductors take the exposition repeat in the first movement (they do, in fact, for all the works). The Bremen strings line up in a 8/7/5/5/3 formation. They play with minimal vibrato, tight ensemble and are rhythmically crisp. Paavo Järvi is a master of dynamics and there are countless places where a crescendo and a diminuendo bring a smile to one’s face. The Bremen winds are characterful and perky. In the variations of the second movement, sample from bar 83 in the score (track 2 from 3:20) where the first flute and oboe duet and one can feel the synergy these players obviously have in microcosm.

Järvi is not afraid to use lengthy pauses for effect in the minuet. His rubato here is also well judged. The trio is chamber music of the best type. The witty, brilliant finale Haydn provides for this work is played superbly with total precision of ensemble. 

Ádám Fischer’s 94 like Järvi’s is also a winner. It is hard to choose between them. Fischer is snappier and his rhythms bounce more. There is a little more artistic licence shown; for example, in the first movement, listen to his way with those accented quavers in bars 31-3 or the slackening of pace in bar 66. Fischer encourages some pretty innovative bowing for his Danish string section too. The Hungarian has a huge experience with Haydn; he recorded a complete symphony cycle for Nimbus (review) and these Naxos records, where he returns to the composer are very special. I love the new version though and am looking forward to spending some quality time getting to know it better as the year goes on; the sound is better than the Naxos recording and you simply must hear Stefan Rapp on the timpani.

After the Surprise, the other symphonies offered on this disc have no nicknames. As has been said before, though, and to paraphrase Shakespeare, a Haydn symphony by no name at all would sound as sweet! Symphony No. 95 in C minor has no introduction (unique amongst these late works) and both Paavo Järvi and Ádám Fischer cut a neat pace, bringing the work home in under 20 minutes and 19 minutes respectively.

The Bremen performance of 95 is excellent. The first movement’s severe theme pounded out relentlessly is contrasted with the charming countertheme which, in the final recapitulation, is adapted into a sweet solo line originally written for Johann Peter Salomon, who as we know was responsible for bringing Haydn to London in the first place. The rich sonority of the sound is on great display in the theme and variations of the andante. Järvi really underpins the cantabile marking, too. This being a minor key work (the only one of the twelve, that is), Haydn plays with juxtaposing the major and minor a fair bit, not least in the minuet. The trio enclosed features Marc Froncoux in the important solo cello work, very nicely shaped. The finale with its polyphony and turbulence is taken at a fair lick. The Bremen players are incredibly exciting and make a great case for this neglected London symphony. I enjoyed their 95 and 98 (up next) the most of all their four symphonies on this disc.

In Symphony No. 98 we hear the full effect of Paavo Järvi’s decision to split his violins, (the correct call in my view) which he does throughout this set. The intricate complexity of construction in the first movement is a thing of wonder. Haydn seems to be putting his craftsmanship in full view and what mastery he exhibits. The beautiful adagio is paced to perfection by Järvi with ravishing playing from the band. After another infectious cheeky minuet and trio, we come to the longest finale Haydn wrote for any symphony. This life-enhancing movement is here given a wonderful rendition. The exposition repeat is mandatory. In the ensuing development we here again the Salomon inspired solo violin intermingling with the ensemble. The trumpets and horns are excellent and the fortepiano part sparkles in the little cameo at the end.

Ádám Fischer’s 98, for all his verve and life, is presented in duller sound than the new RCA set. The Danish performance cannot be dismissed, however. They are faster than the new record in most places (adagio excepted) and as I have outlined before, there are some wonderful insights that Fischer brings to the table. I think he also has a smaller string complement which like Järvi, he seats to gain those important antiphonal bonuses.

Haydn’s Symphony No. 99 was written in Vienna especially for his second trip to London. The work is influenced by Mozart’s use of clarinets and for the first time Haydn uses them himself. Once again, the cohesion and alertness of the playing are features. There is a common mindset and one senses the musicians are really enjoying themselves. Paavo Järvi’s sense of timing and deep understanding of the idiom is clearly conveyed and captured by the technical team at RCA/Sony led by Philip Traugott and Jean-Marie Geijsen.

I want to highlight especially the absolutely lovely rendition they give of the adagio. Obviously the interplay Haydn writes for the multiple woodwind with the strings is genius but it takes an orchestra of real quality to convey this in the way we hear here. Järvi’s 99 has a total timing of 26 minutes.

The order of programming in the title of this review is correct. My discussion has dealt with the symphonies in the standard numerical order. With CD1 at 49 minutes and CD2 at under 47 minutes, the discs are not full. This would have bothered me back in the day when I was wedded to the silver disc format. These days, however, many listeners are downloading and streaming their music and it seems to matter less. What is certain is that I will be returning to these performances as the year goes on. I cannot live without Haydn and these new versions make life even better. I encourage readers to investigate them. The Naxos discs I have used for comparison in this review are truly impressive, too, as is the ongoing series Giovanni Antonini is making with Alpha. In fact, volume 16 of that series contains symphonies 94 and 98. As if this wasn’t enough, later this year we can expect a release of the complete symphonies on the Hänssler Classic label. On these records, the Heidelberger Sinfoniker is conducted by Thomas Fey and Johannes Klumpp. If you don’t know the series, and you can afford the box, you’re in for a treat. Any of these great versions will put a smile on your face and a spring in your step.

Philip Harrison

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