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Haydn: The 12 "London" Symphonies [Box Set]
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Surprise......and not just Symphony 94
I should qualify my views by saying I don't find the early instrument approach to Haydn, Mozart, Beethoven or Berlioz to be more satisfying than great performances played by a modern orchestra.
Because of my interest in Jochum I decided to purchase this set of "London Symphonies". I listened to one of my very favorite Haydn works, "the Miracle" symphony, #96 in D. I was struck by the first phrase of the allegro; here was a reading that surpassed the supposed "great master", Szell. Jochum was a bit faster and full of glee as the first and second violins rocked back and forth on an octave in the exposition. I had always thought precision to be the key to these pieces. When I was in college to say otherwise would have been out of the question. I discovered that I had been fooled for YEARS by this misconception.
Its easy to sum up this box set. Via team work and simplicity of approach, Jochum achieves what Haydn must have - sunshine - both at the core of the music AND the music making; the players seem to be having fun. What a lovely way to work. When precision excludes humor in some music all is lost. I can say that another way. Listen to Toscanini conduct Haydn.
When I wake up in a less than happy mood, Jochum's Haydn always makes the coming day better; these performances, treasures all, (pardon this) are a sonic tonic.
Better than 4 stars
I'm prompted to write this review by our Haydn fan:
There's a story about Brahms listening to a performance of his first piano concerto, turning to his friend sitting next to him and saying, "You can play it that way, too." Most of us would never think that one conductor would reveal everything there is to reveal in a Beethoven or Mozart symphony; why would we think differently about Haydn?
Haydn's late symphonies are immensely sane and optimistic, unfailingly inventive, full of contrasts and surprises, bold and daring, and multi-dimensional emotionally. In other words, they are just as complex as the more obviously complex symphonies of the romantic era, despite their seemingly placid surfaces; they are just more subtle.
My standard for "great" performances are ones that communicate emotionally, hold together structurally, and tell me something new about the piece. Jochum's performances of the "Salomon" symphonies are amongst that group. Jochum clearly loves this music, and his love comes through in every bar. These are genial, warm, robust performances, recorded live by DGG in a London concert series. A photo of the orchestra in rehearsal with Jochum shows a slimmed-down version of the London Philharmonic, so textures are relatively transparent. Tempi are brisk in general, but never rushed and without the waywardness that could creep into Jochum's performances of romantic composers. Everything feels judiciously considered and spontaneously rendered. Jochum apparently wanted to record these symphonies with an English orchestra, and the London Philharmonic has that "English" sound, with slightly nasal woodwinds, smooth but lean strings, and somewhat brash brass. The sound is DGG's early-70's analog stereo at its best: detailed and warm, with great hall ambience. The cd transfers, not surprisingly, are excellent.
Should this be your only set of these symphonies? No. There is much to learn from Beecham, Bernstein, Scherchen and Szell, amongst others, and amongst the newer generation, Thomas Fey, whose series of Haydn symphonies is generating alot of interest. Music this complex and this good deserves to be heard several ways; as Brahms would have said, "You can perform it that way, too!"
Jochum Performances Lack the Ultimate in Sparkle, Wit, and Imagination
Contrary to almost all the reviewers I don't care nearly so much for this set. I'm especially surprised someone would give up the Davis set for this one. Late Jochum seems to produce some divided opinions, his style later in his career generally running to less dramatic, suaver performances.
Haydn is a very challenging composer - most conductors only discover after a recording session how extremely difficult it is to completely capture a satisfactory reading of any his mature works. The works seem to play themselves, and then you look back and realize how much didn't come out. You might have gone any number of ways at this, that or another point in the score. As one noted podium hustler quipped to me, after his up-beat sunny reading of Haydn's Drum Roll, "Yeah, but I could also have done it tragic - it's more bloody complicated than Mahler."
I find it interesting so many reviewers were so ecstatic about these very pleasant and essentially genteel performances. Certainly even the earliest and to my taste the most powerful recordings in this set, such as 88, do not rise to the level of a Furtwangler or a Scherchen. Nor do I hear the invigorating readings others do, certainly not in direct comparison to those conductors who I do find invigorating in these works. Jochum never achieves the sort of electric energy and crispness found in the Cleveland Orchestra under Szell, the searching imagination of Scherchen, which despite a plethora of orchestra issues remains a benchmark, or even the easy knowing informality of Beecham.
Frankly I prefer listening to the rarely discussed von Karajan set, which has it perversities, but also sports some new and provocative ways of looking at Haydn.
Readers should understand in referring them instead to the Davis Philips set of Haydn's London Symphonies over this one I am decidely NOT a Colin Davis fan. I panned his most recent Beethoven set. However, for the moment I still think his Philips set remains the best overall of the large orchestra versions available. Haydn: The London Symphonies, Vol. 1Haydn: The London Symphonies, Vol. 2
For quite simply the best in Haydn performances Szell's with Cleveland remain exceptional with superb orchestra playing, superior to the London Philharmonic and riveting attention to those tiny details so beloved and fundamental in these incredibly tightly contructed works. Haydn: Symphonies Nos. 92, 94, & 96Haydn: Symphonies Nos. 93, 95 & 97
If you remain a fan of this Jochum set despite my critical perorations then if by chance you happen to see the equally middle of the road approach of the Mogens Woldike set of the last six symphonies don't hesitate to grab it if the price is not too dear. The Woldike set, reissued on Vanguard Classics, remains one of the handsomest all around interpretations with superb woodwinds, excellent grand overall pacing, a full bracing momentum, and lovely early stereo. It's only shortcoming is a tendency to downplay the wit and humor, vital features in Haydn, even in his grandest symphonies. Amazon won't let me highlight the listing - currently unavailable - but you can still find it by looking under "Woldike Haydn". You can still hear samples of Woldike's impressive way in these ultimate works of Classicism and I urge you to try them and keep your eyes peeled!
For a set of this size to receive five stars it has to be the very best available. Right now that laurel goes to the Colin Davis set. However, it can be bettered, and I look forward to the competition among the younger set when they grow tired of playing around with Mahler and Bruckner and move up to Haydn.
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