Franz Joseph Haydn (1732-1809): Symphony No. 98 in B-Flat Major, Hob.I:98
Franz Joseph Haydn (1732-1809): Symphony No. 94 in G Major, Hob.I:94, "The Surprise"
Franz Joseph Haydn (1732-1809): Symphony No. 90 in C Major, Hob.I:90

I grew up watching my father gradually collect the 'complete' Haydn symphonies conducted by Antal Dorati, with the Philharmonia Hungarica. It was a pioneering set, reflecting much of the research by the leading Haydn scholar, H.C. Robbins Landon. I have only gradually come to absolutely adore these symphonies, but now I would willingly listen to any of them, almost in any performance. Well, not quite any performance, I have come to prefer those that reflect historical performing practices, not through any ideological conviction but because I love hearing the individual instruments in the overall texture, which smaller ensembles, particularly with original instruments, lends itself to. In this performance examples are the timpani, played with harder sticks no doubt, but not hit hard, are clearly audible. Strings also tend to have a nice edge on the sound and often the separate violins can be heard as still part of the whole. Woodwinds are clear, brass also without swamping the whole. The trio section of the third movement of Symphony No.98 for example has the stings and woodwind clearly heard.

Giovanni Antonini's traversal through the symphonies, a long term one destined to be completed in 2032, the 300th anniversary of the composer's birth, has become my favorite overall, due to their combination of the brisk but not too brisk speeds, great playing, wonderfully shaped melodies without some of the exaggerations of tempo or shaping that at times have scarred some others' performances for me. They do reflect historically informed practices but clearly in service of the music and are the better for it. The excellent recordings are quite close, revealing the details mentioned previously, as they have throughout the series so far.

The current release, focused on some of the later symphonies, and therefore with fuller sonorities than the earlier ones, captures fully the humor Haydn invested in these works. In this release, the most famous, almost infamous, example of Haydn's musical humor is heard in the aptly named 'Surprise' symphony, with the fortissimo chord in the Andante well realized. But humor of this sort is spread throughout all these symphonies, the composer playing puppeteer to the listeners' expectations, pulling the rug gently from the feet of the audience on several occasions. All this in the context of a refreshingly positive spirited generous spirit that seems the epitome of this composer's outlook.

The symphonies are presented in reverse chronological order, but all composed within a few years. High points in these performances for me include the gently lamenting Adagio of 98, lovely and clear solo cello in the middle section, with the poignant ending on two pianissimo chords. Donald Tovey thought this movement was composed after Haydn heard of the death of Mozart, who he rated extremely highly. If so, it's a gently affecting tribute.

I also greatly enjoyed the first movement of Symphony No. 94 with a whole series of the many expected, missing eventual key changes, and clever use of strings left hanging at time is gloriously realized, reminding me what a great movement this is. It is followed by the famous andante, with lovely woodwind playing in the third variation for example, a rollicking menuet, and the spirited Allegro finale.

The booklet, while it has some interesting short essays, and gives appropriate focus on the individual musicians, is a little light in real content. A series of attractive, but meaningless for me, photos in the middle seemed superfluous, but perhaps I am missing something. The performances and recordings are excellent, thoroughly recommended, and that's the important thing. A fine addition to what is for me the best current cycle of these wonderful symphonies, composed by a great, and happy master.