Naxos are recording
the complete Haydn symphonies with different
ensembles and conductors a factor which
marks a significant difference from
previous attempts by single conductors
like Antal Dorati in the 1970s, or more
recently by Adam Fischer (Nimbus, Brilliant),
Trevor Pinnock (Archiv) or Roy Goodman
(Hyperion).
Of course not all chamber
orchestras play on original instruments
but most, nowadays are ‘stylistically
aware’ and that’s clearly the case here.
I have to admit that
it seems a little bizarre that now we
have reached volume 29 we are hearing
the symphonies numbered in the Hoboken
catalogue 1-5. My advice is do not look
too seriously into the numberings of
the early symphonies especially, as
Haydn’s numbering and indeed those suggested
by H.C. Robbins Landon are sometimes
different. Nevertheless the ‘Le Matin’,
‘Le Midi’ and ‘Le Soir’, all in four
movements, do follow as 6, 7 and 8.
However those, more famous, named symphonies
are the first works written for the
Esterhazy household whereas the symphonies
under review here were almost certainly
composed when Haydn was in the service
of Count Morzin in the late 1750s. Morzin’s
orchestra must have been pretty good
by the way. Listen especially to the
last movement of No. 5 to hear how good
the strings must have been. I should
add that throughout the set I was struck
by the fine wind writing and playing.
Morzin had a particularly good wind
band at his disposal as the scoring
demonstrates.
The symphonies are
for pairs of oboes and horns, strings
with bassoon doubling the continuo bass
line. A harpsichord - rather high profile
here - is used as is fairly standard
practice but which is not to everyone’s
liking. No one can be quite sure whether
Haydn led from the harpsichord or from
the violin. Gallois has the instrument
fairly closely miked but, curiously
omits it from the slow movement of No.
2. For the opening Adagio of No. 5 it
is very dominant. In passing it’s interesting
to note that when Nikolaus Harnoncourt
and Concentus Musicus (Das Alte Werk)
in the early 1990s tackled the early
symphonies they did not consider the
harpsichord to be necessary at all.
I thought that it would
be interested to hear again Roy Goodman’s
versions recorded in 1991 alongside
this new recording and some interesting
contrasts are revealed.
Goodman also has a
very audible harpsichord but uses period
instruments. In his ‘A Note on the performance’
Goodman said ‘All repeats are observed
as a matter of course, unless there
is an obvious dramatic reason for not
doing so". Although he does not
say so, Gallois - who is not a specialist
Haydn or indeed Early Music conductor
although he has fine credentials - adopts
the same view.
The Andante of the
4th Symphony is a remarkable
piece. Its syncopations in the lower
strings are such as make the listener
almost unable to detect the first beat
of the bar. Gallois makes the violins
float effortlessly over this backdrop,
and quite beautiful it is too. For Goodman
this vague dreaminess will not do. The
harpsichord is more to the front, the
tempo slower and each beat clearer.
The magic is somehow dissipated.
On the whole however
Goodman’s presentation of the symphonies
is marked by outstanding playing especially
from the violins. There is a more lithe
approach with cleaner attack and brisker
tempi. The wind also has a more forward
placement.
The booklet notes by
Keith Anderson are adequate. They repeat
the composer’s biography from other
volumes - which after all is fair enough
- and describe the music succinctly.
To sum up. These performances
by the Sinfonia Finlandia are perfectly
acceptable and have many good points
and fine moments. They would not be
my first choice but these attractive
symphonies are well served here.
Gary Higginson
see also review by
Christopher
Howell
Sinfonia Finlandia/Patrick Gallois 
