![]() ![]() At first I wondered if he were using harpsichord at all, but then, in the quieter movements, I realised it was there. I wish I could be certain what Dennis Russell Davies required. Robbins Landon – recommends use of harpsichord in approximately the first forty or so Symphonies. In his admirable Universal Edition of the scores of all the Symphonies, the general editor – H. A document at the time specifically named Haydn as harpsichordist for the touring band. It is clear that the harpsichord was used copiously at Eszterháza because of the many accounts preserved for the repair and re-quilling of the instruments and we even know that when Haydn went with his band to a neighbouring town he took more than one such instrument for use and for repair still leaving another harpsichord behind for use at court. Christopher Hogwood (himself a harpsichordist) does not use it at all, with disastrous consequences to the bare harmonies of many of the early symphonies. Such directors as Trevor Pinnock, Derek Solomons and Roy Goodman use this instrument throughout their performances of the symphonies. Modern performers differ in their approach. This is excellent and very much in line with Haydn’s own recommendations regarding performance but the matter of harpsichord continuo brings a problem. With very few exceptions, he uses bassoon as a continuo instrument in those works where no separate bassoon part is written. The most intriguing aspect of this is his use of continuo. These sleeves (about half a dozen CDs for each of these historical periods) are given a different basic colour for each division of music.īefore describing the recordings, it is worth assessing Dennis Russell Davies’s general approach. The individual disc-covers are more explicit. In the booklet, the analysis of the music is rather general but is adequate in the circumstances however, neither the individual movements nor their timings are given. The Symphonies are presented in six groups proceeding chronologically and the accompanying booklet gives sensible titles to each group. I am also comfortable with the decision to place the Sinfonia concertante at the end of the final disc. This sequence is near enough to the presumed order to make further comment unnecessary. The discs are presented in an order influenced by the latest thoughts of some of today’s musicologists as being chronological. To have completed it over eleven years using public performances as a basis is an unexpected approach but the sound and general balance is surprisingly consistent throughout. Recorded 1998-2009 in Mercedes Benz Centre, StuttgartĪ new complete set (issued towards the end of 2009) of the Haydn Symphonies is long overdue. ![]() 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 ![]()
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