This reissue couples
two of the series of Haydn symphonies
that Harnoncourt recorded for Teldec
in the 1980s. When first issued No.
102 was paired with No. 101 while the
coupling for No. 104 was Symphony No.
103.
Harnoncourt has always
been a musician with an enquiring mind,
a conductor who never takes anything
for granted or at face value. So he
is here. The performances sound to be
given with a reasonably substantial
band but the texture is always lean
and even muscular, never bloated. The
performances of both symphonies exhibit
similar characteristics and a similar
approach to Haydn.
The B flat symphony
begins with a slow introduction where
Harnoncourt conveys the tension very
well without overdoing things. The main
body of the first movement’s allegro
is driven along vigorously and with
plenty of energy. Harnoncourt and his
players make every accent count and
use these accents to impart urgency
and buoyancy. The slow movement of number
102 features a prominent part for the
principal cello. The Concertgebouw player
is very good here as, indeed, are the
several wind players who also have prominent
roles in this movement. I have to say,
though, that I found the performance
just lacked that last ounce of persuasiveness.
This is a subjective thing, I know,
and other listeners may react differently.
However, when I listened to Sir Colin
Davis’s fine Philips account, made with
the selfsame orchestra I detected a
grace and naturalness that was not so
obvious in Harnoncourt’s reading. Harnoncourt
is excellent in the presto finale. This
is Haydn at his playful best and this
performance is delightfully light on
its feet.
The introduction to
Symphony 104 is imposing. The tuttis
of the allegro are quite powerful; Harnoncourt
seems to be telling us that this is
a big piece. He takes the slow
movement quite a bit faster than does
Sir Colin (or, for that matter, Beecham)
but I found the speed well judged; the
music flows nicely. The finale is marked
‘spirituoso’ and Harnoncourt’s realisation
of the music certainly fulfils that
demand.
However, there is one
big "but" about these two
performances. Each features a minuet,
the performance of which is bound to
be controversial. The minuet of number
104 is very fast and dramatic – indeed,
played like this it would not have sounded
out of place in a Beethoven symphony.
But this is Haydn, not Beethoven. The
tempo is very definitely one-in-a-bar
(with the trio sounding as if the beat
is a very quick three to the bar.) The
pace is hectic and I’m afraid that to
my ears it sounds to be rushed off its
feet. Turn to Colin Davis and you encounter
a much better proportioned reading.
His tempo is completely natural and,
I’d suggest, idiomatic and he allows
the music time to breathe, a precious
commodity in Haydn. In addition the
fortissimos are strong but not aggressive,
as I fear they sound in Harnoncourt’s
hands. Matters are pretty much the same
in Symphony number 102. Again the minuet
seems to be one-in-a-bar. The trio is
nicely done, with some good wind solos,
at an easier pace. However, Sir Colin
is just a touch slower in the minuet
(to the music’s benefit) and plays the
trio at pretty much l’istesso tempo,
which sounds just right.
For some collectors
Harnoncourt’s treatment of the minuets
will be sufficient to rule this coupling
out of court. I wouldn’t go quite so
far for Harnoncourt is never less than
thoughtful and, on occasion, provocative
and there is always something to learn
from his performances, as there is here.
However, I don’t like his way with the
minuets and, overall, I find his Haydn
lacks the grace and geniality that is
such an important aspect of this composer’s
muse. It must be said that the playing
of the Concertgebouw Orchestra is consistently
very fine.
This is an interesting
pair of performances that is worth seeking
out, especially at bargain price. However,
though there is much about this disc
that is stimulating my allegiance to
Sir Colin Davis is not broken.
John Quinn
Royal Concertgebouw Orchestra/Nikolaus Harnoncourt
