This mammoth survey of the complete Symphonies by the man who
really got things going symphonically, started in 1988 and finished
as recently as July last year. It takes in venues all over eastern
and western Europe as well as Canada.
Before
playing a disk I was happy to note that we weren’t reliant on
one set of performers – as was Decca with its set of the Symphonies
with Antal Doráti and the Philharmonia Hungarica – and as these
re–issues retain their original couplings you can’t hear the works
chronologically without changing disks often. But this makes for
more interesting programming – rather like the lovely recordings
of Leslie Jones and his Little Orchestra of London’s recordings
for Pye which mixed early, middle and late Symphonies together
on one LP.
So
after those thoughts, and listing the details of the recordings
and performers to accompany this review, my next task was to decide
where to begin. Much as I love Haydn’s music I cannot claim to
know every Symphony intimately, so it seemed best to start with
a work which is a particular favourite. The 48th
Symphony, nick–named Maria Theresia, has long been
of one my favourites, ever since I heard the Max Goberman recording
which contains the most sensational horn playing I’ve ever heard.
I was very pleased to hear Barry Wordsworth grab the bull by the
horns, or perhaps the horns by the baton, and start in a most
thrilling way, the horns singing out and the textures clear and
direct. Unfortunately, this direct approach doesn’t last. These
so–called Sturm und Drang Symphonies are dramatic in their intent
and are full of incident, passion and fire. The 44th
and 45th Symphonies are given light–weight,
in fact far too light–weight, performances which suit the middle
movements but lack sufficient bite for the turmoil of the outer
movements and thus the drama of the music is lost in favour of
a more charming approach. The same is true for the first two movements
of No.88, but then, suddenly, in the minuet of No.88
everything takes off with a spritely and very dynamic gait. This
performance has purpose and the finale is simply sparkling – if
a trifle on the slow side. After this, their other three disks
are wholly successful. Each of the Symphonies is given a sparkling
performance, with well judged tempi, plenty of light and shade
and the humour, there’s a lot of humour in Haydn, is very well
pointed. The smallish orchestra is well focused in the recording,
if perhaps with a little too much reverberation, and the sound
is good if a bit too bright; too much top and not enough bottom.
But I mustn’t be churlish for there is much to enjoy in these
performances.
I
find it fascinating at the distribution of the music, for instance,
there’s only one disk by the Swedish Chamber Orchestra, but there’s
six by the Northern Chamber Orchestra and eight each by the Cologne
Chamber Orchestra and the Nicolaus Esterházy Sinfonia. I mention
this because the Swedish disk is marvellous, comprising three
Symphonies from the middle of the canon – Nos. 50, 51
and 52 – in performances which are suave and perfectly
paced. These are an excellent example of how to perform music
of this period – nothing is hurried, everything falls perfectly
into place and there is a fine sense of style. No.50 is
a real winner. Here is Haydn, having emerged from the troubles
of the Sturm und Drang period, in a more mature guise than we
have so far heard him, indulging in jokes and jests and generally
having an high old time. The real highlight of this disk is the
adagio of No.51 which contains some exhilarating horn playing.
Throughout this is most satisfying and pleasurable listening.
Certainly this is one of the very best disks in the set, and it
makes me wish that the orchestra had had another disk or two.
Good though the Wordsworth performances are, these knock them
into the shade for their style. The recording is better too, being
clear but without the glassiness.
The Sinfonia Finlandia
is allocated three disks and two of them comprise nine of the
first 12 Symphonies so, with no disrespect to Haydn, it doesn’t
have the best material to work with. That said, it plays these
early pieces with a style and verve which I wouldn’t have expected.
There is a virility to much of the playing as well as the most
affecting tenderness, as in the slow movement of the No.3.
If, perhaps, things get a little carried away and the conductor
starts to drive the music this is a small problem for the fast
finales can stand a bit of pushing, and, strangely, this approach
makes the music seem bigger than it actually is. My favoured recording
for these early works, and I am no lover or supporter of original
instruments performance, has long been the two boxed sets by L’estro
armonico and Derek Solomons but these Finnish performances are
equally enjoyable and give Solomon and his band a real run for
their money. The recordings are very close and the harpsichord
is only sporadically Noticeable, not really a flaw but it would
have been nice to feel its presence in the ensemble, after all,
it was necessary at the time and these performances are trying
to have the right feel to them. Their other CD is a diverse mix
and it makes for an attractive programme. No.22 has a small
cadenza for the harpsichord between the slow introduction and
the main allegro and after that the instrument is silent. These
are lively performances, slightly hard driven in the fast movements
but entertaining and pleasing. What a fine chamber orchestra the
Sinfonia Finlandia is, and their contribution to this set is made
all the more significant by their strong advocacy of the very
early works.
I’d never heard of
the Toronto Camerata before receiving this set. It’s a good small
band with bright strings and brilliant winds and brass. Kevin
Mallon is a good conductor and directs unfussy performances of,
mainly, early Symphonies. He certainly understands the challenges
this music sets – it’s new, in a fledgling form and is still feeling
its way forwards and as there’s no deep emotion with which to
impress your audience, you don’t make big production numbers out
of them. These three disks are very good indeed except the harpsichord
is seldom audible – which turns out to be the norm throughout
the set – and, for some reason there’s an harpsichord in the performance
of the 62nd Symphony; surely, by now, Haydn
wouldn’t have been using a continuo instrument. No.20 is
especially thrilling in its use of trumpets and drums. The two
operatic Overtures make fine stable-mates for the Symphonies.
The six CDs by the
Northern Chamber Orchestra cover the canon from the earliest (Nos
6, 7 and 8) to No.79. Highlights include
a splendid account of No.22, with fabulous horns and cor
anglais, the right tone is hit from the start and this, sometimes,
dour work – it is quite dark – comes out fresh and sparkling.
This is very impressive. There’s also some fine solo string playing
in the three early works. There is a real swagger to the outer
movements of No.35, and a suavity to the slow movement.
No.49 starts with a slow movement filled with heartbreaking
pathos, the two fast movements are full of the stresses and strains
found in these Sturm und Drang works, and both are fast paced
manic performances. No.60 isn’t really a Symphony, it’s
six movements cobbled together from incidental music Haydn wrote
for a theatre production and includes some of his best jokes.
The 2nd, slow, movement is interrupted by a jaunty
march and the finale includes a short section where the violins
have to retune. In this performance the jokes are well placed
and Not overdone, making the performance a real joy. The last
disk contains three mature Symphonies – Nos. 77, 78
and 79 – which are given light performances and here I
would have preferred more heft for these are big works and need
an heavier hand at the helm and a bigger band. That said, these
are very fine performances, well thought out and executed, and
I do enjoy Ward’s often relaxed way with the music – the opening
movement of No.79 is particularly delightful with its main
theme which reminds one of Ernest Tomlinson’s lovely Little
Serenade! There’s an harpsichord in there, somewhere, in the
early works, and it occasionally surfaces, but it’s too often
lost in the texture, mainly through a backward balance.
The final two orchestras
– the Cologne Chamber Orchestra and the Nicolaus Esterházy Sinfonia
– each have eight disks, encompassing nearly half the canon. To
look at the Cologne performances first – the first movement of
No.13 is sparkling but the sound is tubby and much detail
is lost; there is also an huge rallentando over the final chords
which sounds grotesque. The slow movement, with its eloquent solo
cello part, is lovely, if rather rich in sound; it is recorded
very closely which robs the music of its intimacy. The finale,
with its fugue theme identical to Mozart’s in K551, comes
off quite well, except for the rallentando at the end. No.36
fares better, as does the Sinfonia Concertante, but the
constant braking at cadence points had, by the cadenza in the
first movement of the Sinfonia, started to really annoy
me as a self conscious mannerism. Their second disk, of Nos. 32,
33 and 34 is much better. Müller–Brühl seems more
contented here, and the recording is much clearer, but the Symphonies
have too much in common to make a really interesting, and varied,
programme. Disk 14 starts with a marvellously paced No.37
but Müller–Brühl’s interpretations only really get going with
the arrival of a minor key work – No.39. This is splendidly
performed, full of angst and worry, which makes the brightness
of No.40 all the more welcome and enjoyable. These three
CDs suffer from backwardly placed brass, winds and drums. The
first chord of No.41, on CD 15, is perfectly balanced by
the engineer and the sound is wonderfully clear with a real bite
to it, and this suits the performance which is straight forward
and brisk in a very forthright manner. I enjoyed this performance
greatly! No.58 brought an even greater revelation – the
first fully audible harpsichord I’d heard so far! And what a joy
it is to hear its contribution. No.59 is simply more of
the same with a very bright performance. As for the rest of the
performances by the Cologne Chamber Orchestra, highlights include
a tremendous performance of the finale of No.54, and a
gorgeous slow movement in No.57, full of poise and restraint.
No.75 is as good as it gets in these Cologne performances,
spritely outer movements, a delightful slow movement and a minuet
which nicely dances along, and the japes of No.80 are truly
side splitting! In general these Cologne performances are a bit
of a mixed bag, with some really exciting and fine performances
but the strange balance in their first three CDs doesn’t help
their cause. But it must be emphasized that when the performances
take off then there is much to enjoy, but beware Müller–Brühl’s
putting in the brakes at the ends of some movements for it does
become irritating.
And so to the eight
CDs by Nicolaus Esterházy Sinfonia under the direction of Béla
Drahos. Things get off to a bright start with a sparkling No.27,
and the Hornsignal is quite marvellous, with forthright
horns, sounding much more romantic and Schumannesque than Haydnesque
but making the most of their exhilarating writing. There is a
disturbing edginess to parts of the first movement of No.53
– one of the first works after the Sturm und Drang period – so
Drahos is quite right to point the hangover effect of the earlier
pieces. Other highlights of the Drahos CDs are the slow movement
of No.68, which displays a rapt attention to detail, the
1st movement of No.73 which has lots of mystery
and excitement and the first movement of No.93 which, if
a trifle hard driven, has exactly the right spirit for the music.
However, I do question the validity of the use of harpsichord
continuo in No.72 – by 1781 Haydn would undoubtedly have
stopped using a keyboard continuo in his works.
I’ve kept the best
until last. The Laudon Symphony (No. 69) must
be sampled for this is simply the best interpretation of the set
– it has everything and is exactly how later Haydn should be presented
to the public.
I’ve spent the better
part of four weeks listening to these performances – and other
recordings of the works – and, despite my few niggles, I can
heartily recommend this set for anyone interested in this great
composer, who does seem to languish in Mozart’s shadow more
than he should. With such good sound, in general, at the price
this constitutes a considerable bargain.
I might mention that for comparison purposes
I used the various Leslie Jones/Little Orchestra of London recordings
on Pye Golden Guinea and Nonesuch LPs (various Symphonies), Antonio
Janigro and the Symphony Orchestra of Radio Zagreb in their 1963
set of the Sturm und Drang works (Nos. 44 – 49) originally on
Philips LPs and now on Vanguard W 51184 (2 CDs), Derek Solomons
and L’estro armonico in various works (SAGA HAYDN 1 and 2 – LP
only) Beecham’s
idiosyncratic, but always revealing and interesting, set of the
London Symphonies on EMI 367 8932 (5 disks) and the very
special Max Goberman recordings, with the Vienna State Opera Orchestra
(had Goberman lived he would have made the first complete recordings
of these works and what a set that would have been!) which were
available on the Haydn Society and CBS LPs and now reissued in
splendid sound from Haydn
House (11CDs).
In a perfect world one would have all of
these recordings, and more, but if your pocket doesn’t run to
that expense you won’t be disappointed with this set. Happy
listening.
Bob Briggs
Information recieved from Peter Humphreys
Symphony No. 72 was written before No. 31, 'The Hornsignal'
which means it dates to the early 1760s (the only time, in fact,
that Haydn had four horn players at his disposal, which is why
Symphony 39 is now often back-dated to the same period). No. 72
is in fact as it were an early version of No.31, with similar
very difficult horn parts, and the same pattern in the finale,
with a set of slow variations, followed by a Presto.
Haydn
Symphonies on Naxos page
Full Listing:
CD1 – recorded 26 – 28 May 2004, Suolahti Hall, Finland
[71.38]
Symphony No. 1 in D major, Hob.I:1 (1759) [13:46]
Symphony No. 2 in C major, Hob.I:2 (1764) [9:35]
Symphony No. 3 in G major, Hob.I:3 (1762) [16:43]
Symphony No. 4 in D major, Hob.I:4 (1762) [13:46]
Symphony No. 5 in A major, Hob.I:5 (1762) [17:47]
Sinfonia Finlandia Jyväskylä/Patrick Gallois
CD2 – recorded 8–9 March 1993, Concert Hall, BBC New Broadcasting
House, Manchester; [59.06]
Symphony No. 6 in D major ‘Le Matin’, Hob.I:6 (1761) [17:54]
Symphony No. 7 in D major ‘Le Midi’, Hob.I:7 (1761) [20:26]
Symphony No. 8 in G major ‘Le Soir’, Hob.I:8 (1761) [20:46]
No.rthern Chamber Orchestra/Nicholas Ward
CD3 – recorded 15 – 18 February 2005, Suolahti Hall,
Finland [60.12]
Symphony No. 9 in C major, Hob.I:9 (1762) [12:09]
Symphony No. 10 in D major, Hob.I:10 (1766) [13:55]
Symphony No. 11 in E flat major, Hob.I:11 (1769) [17:28]
Symphony No. 12 in E major, Hob.I:12 (1763) [16:40]
Sinfonia Finlandia Jyväskylä/Patrick Gallois
CD4 – recorded 29 April and 26 – 31 August 1999, Concert
Studio of Deutschland Radio, Cologne [56.55]
Symphony No. 13 in D major, Hob.I:13 (1763) [20:12]
Symphony No. 36 in E flat major, Hob.I:36 (1769) [16:34]
Sinfonia Concertante in B flat major (Symphony No. 105),
Hob.I:105 (1792) [19:58]
Cologne Chamber Orchestra/Helmut Müller–Brühl
CD5 – recorded 18 – 20 July 2004, Grace Church on the
Hill, Toronto; [68:42]
Symphony No. 14 in A major, Hob.I:14 (1764) [15:58]
Symphony No. 15 in A major, Hob.I:15 (1764) [19:12]
Symphony No. 16 in B flat major, Hob.I:16 (1766) [14:36]
Symphony No. 17 in D major, Hob.I:17 (1765) [18:56]
Toronto Camerata/Kevin Mallon
CD6 – recorded 20 – 22 July 2004, Grace Church on the
Hill, Toronto [60.59]
Symphony No. 18 in G major, Hob.I:18 (1766) [13:56]
Symphony No. 19 in D major, Hob.I:19 (1766) [12:29]
Symphony No. 20 in C major, Hob.I:20 (1766) [17:41]
Symphony No. 21 in A major, Hob.I:21 (1764) [16:53]
Toronto Camerata/Kevin Mallon
CD7 – recorded 27 October 1992 (No. 22), and 27 October
1993 (Nos. 29 & 60), Concert Hall, BBC New Broadcasting House,
Manchester; [60.23]
Symphony No. 22 in E flat major ‘The Philosopher’, Hob.I:22
(1764) [17:52]
Symphony No. 29 in E major, Hob.I:29 (1765) [18:39]
Symphony No. 60 in C major ‘Il distratto’, Hob.I:60 (1774)
[23:52]
No.rthern Chamber Orchestra/Nicholas Ward
CD8 – recorded 1 – 2 October 1992, Concert Hall, BBC
New Broadcasting House, Manchester; September 1988 [56.12]
Symphony No. 24 in D major, Hob.I:24 (1764) [18:17]
Symphony No. 23 in G major, Hob.I:23 (1764) [15:05]
Symphony No. 61 in D major, Hob.I:61 (1776) [22:50]
No.rthern Chamber Orchestra/Nicholas Ward
CD9 – recorded 29 October – 2 November 2007, Laukaa Church,
Finland [12.22]
Symphony No. 25 in C major, Hob.I:25 (1766) [12:22]
Symphony No. 42 in D major, Hob.I:42 (1771) [28:26]
Symphony No. 65 in A major, Hob.I:65 (1778) [26:32]
Sinfonia Finlandia Jyväskylä/Patrick Gallois
CD10 – recorded 27 – 28 October 1992, Concert Hall, BBC
New Broadcasting House, Manchester; September 1988 [54.51]
Symphony No. 26 in D minor ‘Lamentatione’, Hob.I:26 (1770)
[15:05]
Symphony No. 35 in B flat major, Hob.I:35 (1767) [18:35]
Symphony No. 49 in F minor ‘La Passione’, Hob.I:49 (1768)
[20:54]
No.rthern Chamber Orchestra/Nicholas Ward
CD11 – recorded February 1998, Phoenix Studio, Budapest
[62.41]
Symphony No. 27 in G major, Hob.I:27 (1766) [13:18]
Symphony No. 28 in A major, Hob.I:28 (1765) [17:07]
Symphony No. 31 in D major ‘Hornsignal’, Hob.I:31 (1765)
[32:15]
Nicolaus Esterházy Sinfonia/Béla Drahos
CD12 – recorded 22 November 1992 (No. 30), 9 March 1993
(Nos. 55 & 63), Concert Hall, BBC New Broadcasting House,
Manchester; September 1988 [56.12]
Symphony No. 30 in C major ‘Alleluja’, Hob.I:30 (1765) 15:12]
Symphony No. 55 in E flat major ‘The Schoolmaster’, Hob.I:55
(1774) [21:50]
Symphony No. 63 in C major ‘La Roxelane’, Hob.I:63 (1781)
[18:58]
No.rthern Chamber Orchestra/Nicholas Ward
CD13 – recorded 16 – 20 June 1996, Concert Studio of Deutschland
Radio, Cologne [53.41]
Symphony No. 32 in C major, Hob.I:32 (1766) [16:04]
Symphony No. 33 in C major, Hob.I:33 (1767) [18:07]
Symphony No. 34 in D major, Hob.I:34 (1767) [19:16]
Cologne Chamber Orchestra/Helmut Müller–Brühl
CD14 – recorded 24 – 28 May 2002, Sendesaal DLR, Cologne
[58.41]
Symphony No. 37 in C major, Hob.I:37 (1758) [13:09]
Symphony No. 38 in C major, Hob.I:38 (1769) [14:39]
Symphony No. 39 in G minor, Hob.I:39 (1770) [15:38]
Symphony No. 40 in F major, Hob.I:40 (1763) [15:16]
Cologne Chamber Orchestra/Helmut Müller–Brühl
CD15 – recorded 8 – 9 April 2002 (Nos. 58 & 59), 24
June 2002 (No. 41), Sendesaal DLR, Cologne [57.05]
Symphony No. 41 in C major, Hob.I:41 (1770) [16:57]
Symphony No. 58 in F major, Hob.I:58 (1775) [18:18]
Symphony No. 59 in A major ‘Fire’, Hob.I:59 (1769) [21:50]
Cologne Chamber Orchestra/Helmut Müller–Brühl
CD16 – recorded August 1999 (No. 43), May 2002 (Nos. 46
& 57), Concert Studio of Deutschland Radio, Cologne [64.07]
Symphony No. 43 in E flat major ‘Mercury’, Hob.I:43 (1772)
[23:48]
Symphony No. 46 in B major, Hob.I:46 (1772) [19:18]
Symphony No. 47 in G major, Hob.I:47 (1772) [21:01]
Cologne Chamber Orchestra/Helmut Müller–Brühl
CD17 – recorded 14 – 18 June 1989, Moyzes Hall of the
Slovak Philharmonic, Bratislava [58.54]
Symphony No. 44 in E minor ‘Trauersymphonie’, Hob.I:44 (1772)
Symphony No. 88 in G major, Hob.I:88 (1787)
Symphony No. 104 in D major ‘London’, Hob.I:104 (1795)
Capella Istropolitana/Barry Wordsworth
CD18 – recorded 1 – 5 December 1989, Moyzes Hall of the
Slovak Philharmonic, Bratislava [72.42]
Symphony No. 45 in F sharp minor ‘Farewell’, Hob.I:45 (1772)
[25:06]
Symphony No. 48 in C major ‘Maria Theresia’, Hob.I:48 (1769)
[20:59]
Symphony No. 102 in B flat major ‘Miracle’, Hob.I:102 (1794)
[26:04]
Capella Istropolitana/Barry Wordsworth
CD19 – recorded 23 – 25 August 2000, Concert Hall, Örebro,
Sweden [63.33]
Symphony No. 50 in C major, Hob.I:50 (1773) [18:53]
Symphony No. 51 in B flat major, Hob.I:51 (1774) [20:22]
Symphony No. 52 in C minor, Hob.I:52 (1774) [24:18]
Swedish Chamber Orchestra/ Béla Drahos
CD20 – recorded 8 – 11 February 1993, Reformed Church,
Budapest [77.48]
Symphony No. 53 in D major ‘L’Impériale’, Hob.I:53 (1778/9)
[24:53]
Symphony No. 87 in A major, Hob.I:87 (1785) [22:35]
Symphony No. 86 in D major, Hob.I:86 (1786) [29:47]
Nicolaus Esterházy Sinfonia/Béla Drahos
CD21 – recorded 29 April – 5 May 1996, Concert Studio of
Deutschland Radio, Cologne [77.50]
Symphony No. 54 in G major, Hob.I:54 (1774) [24:45]
Symphony No. 56 in C major, Hob.I:56 (1774) [26:13]
Symphony No. 57 in D major, Hob.I:57 (1774) [25:32]
Cologne Chamber Orchestra/Helmut Müller–Brühl
CD22 – recorded 14 – 19 July 2008, St Anne’s Church,
Toronto [68.35]
Symphony No. 62 in D major, Hob.I:62 (1781) [25:26]
Symphony 'A' in B flat major, Hob.I:107 (No..107) (1762) [13:30]
Symphony 'B' in B flat major, Hob.I:108 (No..108) (1765) [13:33]
La Vera Constanza Overture, Hob.Ia:15 [9:00]
Lo speziale Overture, Hob.Ia:10 [6:50]
Toronto Camerata/Kevin Mallon
CD23 – recorded 22 – 28 May 1993, Reformed Church, Budapest
[68.18]
Symphony No. 64 in A major ‘Tempora Mutantur’, Hob.I:64
(1778) [17:53]
Symphony No. 84 in E flat major, Hob.I:84 (1786) 25:42]
Symphony No. 90 in C major, Hob.I:90 (1788) [24:10]
Nicolaus Esterházy Sinfonia/Béla Drahos
CD24 – recorded 19 – 23 January 1998, Phoenix Studio,
Budapest [76.05]
Symphony No. 66 in B flat major, Hob.I:66 (1779) [21:23]
Symphony No. 67 in F major, Hob.I:67 (1779) [25:15]
Symphony No. 68 in B flat major, Hob.I:68 (1779) [29:18]
Nicolaus Esterházy Sinfonia/Béla Drahos
CD25 – recorded 19 – 23 January 1998, Phoenix Studio,
Budapest [64.30]
Symphony No. 69 in C major ‘Laudon’, Hob.I:69 (1779) [19:38]
Symphony No. 89 in F major, Hob.I:89 (1787) [19:47]
Symphony No. 91 in E flat major, Hob.I:91 (1788) [24:39]
Nicolaus Esterházy Sinfonia/Béla Drahos
CD26 – recorded 24 – 27 July 2000, Phoenix Studio, Budapest
[69.29]
Symphony No. 70 in D major, Hob.I:70 (1779) [19:03]
Symphony No. 71 in B flat major, Hob.I:71 (1780) [27:36]
Symphony No. 73 in D major ‘La Chasse’, Hob.I:73 (1782)
[22:50]
Nicolaus Esterházy Sinfonia/Béla Drahos
CD27 – recorded 10 – 13 June 1994, Italian Institute,
Budapest [63.50]
Symphony No. 72 in D major, Hob.I:72 (1781) [21:28]
Symphony No. 93 in D major, Hob.I:93 (1791) [22:21]
Symphony No. 95 in C minor, Hob.I:95 (1791) [19:20]
Nicolaus Esterházy Sinfonia/Béla Drahos
CD28 – recorded (no date), Concert Studio of Deutschland
Radio, Cologne [69.41]
Symphony No. 74 in E flat major, Hob.I:74 (1781) [21:22]
Symphony No. 75 in B flat major, Hob.I:75 (1781) [22:25]
Symphony No. 76 in E flat major, Hob.I:76 (1782) [2:54]
Cologne Chamber Orchestra/Helmut Müller–Brühl
CD29 – recorded (no date), Concert Hall, BBC New Broadcasting
House, Manchester [58.26]
Symphony No. 77 in B flat major, Hob.I:77 (1782) [17:33]
Symphony No. 78 in C minor, Hob.I:78 (1782) [20:58]
Symphony No. 79 in F major, Hob.I:79 (1784) [19:54]
No.rthern Chamber Orchestra/Nicholas Ward
CD30 – recorded 9 – 11 October 1995 (Nos. 80 & 99),
29 April 1996 (No. 81), Concert Studio of Deutschland Radio,
Cologne [71.17]
Symphony No. 80 in D minor, Hob.I:80 (1784) [22:10]
Symphony No. 81 in G major, Hob.I:81 (1784) [24:24]
Symphony No. 99 in E flat major, Hob.I:99 (1793) [24:28]
Cologne Chamber Orchestra/Helmut Müller–Brühl
CD31 – recorded 9 – 14 March 1988, Concert Hall of the
Slovak Philharmonic [66.55]
Symphony No. 82 in C major ‘L'Ours’, Hob.I:82 (1786) [21:48]
Symphony No. 96 in D major, Hob.I:96 (1791) [20:06]
Symphony No. 100 in D major ‘Military’, Hob.I:100 (1793/4)
[24:38]
Capella Istropolitana/Barry Wordsworth
CD32 – recorded September 1988, Concert Hall of the Czechoslovak
Radio, Bratislava [71.37]
Symphony No. 83 in G minor ‘La Poule’, Hob.I:83 (1785) [20:00]
Symphony No. 94 in G major ‘Surprise’, Hob.I.94 (1791) [23:18]
Symphony No. 101 in D major ‘Clock’, Hob.I:101 (1793/4)
[28:19]
Capella Istropolitana/Barry Wordsworth
CD33 – recorded 1 – 5 March 1990, Moyzes Hall of the
Slovak Philharmonic, Bratislava [76.33]
Symphony No. 85 in B flat major ‘La Reine’, Hob.I:85 (1785)
[21:02]
Symphony No. 92 in G major ‘Oxford’, Hob.I:92 (1789) [27:19]
Symphony No. 103 in E flat major ‘Drumroll’, Hob.I:103 (1795)
[27:41]
Capella Istropolitana/Barry Wordsworth
CD34 – recorded 6 – 9 June 1994, Italian Institute, Budapest
[59.30]
Symphony No. 97 in C major, Hob.I:97 (1792) [25:30]
Symphony No. 98 in B flat major, Hob.I:98 (1792) [34:07]
Nicolaus Esterházy Sinfonia/Béla Drahos
NAXOS 8.503400
