Joseph HAYDN (1732-1809)
Symphony No. 49 in F minor, La Passione (1768) [21:00]
Symphony No. 103 in E flat major, Drum Roll (1795) [27:03]
Symphony No. 104 in D major, London (1795) [30:11]
London Mozart Players/Harry Blech
rec. 1952 (Symphony 49), 1955 (Symphonies 103-4), ADD
FORGOTTEN RECORDS fr239 [78:17] 
Symphony 49 will be the least well known of the three on this CD. It
is as striking as the others owing to its sustained solemnity of sorrow that
as its nickname suggests depicts Christ’s Passion. Harry Blech’s fine judgement
of tempo brings to the opening slow movement (tr. 1) a degree of animation
which creates a pained yet not hectoring insistency to its sequences in semiquavers.
The second theme (1:44) has a more humane aspect and the exposition’s codetta
(2:23) delivers a sudden, piercing intensity as the first violins break into
the upper register. The development (3:10) begins in that register and is
in the manner of a soulful aria. The harrowing experience is completed by
a coda which brings the suffering directly to you (5:38). Blech conveys all
this expressively, even if the London Mozart Players’ string texture is rather
darker, richer, more romantic than we are used to nowadays. The following
Allegro di molto (tr. 2) has a grim relish in its octave leaps with
a second theme’s attempted relaxed sequences (0:20) and third theme’s graceful
roundedness (1:00) rebuffed before its fiery close.
The fullish body of Blech’s strings makes the forthright projection of the
Minuet (tr. 3) more oppressive in its gloomy cast. Its seriousness is emphasised
by a coda to the second strain (1:26), at first pleading, then resolute and
finally reflective. The Trio, the sole excursion in the work to F major, offers
a brief sunny interlude as the first horn climbs heavenwards at the end of
both sections. Quiet opening notwithstanding, Blech’s finale is suitably stark
with determined progression, well phrased and detailed, and the urgency its
Presto marking suggests.
I compared some Haydn of the period, also in mono but perhaps more familiar,
the 1953 recording by the Vienna State Opera Orchestra/Hermann Scherchen in
a boxed set of his Haydn recordings (Deutsche Grammophon 471 256-2). His opening
movement, timing 8:48 in comparison with Blech’s 7:06, is a more marked Adagio
but thereby appears comparatively self-conscious, every sigh staged, albeit
beautifully played and full of pathos, more romantic than the more classical
Blech. His second movement is crisper and more waspish. His Minuet is more
grittily purposeful than Blech’s but the plainer presence of its horns’ sustained
notes is less telling. Scherchen’s Trio, however, is quieter yet more serene.
His finale is even more driven and tense than Blech’s but ends too abruptly
without its second half repeat which Blech supplies. Throughout the work Scherchen
has the advantage of clearer sound that reveals Haydn’s dynamic contrasts.
There’s a veiled quality to the Decca Blech recording.
Happily, turning to the other symphonies on this CD which Blech recorded for
EMI the sound is brighter and more transparent. Blech’s austere treatment
of the introduction of the Drum roll symphony with its
reference to the Dies irae chant, has a sense of experience of troubled
times; yet having come through these makes the Allegro the more vivacious,
as full of joie de vivre as any I’ve heard. Then the return of the
drum roll shows the troubles are still kept in mind. Blech’s slow movement
(tr. 6) has a feel of eagerness to develop despite the C minor key because
of its fine and expressive phrasing. This is a double set of variations in
which C minor alternates with C major, the first C major variation (2:06)
immediately more content and secure. Yet, as in the first movement, the minor
key material returns (3:04). The oboe pleads to the strings, joined by flute
and bassoon. In this performance there’s a heartening sense of individuals
trying to cheer the atmosphere. The second C major variation (4:27) offers
a violin solo, a focus for more sustained individual brightness. The third
C minor variation (5:25) is generally stiffer, but still has its softer, again
pleading moments. The third C major one (6:28) brings a balmy duet for oboes
with flute arabesques above, a firmly bright tutti leading to more
lightly scored, quieter passages, lovingly lingered over and expanded before
an affirmative tutti close. Blech brings a committed expressiveness
to the performance of all these features and thereby clarifies the surprising
range of mood within the overall flow. Blech’s Minuet is bright and grand,
his Trio nonchalant yet with a natural feel to it. Blech’s finale has a pleasing
combination of relaxation and breezy festivity; at the same time you feel
every note matters.
Again I compared Scherchen whose recording of this work was made in 1951 with
the Vienna Symphony Orchestra. His first movement takes 10:00 in comparison
with Blech’s 8:14. Thereby Scherchen’s introduction has less shape, begins
to seem interminable and even puts the brakes a little on the Allegro,
albeit daintily fashioned. Scherchen’s slow movement at 10:41 is more dogged
than Blech’s 9:13, with a rustic, peasant feel in its stealthy start and heavy
accents. Rusticity is more appropriate for the bouncing Minuet contrasted
by a Trio of abstract musing. Scherchen’s finale is smoother in opening than
Blech’s and has a grander, more sonorous peroration. Blech is lighter, yet
incisive, more humorous, but no less joyous. Blech seems closer to what we’d
now recognize as period instrument style performance.
Blech’s London symphony is equally impressive.
Its introduction is a clear cut contrast between the affirmation of its tuttis
and feeling of its strings’ reflective responses. Blech’s Allegro is
a fluent, scintillating progression yet there’s also ample punch in the development’s
angry declamation of the six-note motif derived from the initially benign
first theme. Blech’s slow movement is suave, smooth and urbane, played with
warmth and affection and wonderfully expansive towards and at the climax of
the second half of the melody. Yet again the strength of Haydn’s contrast
is clear in the toughness of Blech’s sinewy G minor central episode. Blech
gives us a fresh, sprightly Minuet and sinuous, graceful Trio. His finale
is frolicsome and festive, at a hair-raising pace. Again I compared Scherchen,
recorded in 1952 with the Vienna Symphony Orchestra. His introduction is even
more contrasted but in being so becomes more romantic than classical while
his heavier Allegro lacks Blech’s lustre. Scherchen’s slow movement
is quieter, more coy, but too knowing and his slower tempo makes for a rather
sentimental close. Scherchen finds more majesty and power in the Minuet where
Blech’s timpani are too tame. Scherchen’s Trio has more nuance in the beguiling
way he leans on the opening four-note motto, yet Blech has more blithe flow.
Scherchen’s finale is grander but slows down to emphasise still further the
already more sustained second theme (tr. 12 1:09 in Blech’s recording). I
find Blech more classical and convincing.
Documentation is skimpy: there are no notes, though internet links are cited.
Incorrect prefixes are supplied for original (at least UK) catalogue numbers:
LTX should be LXT and CPL should be CLP. But unquestionably these are undeservedly
forgotten recordings. I found myself regretting that Haydn isn’t played like
this now. Today presentation is lighter, more elegant, but Blech conveys so
well the feeling behind the classical restraint.
Michael Greenhalgh
Blech conveys so well the feeling behind the classical restraint.