Joseph HAYDN (1732-1809)
Symphony No. 93 in D major, Hob.I:93 (1791) [21:55]
Symphony No. 94 in G major Surprise, Hob.I.94 (1791) [23:54]
Symphony No. 103 in E flat major Drumroll, Hob.I:103 (1795) [26:52]
Dresdner Philharmonie/Günther Herbig
rec. 7-8 January 1975, 15-18 September 1975 (93-94), 5 December 1974 (103),
Lukaskirche, Dresden, Germany
BERLIN CLASSICS ETERNA EDITION 0300354BC [73:02]
This CD consisting of three late Haydn symphonies is one of a series of recordings
from Eterna Edition who are reissuing analogue recordings from the former
East German state-owned label Eterna. There are 30 CDs available in the series
and these include a number of names that were active on the Soviet side of
the Iron Curtain and even today are still little known such as the conductors:
Franz Konwitschny, Heinz Rögner, Otmar Suitner, Max Pommer. On the original
Eterna Edition LP were Symphonies Nos 93 and 94 recorded in 1975. Included
as a bonus item is the Symphony No. 103 from 1974 although we are not given
any other information about its origins as a recording. A nice touch is the
cover design taken from the original Eterna LP sleeve. Although I have received
a brief press release from Eterna Edition I know little else of the recording
as the booklet notes are entirely in German.
The Dresdner Philharmonie is conducted by Czech/German Günther Herbig.
Although founded as long ago as 1870 this orchestra is far less known internationally
than their auspicious neighbours the Staatskapelle Dresden, one of the oldest
orchestras in the world and steeped in tradition. Born in Czechoslovakia Herbig
studied at the Franz Liszt Academy, Weimar and became a pupil of German conductor
Hermann Abendroth. Between 1972/77 Herbig served as chief conductor of the
Dresdner Philharmonie. It seems that Herbig, after a clash with the DDR Politburo,
left East Germany and the Iron Curtain behind and emigrated to the USA. In
the early to mid-1980s I remember attending a number of BBC Philharmonic concerts
at Studio 3, BBC New Broadcasting House in Manchester with Herbig conducting.
He had been the orchestra’s chief guest conductor. Earlier this year
I attended concerts at Kendal, Cumbria and the Bridgewater Hall, Manchester
with Herbig conducting the BBC Philharmonic. In both concerts the main work
of the evening was the popular repertoire staple Dvořák’s
Symphony No.8 in G major. I can report that the vastly experienced
Herbig, conducting without a score, was in exceptionally good form.
After the death of his employer Prince Nikolaus Esterházy and the consequent
disbanding of the Esterházy court orchestra at Eisenstadt, Haydn now
had the time to accept the invitation of Johann Peter Salomon, the violinist
and impresario, to come over to England. Subsequently Haydn visited London
in 1791/92 and later in 1794/95, the only two occasions that he left Austrian
Empire territory. During his stays in London Haydn wrote his celebrated set
of 12 ‘London’ Symphonies sometimes called the ‘Salomon’
Symphonies. It is generally agreed that the ‘London’ Symphonies
are the pinnacle of Haydn’s accomplishments in orchestral music. It
seems that the Symphonies Nos. 93-98 were composed during Haydn’s first
London sojourn and Nos. 99-104 during the second stay. It was during a series
of public concerts that Haydn performed the ‘London’ Symphonies
in London to great public acclaim. With the composition of these ‘London’
symphonies Haydn was taking full advantage of the availability in London of
an orchestra that contained a large number of high quality players superior
to those he was used to at home.
The bright analogue sound quality for Herbig is clear and well balanced wearing
its age lightly with only a small amount of peak distortion. This sounds like
big-band Haydn played on modern instruments with Herbig prompting alert and
direct performances of an uncommon freshness with no sense of routine. He
shapes everything so splendidly taking the Allegro movements briskly
with resilient rhythms. The slow movements are tender and expressive. In the
Symphony No. 93 I especially enjoyed Herbig’s opening movement which
is defined by bold and muscular playing. The Largo is glorious with
delicate chamber-like episodes. Opening with a serious introduction the first
movement of the Symphony No. 94 in Herbig’s hands is vivacious and melodically
appealing. The surprise drum stroke in the Andante is certainly loud
enough to make a listener jump. I also enjoyed the Minuet with its
stately Viennese waltz manner and beguiling lyricism. In the outstanding and
decidedly melodic Drumroll the Minuet feels marvellously dignified.
Herbig is at his finest in the memorable Finale, Allegro con spirito.
It is marked by spirited and vivacious playing from the Dresdner Phil.
Despite the undoubted merits of this reissued recording of three of Haydn’s
twelve ‘London’ Symphonies it doesn’t surpass my favourite
accounts but would serve as a splendid supplement. Although not widely regarded
as a Haydn conductor Karajan was highly impressive. I hold in great esteem
his beautifully played and recorded 1981/82 Berlin accounts; a five disc box
of the complete ‘London’ Symphonies (Deutsche Grammophon 429 658-2).
This is mightily impressive playing of these three reissued Haydn symphonies
in music that runs through the blood of Günther Herbig.
Michael Cookson
Masterwork Index: Haydn
London symphonies
Mightily impressive playing.