Here’s an odd coupling of Haydn symphonies that in the end turn out to be a compelling twosome. The restlessly sunny “Tempora mutantur” (No. 64) simply cooks under chef d’orchestre Thomas Fey’s hot-pointed direction. Tempos are vigorous and upbeat, and sometimes a bit bright for the Schlierbacher Kammerorchester to nail rapid downward runs with total security. At the same time, the colorations available from period instruments reinforce the harmonic disquiet and structural sting that characterize the dark, F-sharp minor orb of the “Farewell” symphony (No. 45). Each symphony’s menuet movement slips into the subsequent finale with no more than a nod and a wink. There’s never one moment in these performances when the music sounds less than modern, due in great part to crisp linear delineation and pungent accents that keep both performers and listeners on the edge of their comfy chairs. This second volume in Hänssler’s survey of all 107 Haydn symphonies is a fun and illuminating ride along the way to the cycle’s final destination.
