Originally issued during the mid-1970s, Antal Dorati’s complete traversal of the 104 symphonies of Joseph Haydn was a world first. There have been other complete cycles since, of course, one being Adam Fischer’s with the Austro-Hungarian Haydn Orchestra on Nimbus, though on hearing this budget extract from the Dorati series, again I’m reminded of just how superb it often was. This disc combines three of the “London” Symphonies, Haydn’s last 12 (barring of course the Sinfonia Concertante, Hob.I:105). This is unashamedly “big-band” Haydn that often pays little heed to periodist or authenticist semantics–and it’s none the worse for that! Dorati is a watchful and attentive interpreter who secures generally lithe and vigorously articulated playing from the largish forces of the Philharmonia Hungarica. Only occasionally, for example in the finales of Symphonies 94 and 101, do we register any passing inaccuracies, and then only in rapid passagework for the massed violins. For the most part these are so insignificant that they can be easily overlooked.
Dorati always was a master of Haydnesque wit. The famous “surprise” of Symphony No. 94 makes a powerful impression, and the conductor doesn’t trivialize the gesture as many others certainly do. The Janissary percussion effects in the “Military” Symphony (No. 100) are again carefully calculated; only in the confrontational minor-key episode of the Allegretto would I have liked greater dynamic contrast. As for No. 101, here’s an account that will charm and enliven even the most jaded Classical pedant, even if the tempo selected for the finale is a little on the slow side. In sum, these are adroit and jubilant performances, though nothing here eclipses Colin Davis’ Concertgebouw offerings on Philips that continue to merit top billing, especially if “big band” Haydn is your preference. [12/20/2000]
