M. HAYDN Symphonies: in F; 1 No. 14; 1 No. 17; 1 No. 19; 1 No. 24; 1 No. 29; 1 No. 33; 1 No. 40; 2 No. 41. 2 3 Marches 2 • 1 Frank Beerman, 2 Johannes Goritzki (cond); Deutsche Kammerakademie Neuss • CPO 777 137-2 (2 CDs: 155:54)


It is a painful commentary on how badly skewed the standard symphonic repertoire is, that from it one would suppose the only worthwhile composers active between 1760 and 1810 were Mozart, F. J. Haydn, and Beethoven. We can therefore be devoutly grateful that recordings bring us so much fine music that seldom or never makes it into most concert halls, such as the present set of symphonies by Michael Haydn. While he was not blessed with the extraordinary genius of either his brother Joseph or of Mozart (his colleague in Salzburg from 1773 to 1781), lacking the astonishing sheer inventiveness of the former and supernal formal perfection of the latter, he was a first-rate composer whose works are of considerably higher stature than those of most of his confrères , and deserve regularly to grace our ears.


In style, Michael Haydn’s symphonies are poised almost exactly halfway between his two great contemporaries; they often demonstrate a wit akin to his brother (e.g., the opening Vivace of No. 33), but a melodic and harmonic palette nearer to his junior associate (e.g., the Andante of the unnumbered Symphony in F Major). Indeed, the kinship between Michael Haydn and Mozart is often so close that one might fool friends in a parlor game by cueing up a movement from a Michael Haydn symphony and asking them to identify which earlier Mozart symphony they are hearing. (And, given that the Symphony in F Major was written in 1760 when Mozart was but four years old, the influence clearly ran initially from the elder man to the younger adolescent, though later on an interchange doubtless ran both ways.) The chief difference is that Michael Haydn’s symphonies remain somewhat more old-fashioned in form, instrumentation, and style. A number of symphonies follow the older three-movement pattern; scoring never includes clarinets, and almost never a flute; an independent part for a pair of bassoons appears beginning only in 1779. Prior to that, only strings, oboes, and horns are present, with trumpets and timpani sometimes added. Written primarily in the gallant style, the music always winningly engages but never fundamentally challenges the listener.


With this set, the cpo series of Michael Haydn symphonies finally nears completion after almost 20 years; of the 41 enumerated works, only numbers 13 and 20 have not been committed to disc. The first batch, a six-CD budget-priced megaset of 20 symphonies with the Slovak Chamber Orchestra under Bohdan Warchal recorded in 1990–91, featured the kind of conscientious but rather pedestrian playing of numerous provincial ensembles and conductors that for all too long made an indifferent case for Classical era works outside the standard symphonic canon. That changed radically in 1994 with the subsequent CD issues, all recorded with the present ensemble under its founder, Johannes Goritzki, using modern instruments but thoroughly informed by period-instrument practices. The CD with symphonies 1C, 22, 23, and 33 received a glowing review from Barry Brenesal in Fanfare 26:5, and this set is of the same extremely high caliber. At every turn the performances are lively, pointed, and gracious, with elegant, crisp, spirited playing and excellent sectional balance. No indication is given as to why the last two symphonies and three marches (all charming miniatures) were recorded instead with Beermann, but I cannot detect any strongly distinct interpretive profile between the two conductors. One vainly wishes that the first set would be rerecorded to match the standards of its successors. The recorded sound is clean and clear, and the booklet notes are exceptionally informative. Enthusiastically recommended.


FANFARE: James A. Altena

• Past recordings of Michael Haydn’s chamber divertimenti and the complete symphonic works met with great success • Wolfgang Brunner is regarded as one of the leading specialists in the field of historical keyboard instruments. • Authentic interpretations. • First volume in the series. • Michael Haydn developed a style marked by humor and imagination, cantabile melodies and technical virtuosity.

The Austrian cultural daily drehpunktkultur said the following in reference to Vol. 1 of CPO’s complete Michael Haydn wind concerto edition - “An all-around inspiring CD that makes one eager to hear the continuation!” In these works that make up Vol. 2 one can again hear the joy of experimentation, musical sense of humor and rich imagination typical of the composer. Characteristic features include the invention of beautiful melodies of cantabile character as well as passages of the highest virtuosity and technical difficulty. Wolfgang Brunner leads the Salzburg Hofmusik and soloists.

"• A live 1943 wartime recording of Haydn's Creation oratorio. • “Clemens Krauß both delighted and enthralled with a vivid performance of Haydn‘s Creation oratorio.. Three outstanding singers from his Munich entourage, Trude Eipperle, Julius Patzak and Georg Hann, together with the opera choir and Vienna Philharmonic, followed his unaffected musical direction as a masterly ensemble, lending this utterly native and yet world-famous work the musical honour it deserves.” - Wiener Krone Zeitung, March 1943"

Classical Music

Classical Music

Classical Music

This is volume three of the Mendelssohn Piano Trio's ongoing project of Haydn's piano trios. Fanfare praised volume two saying, "The Mendelssohn Trio uses it's ability to interpret the great composer's music with sensitive, idiomatic playing. In addition, the disc has excellent, crystal-clear sound we can look forward to a great deal more from this excellent trio."

Classical Music

This new release is the eighth and final volume in this superlative cycle of the complete Haydn Piano Trios, performed by The Mendelssohn Piano Trio. Four works are featured, including Piano Trio in F Major, Hob. XV: 37, Piano Trio in E-flat Major Hob. XV: 29, Piano Trio in C Minor, Hob XV: 13, and Piano Trio in G Major, Hob XV: 32. The Mendelssohn Piano Trio was founded in 1997, and since their inception have performed more than 500 concerts in the United States, Europe, and Asia. They have also recorded an impressive fifteen albums, including the present cycle. The trio is pianist Ya-Ting Chang from Taiwan, violinist Peter Sirotin from Ukraine, and cellist Fiona Thompson from England. “…the fine young Mendelssohn Piano Trio presented a program so lush, substantial and richly flavored you wanted to eat it with a knife and fork.” (The Washington Post)

The series, the first of it's kind to occur on American soil since 1971, may be approaching it's conclusion, but the plaudits keep coming in for the Mendelssohn Piano Trio's multi-volume Joseph Haydn complete Piano Trio series, now at it's sixth volume with this release. Founded 1997, the Trio has performed over 500 concerts across the globe and more seen the release of more than a dozen albums, much of it, as here, released on the Centaur label. "... beautifully measured - warm, sonorous and lively - and the recording is very natural and spacious." (Audiophilia; Haydn: Vol. 4 (CRC 3392))

Classical Music

The series, the first of its kind to occur on American soil since 1971, may be approaching its conclusion, but the plaudits keep coming in for the Mendelssohn Piano Trio’s multi-volume Joseph Haydn complete Piano Trio series, now at its fifth volume with this release. Founded 1997, the Trio has performed over 500 concerts across the globe and has at present a 15-disc discography, much of it, as here, released on the Centaur label. “…beautifully measured – warm, sonorous and lively – and the recording is very natural and spacious.” (Audiophilia; Haydn: Vol. 4 (CRC 3392))

• The piano sonatas of Haydn need no introduction. Russian pianist Daria Gloukhova is one of today's most exciting pianists. She infuses these works with an intensity and poetry that make these performances rise far beyond the norm.

These performances are splendid in every way, and the recording is equally fine. I can't imagine a better introduction to this long-neglected music. - George Chien, Fanfare Magazine.