Search - Franz Joseph Haydn, René Jacobs, Bernarda Fink :: Haydn: Symphonies no. 91 & 92 "Oxford"; Scena di Berenice

Bravo Jacobs & the Freiburgers....more please!

DAVID A. FLETCHER | Richmond, Va United States | 06/11/2005

(5 out of 5 stars)

"Prominent tympani aside (which feature, by the way, in more Haydn than the "Drumroll" symphony--funny what you can hear when you trim away a couple of desks of strings), this most recent outing by Rene Jacobs and his Freiburg band--Haydn's infectiously inventive "pre-London" symphonies 91 and 92-- contains many of the same delights found in their previous exercise, Haydn's "Seasons." If you've heard and loved Jacobs' way with that late masterpiece, you'll be equally satisfied by this current release. The same attention to felicitous detail, which abounds in all Haydn, but particularly in the late symphonies and the oratorios, can be found here. Tempos are occasionally elastic, but nothing is truly stretched out of shape. What is certain, though, is the incredible level of energy and interest that Jacobs imbues with every bar. Strings attack their lines with gusto, and winds and brass supply their accents with great character and variety. And yes, there IS percussion in Haydn, though certainly not of the overwhelming variety referred to in an earlier review. The recording quality is superb, the effect much like a good orchestra-front seat in a small hall. Intonation and attack are precise, with wondefully balanced soloists. This isn't Haydn for your grandmother's Oldsmobile; it's fresh and truly alive.



The closest performing analogy I can apply to these readings is the traversal of the complete Haydn symphonies by Adam Fischer and his Austro-Hungarian Haydn Orchestra, currently available on the Brilliant Classics label. The orchestras of Fischer and Jacobs are of similar size, though while the Austro-Hungarians are a modern instrument ensemble whose playing is informed by period practice, Jacobs' Freiburgers are period performers through and through. Fortunately, this doesn't automatically translate into the dreaded tinny scratchings of gut strings and overly careful tiptoeing-on-broken-glass phrasing that mar some period outings. What Jacobs communicates beautifully is the sense of discovery and humor that Haydn so often imbued his scores with, the feeling that you're standing in the master's workshop as he tinkers and refines the very classical forms that he'd developed decades prior. Nothing is phoned in, copied & pasted, or blindly passed along here. If anything, Jacobs is more spirited than Fischer in the two symphonies performed here, though I do return often to the ealier set with pleasure.



As a substantial entr'acte, we're given Haydn's "Scena di Berenice," his setting of a portion of the third act of "Antigono" by Metastasio. In it, the character of Berenice is lamenting the death of Demetrio, begging him to take her in death to be with him. It's a brief but pungently scored and arranged bit of theater, originally premiered in London along with Haydn's Symphony 104. Bernarda Fink's dramatic mezzo is forcefully employed here to telling effect, with Haydn's sudden key and mood changes caught on the wing. Fortunately for all of us, Fink and Jacob's result here is more successful than those reports of the premier at Haydn's last benefit concert on May 4, 1795, where the maestro himself later lamented that soprano Brigida Banti "sang very scanty." Ms. Fink certainly more than holds her own here among some rather distinguished company. I'll close with a fervent hope that Jacobs tackles more late Haydn--perhaps a full set of the "London" symphonies, and a "Creation" to rival or surpass the benchmarks set by Gardiner and Karajan in the latter, to name a few."

A winner on every level

Prescott Cunningham Moore | 09/19/2009

(5 out of 5 stars)

"I like to think this is how Haydn would have heard (or wanted to hear) his symphonies performed; period instruments, violins separated, big winds, hard mallets for the timpani, and an ever-present - but never distracting - continuo provided by a piano forte. At the same time, I like to think Haydn would approve of Jacobs' work here. It is not that he simply provides the requisite amount of humor, of plays the allegros with vigor. Rather, Jacobs' ability to really tap into the intention behind each note is illustrative of his deep understanding of Baroque and early classical music.



Comparing the slow introductions to both symphonies is a prime example. Compare his gutsy opening to the E-flat symphony to his stunning unfolding of the "Oxford," simply one of the most sublime on disc, which builds tension with embarrassing effectiveness in less than two minutes time. That same movement's allegro is brisk, the tutti's bursting with spumescent effervescence and vigor. Jacob's observes every repeat here, and in the neighboring E-flat symphony, but you would hardly know, as he (rightly) highlights something new each time around, just listen to the delightful dialogue between flute and piano forte at the close of the exposition, or how the repeat of the development and recapitulation never sounds tedious. This is also true of the performance of the E-flat symphony, where Jacobs' handling of the second subject in the recapitulation shows how Haydn, through subtle differences in orchestration, could create an entirely different effective with the same motive elements. It is dramatic, exciting, dare I say "romantic," and emblazons the recapitulation with a kaleidoscope of colors. The development is equally fine, where the fabulous strings really dig into their parts with vertiginous ferocity.



The minuets and finales of both symphonies are in keeping with the current practice of "faster is better," which might explain the ridiculous tempo Jacobs adopts for the finale of "Oxford." However, that the Freiburg players not only keep up with Jacobs but seem to relish in the presto justifies the speed, adds more Haydnesque humor than even the most avid listener could want, and, from a purely technical standpoint, is just miraculous. That same symphony's trio features some wonderful horn work, while Jacobs revels in the music's start-stop humor with an exciting accelerando and fun dynamic shifts. Thrilling horn work pervades the E-flat Symphony's trio as well, while the finale is all fun, benefited by a fully audible solo cello.



The andante of both symphonies may give some listeners pause. In the E-flat symphony, the Haydn's solo violin part is treated as a "jumping off" point for the soloist, who adds embellishments and ornamentation throughout. This bothers me not in the slightest. For one, Haydn's writing here is sturdy enough to handle such stylized handling of the solo part. Secondly, this was the common practice during Haydn's lifetime. Finally, the handling of the ornamentation is sensitive to Haydn's intentions and judiciously applied to the multifarious motifs. The adagio of the "Oxford" is more problematic. Jacobs has the pianoforte playing a continuo throughout the movement, which adds a cloying preciousness to the otherwise sublime nature of this music. The timbre of the pianoforte is akin to a harp and while it adds a great deal of color to the movement, it sounds out of place, even if it may be historically correct. Still, the movement is beautifully played, and the minor episodes are thrilling to say the least.



The concert aria, add-on that it is, can hardly be viewed as a filler. Listeners of Haydn are certainly more familiar with his symphonic output than his masses, oratorios, and certainly his long-abandoned operas (why they are not more often played is anyone's guess) so having this scene on disc is certainly a welcome bonus. One forgets how dramatic, stylized, and thrilling Haydn's music that accompanies voice truly is. I am immediately reminded of the demonic energy of Winter from the Season's here, and its wonderful to see Haydn's vocal music placed side-by-side his Symphonies. For one, for the obvious contracts. But also, as always with this composer, there are subtle links which illustrate not only how brilliant Haydn was but also how important he was in the history of music. Bernarda Fink is simply fabulous in both the recitative passages and in the aria proper.



What a wonderful release that, the above reservation about the adagio of the "Oxford" aside, I can recommend without reservation. These performances really stand out among the competition, beating out Dorati's otherwise fine performance due to that extra ounce of excitement, beating Bruggen's beautiful, but poorly recorded, performances, passing by Fischer because the Freiburg players create a more idiomatic sound, and blowing Rattle's mediocre Berlin performance's out of the water on every level. While it saddens me that Jacobs has not recorded more of the Haydn symphonies, his Mozart operas and Bach vocal performances are simply stunning. A winning release."