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Symphonies N°48 & N°56 /Vol.12

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Détails sur le produit

  • Interprète: Thomas Fey
  • CD (1 janvier 2013)
  • Nombre de disques: 1
  • Label: Hänssler Classic
  • ASIN : B003E113RG
  • Autres versions : Téléchargement MP3
  • Classement des meilleures ventes d'Amazon: 285.265 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Sinfonia n.48 in Do maggiore Hob. I:48 Maria Theresia; Sinfonia n.56 in Do maggiore Hob. I:56

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5 internautes sur 5 ont trouvé ce commentaire utile 
A must have for the Haydn lover 17 août 2010
Par Mr. Jeremy C. Alam - Publié sur Amazon.com
Format: CD Achat vérifié
These are thrilling recordings that should be in the collection of any lover of Haydn. The two symphonies featured are distinguished members of the composer's great series of C Major works, one the relatively well-known "Maria Theresia" and the other the much lesser known, but in my opinion greater, No.56. Both symphonies feature trumpets and drums and are festive works of great brilliance. No.48 is the more "showy" work fully befitting its namesake, while No.56 is the more noble.

One of the striking aspects that distinguishes Fey's recordings from others I have heard is the crisply articulated inner string and woodwind parts. The oboe and bassoon playing is wonderfully engaging, and beautifully serve Haydn's expressive scores, particularly in the slow movements. The adagio in No.56 in Fey's hands has an almost unworldly beauty that one normally associates with many of Mozart's mature works, but with filagree details that are Haydn's own. These latter are particularly characteristic of his middle symphonies.

Perhaps the best feature of these recordings is Fey's mastery of tempo. Both Mozart and Haydn are notoriously difficult composers to get right with their speed settings and accents - as a general rule, played too slow their music can seem staid and dragging, too fast and many emotional details are not brought out. Especially problematic is how speed should be applied within individual movements to respect the emotional logic of the scoring and the classical idiom. Without an appreciation of accent the wit and humor of these composers can get lost. For example, often fine though they are, the Haydn recordings of Dorati and Müller-Brühl suffer from slightly ill-judged tempi, particularly in the minuets and finales. Here, Fey absolutely nails the tempo and accents - listen to the first movement of the Maria Theresia and the swirling tarantella finale of No.56, but also listen to the expansive adagios of both symphonies and realize how Haydn should be played! The natural horns help in this respect and are a welcome development of period practice.

It's often said that Beethoven's works are more dramatic and powerful than those of Haydn, particularly with that composer's expanded forces and extended movement lengths. Normally, this is born out in the kinds of recordings one usually hears with Haydn scores, particularly when chamber orchestras with period forces and instruments are used. But with Thomas Fey and the Heidelberg Sinfonika I heard two works that stand absolutely comparable with those of the latter Master in terms of expressive power while yet having the finer part writing of Haydn. I was truly astonished!

For anyone starting out on a voyage of discovery with the music of Haydn I can't recommend this CD too highly. It portrays the composer, not as the venerable yet staid predecessor of Mozart and Beethoven, but as a man and artist capable of evoking the most heartfelt emotion, engaging wit and amazing power of invention. After listening to it you will agree with Mozart that 'there was no one else who can do it all - to joke and to terrify, to evoke laughter and profound sentiment - and all equally well, except Joseph Haydn'
4 internautes sur 4 ont trouvé ce commentaire utile 
Fey does it again - period-like performances with body and muscle 7 août 2010
Par R. Lane - Publié sur Amazon.com
Format: CD Achat vérifié
Thomas Fey is taking his sweet time to go through the 104+ of FJ Haydn's symphonies and commit his thrilling performances to recordings. The first volume (see Haydn: Symphonies Nos. 104 ("London") & 94 ("Surprise"); Acide e Galatea Overture was recorded in 1999, a full 10 years before the recordings in this, the 12th volume. I recall hearing for some time that the conductor was having second thoughts about recording the entire cycle. After the last few issues, I certainly hope he never entertains such thoughts again. May he have the same attitude as Masaaki Suzuki, who responded that he just wanted to keep going when asked when he would finish the even more ominous task of recording (and performing) all 200+ of JS Bach's surviving cantatas - a project almost twice the size (about 66 CDs) of a Haydn symphony cycle (typically about 32 CDs).

The current selection only contains 2 works but stretches to a full 64+ minutes. The first selection is the phenomenal #48, which carries the title Maria Theresa, a well-known Sturm und Drang symphony more frequently performed in major concert halls over the decades than most the rest of Haydn's symphonies numbered prior to the more-well-known Paris and London sets (82 - 104). And one listening to Fey's outstanding reading shows why. The Heidelberger Sinfoniker, while using period instruments and performing practices, still sound full bodied and rich. This is not Haydn that looks back to Vivaldi, but Haydn that looks forward to Beethoven. The second movement adagio has always been one my favorite of Haydn's slow movements. Fey's reading starts out just slow enough to allow the horns to reverberate pleasingly, but picks up enough to give the movement lively rhythm too. And the menuet is not overly waltz-like as many others seem to me, but has a restrained charm that brings you to life without making you jump out of your seat. And the Finale is a splendid celebration fitting for the crowning of kings (and queens).

Symphony #56 is no less pleasing, though I have to admit I more often stop the player and repeat all or part of #48 before #56 has chance to start. As good as the symphony is, and Fey's reading is just as compelling as it is in #48, #56 is simply not in the same league with #48. To give it a chance, I've had to pull the CD out of the jewel case and start it at track 5 so I don't get sucked into #48.

As with other issues in the series, Hänssler's recording team reaches the highest standards of audio quality. I only wish Hänssler would join the SACD bandwagon.

Anyone questioning whether Haydn's less famous earlier symphonies are worth investigating should buy this disk and find such a thought forever banished from their mind. The splendid addicting reading of #48 should be enough by itself to convince anyone that the sympohnies numbered before #82 are plenty worth acquiring and enjoying.
Poor String Tone Mars Spirited Effort 17 août 2015
Par Huntley Haverstock - Publié sur Amazon.com
This recording is a testament to irony. Fey and the Heidelbergers are a HIP outfit all the way, yet they include both trumpets and timpani in the Maria Theresa - I think it works rather well, actually. It enlivens the proceedings, and distracts the ear from the horrific tone of the strings. In both the Maria Theresa and the 56 there are some truly powerful moments, and the end result is an interesting disc that transcends the limp and sour tone of the orchestra.

I'm all for transparency and the limitation of excessive vibrato in the service of clarity, but good lord do these strings sound feline. Indeed, if not for the God Awful tone of the Heidelberg strings, this rendition of the Maria Theresa would have been a triumph. Fey even gives us a seldom observed repeat in the Allegro. What a pity that the strings sound like crap.

No. 56 has the same strengths and weaknesses as No. 48. Fey gets some lively and agile playing from the Heidelbergers, and there is plenty of power in the tutti passages. But again, those strings sprinkle on the parade. On the plus side, this disc is a convincing argument in favor of period brass and timpani. There is a lot of punch and power to these readings.

3 1/2 stars. Could have been awesome with better tone from the orchestra. Would it have killed Fey to coax a slightly less sour sound from his fiddlers?
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