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Symphonies n°97 & 102 Super Audio CD

3,6 étoiles sur 5
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Détails sur le produit

  • Interprète: Adam Fischer
  • Compositeur: Joseph Haydn
  • CD (11 juillet 2007)
  • : Requires SACD-compatible hardware
  • Nombre de disques: 1
  • Format : Super Audio CD
  • Label: Mdg
  • ASIN : B000TXY2BQ
  • Autres versions : Téléchargement MP3
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Commentaires client les plus utiles sur (beta) 3.6 étoiles sur 5 2 commentaires
3.0 étoiles sur 5 Thumpy, dry Haydn 1 avril 2017
Par jt52 - Publié sur
Format: CD Achat vérifié
Adam Fischer is well known for his Franz Josef Haydn performances so this is an OK but overall disappointing effort. The Haydn Philharmonie he leads here is a quite small sized period band and the performance style is heavy on the attack and somewhat dry. The kettledrums are emphasized more than maybe any other Haydn performance I can recall. Tempi are crisp and unsentimental. Pretty much any performance style can work I believe, but Fischer’s results here are clipped and emotionally constrained. I don’t hear the joy in the opening Allegro of the 102nd Symphony or the lilt and charm in the Minuet of the 97th. I also have Fischer’s earlier recording on Nimbus, which is a somewhat more traditional reading, a good performance marred by the typically awful Nimbus sound. This DG SACD release is engineered very well but the interpretation is less satisfying.

The two sections of this performance I enjoyed the most were in the 102nd Symphony (from 1794), in my opinion, the single piece where Haydn most closely approached Beethoven in style and emotion. The severe Largo introduction that opens the 102nd is taken more quickly than the norm but, given the portentous octaves that opens the work, this seems to work in lending the Largo more momentum. This promising beginning fades into a routine main Allegro, one where Fischer doesn’t succeed in bringing out the novel traits and style Haydn adopted in this late work. Probably the most beautiful single movement in this disc is the Adagio from the 102nd, well-known for its unusual but enticing melody. Fischer’s interpretation of this Adagio is unsatisfactory and doesn’t bring out its unique charm. But the recording ends on a high point: maybe the best single track on this release is the Finale of the 102nd, where enthusiasm takes hold of the conductor and orchestra for a nice conclusion to the disc.

The 97th Symphony (from 1792) is not one of Haydn’s more remarkable London symphonies, in my view, with its very formal opening Allegro constructed from what is barely a theme. The Minuet form the 97th contains orchestration inventiveness from Haydn, a very gifted arranger, but I don’t think these changes in colorings are brought out in an rendition that favors speed over nuance. Also included in this short disc – it clocks in right around 50 minutes – is an overture to the opera “Orfeo and Euridice”, a London project written in 1791 but then abandoned due to production difficulties.

Although this is an OK performance and the sound quality is very good, I think the remarkable nature of the 102nd Symphony is effaced by a somewhat mechanical performance. If you are interested in getting to know the 102nd, listen to the very original and insightful performance from Franz Bruggen (on Philips). This 2007 release, which was recorded in the auditorium located at the estate of Haydn’s patron, Esterhazy, at the Hungary-Austria border, receives 3 stars. It’s a missed chance.
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5.0 étoiles sur 5 Adam Fisher tops himself 6 août 2009
Par Kent Minault - Publié sur
Format: CD Achat vérifié
I can't wait to get home and listen to this disc again. It's totally surprising and original. I've enjoyed Fisher's other series of Haydn's London Symphonies on Nimbus, but with this it's apparent that Fisher has totally rethought his approach to Haydn. One can easily enjoy both series, almost as if they were from different conductors and orchestras. But this later series, enjoying the advantage of surround sound on SACD, has also benefited from the influence of the original instrument movement. Though they're evidently not using original instruments here, you get the clear textures that enable you to here the internal lines of the music, and the dynamics are astounding. The wit and jovial humor of the old prankster really come through, without missing any of the beauty of the music. I highly recommend it.
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