Notes and Editorial Reviews
A superb record—Solti's Haydn series goes from strength to strength. This coupling has the spirit of Sir Thomas Beecham smiling over the proceedings, so elegant and refined is the LPO playing, so graceful the phrasing, so subtle is the adjustment of light and shade, especially in the enchanting slow movement of No. 95. There is stature as well as warmth: both finales are uncommonly strong: that to No. 95 is given a remarkable sense of purpose and structural cohesion, without losing its essential humanity. At every point Sir Georg seems to find the right tempo. Minuets are spirited and never heavy and in the trios the glowing woodwind playing of No. 104 is matched by the witty articulation of the solo cellist in No. 95. In first movements
Solti finds a natural balance between what I shall call the masculine and feminine elements, and the second group in No. 95 is a delight. The resilient string playing and the rhythmic bounce make one wonder again at the ebullient genius of its composer. Clearly for Solti, who can seem almost aggressively taut in some music this is a time to demonstrate that with Haydn (as in Schubert) he can relax and enjoy himself. But not before he has secured unanimity from his players and then encouraged them to join with him in revelling in the spontaneity of the invention.
The recordings, made in the ideal acoustics of the Henry Wood Hall (No. 104) and Walthamstow Town Hall (No. 95) are beautifully balanced: this is demonstration sound in its naturalness. Recommended to all those who love to hear eighteenth-century symphonies played with finesse and using modern instruments, with phrasing born out of the spirit of the music. A fair body of strings is used, and how well they sound!'
-- Ivan March, Gramophone [1/1987]
Works on This Recording
Symphony no 95 in C minor, H 1 no 95 by Franz Joseph Haydn
Sir Georg Solti
London Philharmonic Orchestra
Written: 1791; London, England
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