Haydn's Haus

[Gurn Blanston]

Good morning, O Gurn!

Back at'cha, Karl!

I'm listening to Fey's last movement of the Bear. Rowdy is a perfect word to describe his performance 

Sarge

That's good to hear, Sarge. I have the first 6 disks in that series and I always thought it had the potential to be the best MI series out there. Despite M's antagonism.

[Karl Henning]

. . . Despite M's antagonism.

Oh, the tales that could use that for a footnote . . . .

[Florestan]

Lacy rococo bon-bons.

Yummy...

[Leon]

That's good to hear, Sarge. I have the first 6 disks in that series [Fey] and I always thought it had the potential to be the best MI series out there.

I have stayed away from it because, aside from the faves on this forum, most of the reviews I've seen were mixed, some fairly discouraging.  But, that is not really why: 1) I am not in the market for a "hybrid" cycle, i.e. modern strings and HIP-ish approach.  I have some of the the Jaarvi Beethoven and am not entirely sold, not to say that Fey in Haydn would be very much different from Jaavi in Beethoven, but my feeling was that there was something missing from the entire effort.  2) I already have four nearly all complete sets and between Hogwood and Goodman have performances that I am very  happy with.

There's also plenty of Haydn I have yet to hear at all, and this takes priority over another group of the symphonies no matter how good they may be.

[Gurn Blanston]

I have stayed away from it because, aside from the faves on this forum, most of the reviews I've seen were mixed, some fairly discouraging.  But, that is not really why: 1) I am not in the market for a "hybrid" cycle, i.e. modern strings and HIP-ish approach.  I have some of the the Jaarvi Beethoven and am not entirely sold, not to say that Fey in Haydn would be very much different from Jaavi in Beethoven, but my feeling was that there was something missing from the entire effort.  2) I already have four nearly all complete sets and between Hogwood and Goodman have performances that I am very  happy with.

There's also plenty of Haydn I have yet to hear at all, and this takes priority over another group of the symphonies no matter how good they may be.

Nice summary of why I only got the first few disks and not the balance to date. The entire concept of "HIP-ish MI" does little for me. That said, I did enjoy the enthusiasm with which the band had at it. If more modern orchestras would approach Haydn with a bit less 'polish', he would benefit greatly and so would they.

[Karl Henning]

Have you heard the Cleveland/Szell recordings of Haydn, Gurn?  Just wondering if you have a report from experience on these, in partic'lar : )

[Gurn Blanston]

Have you heard the Cleveland/Szell recordings of Haydn, Gurn?  Just wondering if you have a report from experience on these, in partic'lar : )

No. They are probably as good as it gets in terms of post-Romantic Big Band Haydn. I have heard nothing but good about them from people who like that style. I'm just not one of those people.

[Karl Henning]

That's cool. All styles cannot be for all people.  The thought makes me weep, when I consider the joys of Atonal Honking . . . but, there it is  : )

[Florestan]

I have a Szell / Cleveland CD with symphonies 92, 94, 96 and love it. The horns in particular are pure bliss.

[Karl Henning]

Aye, 'tis a good band.

(Cor, but I think of that wonderful Morecambe & Wise show, and "I've seen better bands on a cigar . . . .")

http://www.youtube.com/v/R7GeKLE0x3s

[TheGSMoeller]

Nice summary of why I only got the first few disks and not the balance to date. The entire concept of "HIP-ish MI" does little for me. That said, I did enjoy the enthusiasm with which the band had at it. If more modern orchestras would approach Haydn with a bit less 'polish', he would benefit greatly and so would they.

I'm finally starting to branch out a bit and have ordered some Solti and Slatkin recordings of Haydn symphonies. I've always tended to avoid MI or hybrids which is why i hadn't listened to Fey until recently. There's such a spirited devotion to the music that Fey and his ensembles display that I find attractive, but I think overall I prefer the timbre of The Hanover Band.
I think I'll spend some time focusing on "modern" orchestras.

[Sergeant Rock]

I have a Szell / Cleveland CD with symphonies 92, 94, 96 and love it. The horns in particular are pure bliss.

Myron Bloom led horns. Bliss is right.

Sarge

[Sergeant Rock]

I've been trying to find reviews that describe Fey's Haydn as polite. So far I've been unsuccessful. Instead, what I read is:

"At their best these performances combine finesse, revelatory clarity of texture and a thrilling, dangerous adrenalin count. The first movement of No 47, braying, hollering horns to the fore, packs a terrific punch. When the recapitulation erupts in G minor rather than major, the effect is almost apocalyptic."

"In the Minuet [of 60] its bagpipe drones [are] raucously emphasized. Typically, too, the Presto fourth movement and whirlwind finale outdo all comers in pace and ferocity.

"In 61, even more than in No 60, the frantically paced finale is a dazzling circus act."

"This stupendous disc [83, 84, 85] contains simply the best recordings of these symphonies currently available

"Fey is always at his best in Haydn's symphonies with trumpets and timpani, where he can let the brass rip with uninhibited gusto, and that's just what he does in 86."

"This disc is simply stunning. Thomas Fey and his Heidelberg orchestra attack "The Bear" with unbridled ferocity and brilliance...There's no soft-pedaling here! Listen to the symphony's finale, to the uninhibited high spirits that characterize its folk-influenced themes, to the complete bravura Fey encourages his players to display (particularly the trumpets and drums)."


We each bring our own expectations, needs and ears to recordings. I'm not saying everyone is going to agree with me (or these reviewers). But those quotes represent what I'm hearing in Fey's performances.

Sarge

[Leon]

There is a point where there is too much "interpretation" for my taste. 

This is my broad complaint with both Jarvi and Dausgard in the Beethoven recordings:  too much dynamic contrast, too much speed; too much "surprising" articulation.  I cannot help but feel that these conductors are going the extra mile to do something different for difference sake and realize a "HIP" performance based on these kinds of interpretive decisions.

So, the descriptions of Fey do nothing to make we want to invest in his recordings, although, these choices are never in cement.

[Sergeant Rock]

There is a point where there is too much "interpretation" for my taste. 

This is my broad complaint with both Jarvi and Dausgard in the Beethoven recordings:  too much dynamic contrast, too much speed; too much "surprising" articulation.  I cannot help but feel that these conductors are going the extra mile to do something different for difference sake and realize a "HIP" performance based on these kinds of interpretive decisions.

So, the descriptions of Fey do nothing to make we want to invest in his recordings, although, these choices are never in cement.

Ah, so it's you who like your Haydn polite   

Sarge

[Antoine Marchand]

There is a point where there is too much "interpretation" for my taste. 

This is my broad complaint with both Jarvi and Dausgard in the Beethoven recordings:  too much dynamic contrast, too much speed; too much "surprising" articulation.  I cannot help but feel that these conductors are going the extra mile to do something different for difference sake and realize a "HIP" performance based on these kinds of interpretive decisions.

So, the descriptions of Fey do nothing to make we want to invest in his recordings, although, these choices are never in cement.

I don't know about Järvi or Dausgaard because I don't know their interpretation, but you exactly summarize my own opinion regarding Fey. At first (listening to some "Sturm und Drang" symphonies, particularly) his approach sounded fresh and exciting. But after this "surprise", it began to sound a bit repetitive and consciously intended to surprise. Then I began to think his performances like a bit "grotesque", exactly in the sense that you describe.

[Leon]

Ah, so it's you who like your Haydn polite   

Sarge

There is much territory between "polite" and (to use Antoine's word) "grotesque" which is where the Golden Mean is found, IMO.

[TheGSMoeller]

Then I began to think his performances like a bit "grotesque", exactly in the sense that you describe.

Of course I understand and value others opinions, but I don't think I've associated the word "grotesque" with any Haydn performance. But then again there are many recordings I haven't heard.

What about some of the Adagios or Menuets from Fey? I find them quite lovely.

[Karl Henning]

There is much territory between "polite" and (to use Antoine's word) "grotesque"

Oh, an entire planet's worth of real estate between those descriptors, I should have thought! : )

[Sergeant Rock]

There is much territory between "polite" and (to use Antoine's word) "grotesque" which is where the Golden Mean is found, IMO.

But, heavens, why would you want to hear Haydn only one way, and the average way at that? Are you blonde by any chance? Have you ever met a family of bears?

What I revel in are the differences between conductors: what each can tell me about Haydn's music; how eternally fresh and miraculous and different it can be. I appreciate the extremes; helps me listen with fresh ears--and after listening to Haydn for over forty years now, a little grotesque is quite refreshing 

But after this "surprise", it began to sound a bit repetitive and consciously intended to surprise.

I suppose I might feel the same way if Fey were the only Haydn conductor I listened to. But he isn't. I don't overdose on anyone, not even my beloved Szell. So Fey stays fresh...and surprising-

Sarge