The fourteenth volume of this slowly evolving Haydn symphony cycle features three symphonies of imperial nature. Indeed, the album’s title, “L’Imperiale,” is the nickname given to Symphony No. 53 sometime after its composition. The liner notes draw our attention to the importance of this symphony in Haydn’s oeuvre; premiered at the Esterhazy Palace in 1778, it was published in London a few years later. The second movement “Andante” proved particularly popular, with over thirty arrangements (in various instrumentations) of it published between 1783 and 1820.
Read all of our reviews of Antonini’s “Haydn 2032” series releases
Followers of this series will know what to expect: fast tempos, with plenty of momentum in the outer movements and razor-sharp articulation with winds well to the fore. Timpani are played with wooden mallets, and the brass pack a wallop when at forte and above. Antonini ensures the opening of Symphony No. 53 (marked Largo maestoso) is suitably regal, incorporating wide dynamic contrasts, here and throughout the symphony. The following Vivace features brilliant playing, yet there is a sternness that minimizes the music’s playful side. I thought I would find that playful element in the readings by Marriner (Academy of Saint Martin in the Fields/Eloquence) and Fischer (Austro-Hungarian Haydn Orchestra/Nimbus), but they are just as stern, and the Academy of Ancient Music under Hogwood is poker-faced and overly earnest. So, this latest performance proves to be the best overall.
The coquettish charm of the melodic writing in the Andante clearly shows why this movement was so popular during Haydn’s lifetime. That charm seems to relax the players, who find a lighter, more joyful approach. The third movement is rather quick, and again, toward the end of the A section one wishes the unexpected fermata would bring more of a smile than it does here, but the trio has a pleasing gossamer lightness. The Finale offers plenty of gusto and virtuosity.
Related Posts
- Review: Haydn – Die Schöpfung (The Creation) – Antonini
- Review: Il Virtuoso, Il Poeta – Isabelle Faust, Giardino Armonico
- Haydn – A Beginners Guide
Symphony No. 54 begins with another imposing opening, followed by a more serious-minded Allegro, which suits these performers perfectly. In the beautiful slow movement, strings and woodwinds are sweetly lyrical, even in the most delicate pianissimos. At eleven minutes, this is one of Haydn’s longest slow movements, yet the interplay between sections and subtle shifts in mood holds one’s attention throughout. Antonini’s strings are supple and warm, a stark and welcome contrast to the thin and undernourished sound Thomas Fey solicits from his Heidelberg Symphony Orchestra strings (Hänssler). A rambunctious reading of the Minuet leads into a spirited Finale – lasting over seven minutes (every repeat is followed), some may feel it is too much of a good thing.
Despite having been recorded only a handful of times, Symphony No. 33 has several fine recordings already available. Hogwood’s reading is impressive, though in the slow movement his strings are more astringent – I prefer the warmth found in Basel. And in the final movement Hogwood rather hangs fire, whereas the Basel players create an altogether rowdier and ebullient mood. There is also a successful reading by the Heidelberg Symphony Orchestra and Johannes Klumpp, featuring plenty of excitement in the outer movements, and a sweeter sound from the strings in the Andante. But Hänssler’s engineering is a bit blowsy and in your face, whereas Alpha’s engineers provide a more intimate and inviting sound stage for their Basel players.
The program ends with a breathless performance of the second version of Symphony No. 53’s Finale, which also served as an overture to a puppet opera at the Esterhazy residence. Haydn’s impish humor is on full display in music meant to lighten the heart. While Antonini’s readings sometimes downplay the lighter, mischievous aspects of the music, the energy and vivid characterization he and his players bring to these inventive scores is a constant delight.
Haydn 2032, Vol. 14 – “L’Impériale“
Symphonies 33, 53, 54
Kammerorchester Basel
Giovanni Antonini – Conductor
Alpha, CD 694
Recommended Comparisons
Marriner | Fischer | Hogwood | Klumpp
Read more classical music reviews or visit The Classic Review Amazon store
Follow Us and Comment:
Get our periodic classical music newsletter with our recent reviews, news and beginners guides.
We respect your privacy.
