Bruno Weil made a number of highly-regarded Haydn discs with the period-instrument Canadian group Tafelmusic on RBCD. Here he is in live concerts with Cappella Coloniensis, who claim to be the first band in the modern world to play with period style and instruments, being launched in 1954. This disc appears to be first in a set of the London Symphonies (the second SACD is already in preparation). There is an added bonus CD on which Weil, following in the tracks of Bernstein, Previn and Tilson-Thomas, gives the audience an informal tour of the symphonies and their context, illustrated by the orchestra. His commentary is in German only, but this free disc makes the set a real bargain for German speakers.

Symphonies 96, 95 and 93 are played in correct chronological order; recent research has shown that 96 and not 93 was the first of the London symphonies to be written. Its "Miracle" nickname is spurious; the so-called miracle occurred at a different concert when Symphony 102 was being played and the chandelier fell, but without injuring anyone.

The first Salomon concerts took place in the Hanover Square Rooms with an orchestra of 40, close to the number of performers in Cappella Coloniensis, and Haydn was astonished that anyone who could afford the tickets could attend. His reputation was already sky-high in England, and audiences were agog to hear his new works. Relaxing into his new position as a middle-class freeman and relishing his independence after decades of servility, he brought a new vigour and inventive flair to these London compositions.

According to a fine session photo in the booklet, Weil splits the first and second violins left and right, but also has pairs of cellos and pairs of basses behind each set of violins. Violas sit in front of the conductor, with horns to the left, woodwind and trumpets arrayed behind the violas. This interesting arrangement of the strings has the advantage of balancing them tonally on each side of the stereo sound stage (as though there were two string orchestras), and of course Haydn's exhilarating exchange of thematic material between the first and second violins is clearly heard.

Photographs also reveal that Ars engineers have used a minimal microphone array, and the DSD 5.1 sound is transparent and detailed, with the 5.1 multichannel version placing the players in an acoustic which is subtly resonant but not reverberant, widely spread between the speakers and with good front/back perspective. The lovely-sounding wooden flute seems to be give a little added help in the mix, but this is justified by the artistry of its solos. There are some podium rumbles as Weil moves about (which did not unduly distract me), and the audience are very quiet, just some subtle rustlings are audible. No applause intrudes. In general, an excellent intimate concert setup, with the listener's viewpoint in the front stalls.

All the symphonies are given very fine, ebullient and stylish performances. Strings are burnished in tone, with unanimous attack, woodwind solos are both elegant and spirited in execution, and the internal balance gives due weight to the brass and kettledrums without undue exaggerations. The performances are certainly up to, or better than, those in Fischer's RBCD set, in particular the minuets, which Weil plays with terrific swing. He fully and delightfully exploits Haydn's emancipation of this dance form in the London Symphonies from its former aristocratic shackles. Weil and his band never fail to indulge Haydn's robust sense of humour, expressed in all of these symphonies, including the sounding of a very rude and loud bassoon note after a pause in the Largo of No.93 in D major, startling the orchestra to resume their efforts. These new-style minuets undoubtedly pushed Beethoven to the development of his scherzo movements.

For me, the highlight of the set is the C minor Symphony No. 95, which was given a chilly reception by London audiences and critics alike. Haydn realised that its innovatory nature was too much for its time, and it has taken a long time for scholars and now audiences to realise its greatness. Weil gives an inspiring performance of great stature, highlighting the battle between stormy emotion and insoucient galant styles in the first movement. In the stunning finale, the themes are lined up like racehorses and set to gallop contrapuntally to a glorious ending, bearing more than a passing resemblance to Mozart's Jupiter Symphony finale. Haydn had certainly heard of Mozart's death in Vienna in 1791 when he was writing this work.

In summary, excellent and idiomatic Haydn playing which augurs well for the rest of the series, captured in realistic concert sound. Highly enjoyable and thought-provoking. Certainly a welcome addition to the Haydn celebrations of 2009.

Copyright © 2009 John Miller and HRAudio.net

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