Szell is so clearly tuned in to all of the many, sometimes contradictory elements that formed Haydn's musical personality, especially his humor and vulgarity. Unlike most of his contemporaries, save for Klemperer and Bernstein, he was not "afraid" of Haydn. And he was scrupulous in observing two note slurs that do NOT go to the third note, a difficult practice at least in the '50's and 60's. So much of Haydn’s character is revealed by Szell's insistence on these "small" matters ignored by most others. If one could call Haydn something of a "comooser's composer", it is worth noting that the three conductors I've named who got closest to his music were all composers!
Astonishing to think that this was an average Thursday evening at Severance Hall when Szell was there
Szell is so clearly tuned in to all of the many, sometimes contradictory elements that formed Haydn's musical personality, especially his humor and vulgarity. Unlike most of his contemporaries, save for Klemperer and Bernstein, he was not "afraid" of Haydn. And he was scrupulous in observing two note slurs that do NOT go to the third note, a difficult practice at least in the '50's and 60's. So much of Haydn’s character is revealed by Szell's insistence on these "small" matters ignored by most others. If one could call Haydn something of a "comooser's composer", it is worth noting that the three conductors I've named who got closest to his music were all composers!