This is a 1966 performance in Boston Symphony Hall from their yearly east coast tour in February. Boston Symphony Hall has such amazing acoustics. This is from a broadcast from WCLV in Cleveland. Thanks for posting this.
I meant Nick au contraire. Perhaps Nick would like to hire his own orchestra, after the fashion of Angus Bowes, and give his his own metronomic reading. I think the ritardando in the first movement to which he objects is a nice touch.
I mustn't be too critical of the interpretation in a concert performance, for it's there where you should be allowed to take a few liberties with the score which you wouldn't do if you were laying down a recording for posterity. But, I have to take Szell to task over a number of tempo changes and other details which are plain wrong. The first is the woodwind answering phrase to the strings at the start of the development (bar 90) in the 1st mvmnt.; if Haydn had thought a rit. appropriate, wouldn't he have written one ? Next, is a similar thing at bar 178, leading to a return of the second subject. I would have liked the 2nd mvmnt. repeat, but no matter. The dynamic contrasts just after that point are nothing like as great as they could have been, but this might be due to sound compression and distortion at higher levels on the mastertape. Many conductors assume a rit. is implied leading to the pause at bar 56 of the Minuet but, as it's not marked, I'd prefer not to have one. Similarly, the oboe octave G link into the Trio. It's a dance, you silly man, you can't do that to the posh guests who are so meticulous in their movement and posing ! Just one phrasing point - that three-note descending diminished arpeggio figure right at the end of the link back to the Minuet is grouped as one crotchet followed by a slurred pair, and Szell slurs all three each time. No real quibbles with the Finale interpretation, but the playing is very scrappy in places, with different sections going at different speeds. I prefer the last two mvmnts. a little faster, but clearly the mid-60s' Cleveland had trouble enough keeping together at that Finale speed !
Nick con brio Re: ‘...liberties with the score’; it was not until 1968 ie two years after this recording, that HC Robbins Landon published a clean Urtext critical edition of the scores of the complete symphonies. Prior to that, everyone used corrupted old editions, to which they invariably added a very cavalier attitude, exemplified by conductors like Beecham in particular - but others too. Top this off with virtually zero awareness of eighteenth century performance practice, and this is what you had. This all led to performances which today would be deemed totally unacceptable. Haydn scholarship in the past c.75 years, together with more period aware performances - including amongst ‘modern’ orchestras - has advanced our knowledge and understanding of the composer probably to a greater degree than any other major composer.
Szell was a great conductor in Haydn. My only complaint is the small amount of Haydn he recorded. To the best of my knowledge, he recorded 88, 92 through 98 and 104. This wonderful recording of a live 99 is real treat for both Szell and Haydn lovers.
This is a 1966 performance in Boston Symphony Hall from their yearly east coast tour in February. Boston Symphony Hall has such amazing acoustics. This is from a broadcast from WCLV in Cleveland. Thanks for posting this.
My favorite Haydn symphony. Enjoyed performed - glad he doubled bar I Movement Expo
Boy come on
You know Boston
Is good ❤
Beautiful! Thanks for sharing!
agree
El Maestro con 69 anios de edad,la grabacio'n de hace 50 anios,Haydn Haydniano!!!!.-
con multo gusto
Do you have the rest of the concert. Would love to have you post it!!!
Sorry, no.
17:30😄😄😄😄😄
I meant Nick au contraire. Perhaps Nick would like to hire his own orchestra, after the fashion of Angus Bowes, and give his his own metronomic reading. I think the ritardando in the first movement to which he objects is a nice touch.
Can you tell me where and when this was recorded? Nick sure contraire, it’s a beautifully shaped performance.
This was a live performance in February 1966. I believe it was recorded at Symphony Hall in Boston while the CO was on tour.
*👍класс и привет от тренера по футболу!!!!!-!!!!!-!!!!!-!!!!!-!!!!!-!*
IMHO a great, intense performance of the first two movs, a - as usual for those times - too slow Menuet and a finale lacking in brilliancy.
i know I'm pretty randomly asking but do anybody know a good place to stream newly released tv shows online ?
I mustn't be too critical of the interpretation in a concert performance, for it's there where you should be allowed to take a few liberties with the score which you wouldn't do if you were laying down a recording for posterity. But, I have to take Szell to task over a number of tempo changes and other details which are plain wrong. The first is the woodwind answering phrase to the strings at the start of the development (bar 90) in the 1st mvmnt.; if Haydn had thought a rit. appropriate, wouldn't he have written one ? Next, is a similar thing at bar 178, leading to a return of the second subject. I would have liked the 2nd mvmnt. repeat, but no matter. The dynamic contrasts just after that point are nothing like as great as they could have been, but this might be due to sound compression and distortion at higher levels on the mastertape. Many conductors assume a rit. is implied leading to the pause at bar 56 of the Minuet but, as it's not marked, I'd prefer not to have one. Similarly, the oboe octave G link into the Trio. It's a dance, you silly man, you can't do that to the posh guests who are so meticulous in their movement and posing ! Just one phrasing point - that three-note descending diminished arpeggio figure right at the end of the link back to the Minuet is grouped as one crotchet followed by a slurred pair, and Szell slurs all three each time. No real quibbles with the Finale interpretation, but the playing is very scrappy in places, with different sections going at different speeds. I prefer the last two mvmnts. a little faster, but clearly the mid-60s' Cleveland had trouble enough keeping together at that Finale speed !
too harsh
A scathing review
Which orchestra do you conduct, Nick? It must be the best, right?
Nick con brio
Re: ‘...liberties with the score’; it was not until 1968 ie two years after this recording, that HC Robbins Landon published a clean Urtext critical edition of the scores of the complete symphonies.
Prior to that, everyone used corrupted old editions, to which they invariably added a very cavalier attitude, exemplified by conductors like Beecham in particular - but others too.
Top this off with virtually zero awareness of eighteenth century performance practice, and this is what you had.
This all led to performances which today would be deemed totally unacceptable.
Haydn scholarship in the past c.75 years, together with more period aware performances - including amongst ‘modern’ orchestras - has advanced our knowledge and understanding of the composer probably to a greater degree than any other major composer.
Szell was a great conductor in Haydn. My only complaint is the small amount of Haydn he recorded. To the best of my knowledge, he recorded 88, 92 through 98 and 104. This wonderful recording of a live 99 is real treat for both Szell and Haydn lovers.