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Haydn: Sym Nos 82 - 87

Haydn (アーティスト), Ansermet (アーティスト), Orch De La Suisse Romande (アーティスト) 形式: CD

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"もう一度試してください。"

[CD]

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￥13,380

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CD, インポート, リミックス含む, 2009/5/26

"もう一度試してください。"

インポート, リミックス含む

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￥990

"もう一度試してください。"

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￥10,116

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商品の説明

Ernest Ansermet was the first conductor to record the six "Paris" symphonies of haydn. Charming works, full of humorous touches, they were reissued often on LP, with some of the most entertaining covers ever seen (these are reproduced in the booklet).

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製品サイズ ‏ : ‎ 14.4 x 12.5 x 0.99 cm; 119.92 g
メーカー ‏ : ‎ Eloquence
EAN ‏ : ‎ 0028948019427
商品モデル番号 ‏ : ‎ 028948019427
オリジナル盤発売日 ‏ : ‎ 2009
レーベル ‏ : ‎ Eloquence
ASIN ‏ : ‎ B0027GWJEU
ディスク枚数 ‏ : ‎ 2

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- - 6,205位交響曲・管弦楽曲・協奏曲
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Sean

Five Stars

2018年1月29日にカナダでレビュー済み

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Inspiration. Must buy and listen

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Larry VanDeSande

Thank you Australian Universal!

2010年12月29日にアメリカ合衆国でレビュー済み

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These Australian-based recordings return to American currency Ernest Ansermet's recordings of Franz Josef Haydn (1732-1809) six "Paris" symphonies. Even though the composer never set foot in the a city, he wrote the symphonies numbered 82-87 in his maturity based on a 1790 commission. These CDs were last available as an import from English Decca; now they are finally available on American soil via import from Australia.

I owned this set on the British label as well as in LP format when they were released in the good old days by American Decca (Universal suggests they were recorded in 1962 or thereabouts.) To me, they never sounded better than they do here with L'Orchestre de la Suisse Romande's woodwinds (all important in Haydn) a bit more brightly lit than before and timpani a tad more defined, as well.

The late Ansermet (1883-1969) was a Switzerland native that organized the orchestra in the 1930s and was its lifelong leader and conductor. He was a friend of Arturo Toscanini and shared some of the maestro's conducting traits -- a derision of the romantic affects of their time, a preference for balance and lucidity in music, and an absolute belief in the written score. Ansermet was famous for disliking revisions and he always chose the composer's original work.

These qualities worked best in the music most clearly associated with Ansermet: Russian and French impresionism, the "French" Russians Stravinsky and Prokofiev, and the composers whose own balanced construction best suited his milieu -- J.S. Bach and Haydn. Ansermet also recorded some Tchaikovsky and a full set of Beethoven and Brahms symphonies that have charitably been reintroduced to Americans by Australian Universal that show all his landmark tendencies. If alive today, Ansermet would be pegged as a period performance expert with a romantic bent not unlike Martin Pearlman in Boston.

The Haydn symphonies demonstrate his characteristics as well as the relative level of reserve appropriate in the music of Papa Haydn. You will note this in the Symphony 86 (one of Haydn's greatest symphonies) when Ansermet marginally slows down the tempo in the development of the first movement's exposition. While most conductors simply plow ahead, breakneck in allegro as if following their metronome. This is one of scores of subtleties Ansermet ties into these endearing symphonies that sets his performances apart from the mass.

The playing of the Suisse Romande (Swiss radio) Orchestra is fine and typical of the period. Many have spent the past 50 years defining OSR, as it is called, as a second rate group with no significant orchestral profile. These recordings demonstrate, again, that this idea is rubbish. The players aren't the best in the world but are nonetheless world class. I was more offended by Ansermet's taking every possible repeat in the symphonies than by anything the orchestra did or did not do.

This is not to say these are the definitive recordings of Haydn's masterworks. In repertoire like this, with scores of recordings available in every conceivable style and package, there are plenty out there that compete for top honors. Among modern insrument recordings, I have always most enjoyed the collaboration of the Montreal Sinofietta and Charles Dutoit , mostly for their cherishable wind work in slow movements mated to Dutoit's macho approach.

Among period instrument and style performances, I am partial to the sets by Brüggen for virtuosity and headlong advance and Kuijken for temperance and a lilting, dancing approach. Among my least-liked sets is Bernstein , one of many conductors who never seemed to understand there was a difference in the music of Haydn and Beethoven.

The set at hand, from Ernest Ansermet and L'Orchestre de la Suisse Romande recorded in Switzerland in the 1960s, can stand with any of them for clarity, eloquence, elocution, balance and forward thrust. This set includes five and one-half pages of English notes and a bio from Fanfare magazine contributors Raymond Tuttle and Colin Anderson, respectively. Thanks again to Australian Universal for bringing them back to American shores.

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MJH

Haydn Paris Symphonies - Ansermet

2011年1月27日に英国でレビュー済み

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The reviewer must firstly declare himself an arch Haydn enthusiast of many decades, with a critical ear for performance.

This 1962 survey by Ansermet was the first full commercial set of Paris Symphonies (82-87) to appear in the catalogue. There have been many fine recordings since, notably Leslie Jones's splendid set on Nonesuch (never issued on CD), Goodman's period cycle on Hyperion, or the superlative readings by Märzendorfer and Dorati (both early ‘70s) - but in this reviewer's opinion, definitely NOT Harnoncourt whose reading is far more at the service of the conductor than the composer.

Ansermet occupies the reverse position and his reading of 82 sets the scene. This is one of Haydn's most immediately powerful opening arguments and it is conveyed here in precisely such a way. The reviewer had half expected a more dated approach with a more generalised orchestral balance of the kind so often given by non-specialist conductors - but not a bit of it. There are shades of Toscanini in the wonderful moulding of phrases and the infectious sense of line and - above all - rythm. The orchestral textures are rich and clear - brass, winds and timpani clearly audible and string articulation captivating. It is such a shame that alto horns are not chosen by Ansermet - the authentic scores were still a novelty at the time. The 'dialogue' of 82’s 2nd mvt is beautifully handled, with crisp articulation of detached notes, and the finale is positively scintillating. One final criticism is that the minuets in all symphonies are taken at quite a stately pace, which detracts from forward momentum, no matter how well-played. It would perhaps get a private 5 stars, nonetheless!

In 83 and 86 there is no exposition repeat in the first movements, although elsewhere, repeats are generous. Ansermet slows tempo slightly for each appearance of the 'clucking' second theme of 83 which gives the symphony its 'Hen' soubriquet - and the effect is delightfully handled. There is an apt sense of occasion in 85 'La Reine', the first mvt wonderfully detailed and the finale exciting. Lesser-known 86 and 87 recieve very good performances indeed.

One feels that Ansermet and the Suisse Romande must have had a special feeling for these works, which were after all commissioned for performance in Paris, and the slightly nasal sound of the Swiss winds seems to suit the music. Decca's tapes have remastered well, albeit with a slightly brittle upper register but otherwise well-detailed and every bit a match for many a modern digital recording.

Although knocking on the door of half a century old, these performances would grace any Haydn collection, and this wonderful Eloquence survey of neglected gems from this fine conductor is proving to be a treasure trove indeed. Having let many Haydn recordings come and go, this one is staying - not for intensive playings, but for occasional enjoyment alongside the others.

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James F. Shigley

Front of jewel box had a 2" crack

2019年4月3日にアメリカ合衆国でレビュー済み

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CDs shouldn't arrive with a jewel box that is cracked.

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K.H. Friedgen

Ansermets Einsatz für Haydn

2009年10月20日にドイツでレビュー済み

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Ernest Ansermet (1883-1969) war wohl der bekannteste Schweizer Dirigent des 20. Jahrhunderts. Allerdings brachte man ihn mehr mit der klassischen Moderne zusammen als mit Haydns Symphonik.
Trotzdem hat sich der Künstler immer wieder für die Musik der Wiener Klassik eingesetzt, und von ihm ist auch der Ausspruch überliefert, daß Haydns Partituren längst nicht so einfach und durchsichtig sind, wie es dem landläufigen Musikhörer scheinen mag.
Als Ansermet sich 1962 anschickte, die sechs sogenannten "Pariser Symphonien" (Nr. 82-87) Haydns aufzunehmen, waren diese Werke alles andere als allgemein bekannt, geschweige denn populär. Nur einige Spätwerke des ältesten Wiener Klassikers erschienen in den Konzertprogrammen, und auch das nur eher beiläufig. Häufig wurden Haydns Symphonien von Dirigenten dazu benutzt, sich "warm zu dirigieren". Das änderte sich erst grundlegend mit der ersten Gesamtaufnahme von Haydns sinfonischem Schaffen, die Antal Dorati mit der Philharmonia Hungarica Anfang der 1970er Jahre für DECCA erstellte.
Ansermets Haydn-Auffassung mag dem heutigen Hörer in manchen Teilen ungewohnt, wenn nicht überholt erscheinen. Der Dirigent bevorzugt gemessene Tempi. Seine Interpretationen lassen vielleicht ein wenig an Wärme vermissen, und die Menuette erscheinen unseren Ohren eher zu schwergewichtig. Trotzdem sind es gewichtige Aussagen eines Künstlers, der sich zu einer Zeit für Haydn stark machte, als dies alles andere als zeitgemäß war. So ist es lebhaft zu begrüßen, daß diese Aufnahmen nach langer Abstinenz endlich wieder greifbar sind.
Das von Ansermet selbst gegründete Orchestre de la Suisse Romande ist vielleicht nicht den europäischen Spitzenorchestern zuzuordnen, aber es ist ein in allen Formationen gut besetzter, auf die Intentionen seines Chefs sensibel horchender Klangkörper.
Die digitale Überspielung ist den alten Aufnahmen aus dem Jahr 1962 gut bekommen. Sie sind gut durchhörbar und glänzend ausbalanciert. Der Stereoklang ist voll und rauscharm. Man merkt, wie hoch der technische Standard des damaligen Decca-Aufnahmeteams war.
Leider ist die bebilderte Textbeilage der Import-Edition nur in englischer Sprache abgefaßt, doch sie enthält neben Einführungen in die Werke auch eine gute Biographie des Dirigenten. Für Ansermet-Verehrer ist das Album schlicht eine Pflicht.

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Haydn: Sym Nos 82 - 87

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