An integral whose excesses should not conceal the relevance

This integral Symphonies Londoners has been the subject of very divergent criticisms, both on Amazon than from professional critics. Minkowski has made it possible to replace the sudden fortissimo which justifies the nickname of the Symphony No. 94, La Surprise (Mit dem Paukenschlag) by a silence, and then, at an unexpected time, with a cry of musicians. In addition, the timpani roll of 103, "Mit dem Paukenwirbel" is extended gratuitously by a sort of improvisation, which is not very consistent with later. This choice not to respect the text of Haydn, in contradiction with the use of ancient instruments and interpretation of musicological type "baroqueuse" as they say, shows a narcissistic vanity hast thou seen, rather unpleasant. It justifies the indignation of some of the surfers.

But like anger is a bad counselor, I tried to judge more calmly this integral by comparing it move by move with one, two or three interpretations, including those of Jochum and often Shelley (it acts as an intermediary by its modern character), but also Szell (93, 95), Abendroth (97), Doráti (102, 104) Kuijken (104). One conclusion is that the speed and innovation of the integral Shelley are only very early on that listening Minkowski, another plus accessory here is that Jochum, in the early 70s, knew by its own intuition announce some character historically informed interpretations that have multiplied in recent years; Finally, more listening continued, more originality Minkowski was necessary to me.

Many symphonies recorded in concert at the Wiener Konzerthaus by Minkowski and the Musiciens du Louvre-Grenoble show an interpretative imagination that seems relevant when you get used to a little chef's style, away from fads impertinent that I mentioned just hour. The sounds are particularly attractive and colorful, which is not due exclusively to the use of old instruments. The orchestral balance very successful generally heard details that often go unnoticed. Minkowski, bubbling and enthusiastic leader, like strong contrast; the sudden fortissimo or attacks are announced by a ahan the leader, who does not seem to practice leadership style of Richard Strauss, for whom only the head was not to sweat! However, continuity is ensured in variety unevenly, phrasing and transitions are a drawing much less refined and chiseled than what was Eugen Jochum, which is not only due to the limitations of instruments elders and tutti can crush clumsy manner. Most often, the speed of tempi can be justified by indications from Haydn, but the precipitation sometimes paid for by a somewhat stiff aggressiveness. In general, this integral is exciting, exhilarating, even brilliant, despite the deliberate errors and unintentional shortcomings of some movements. No full, not even that of Jochum, being completely homogeneous, the five stars seem deserved me. Is it enough to make it priority in the integral adviser who would not know the Londoners? This is debatable, but better than Shelley is at least one of the best versions that complement possess an older interpretation such as that of Jochum (including minuets and even Andantes and Adagios, too slow).

For the first series of Londoners (93 to 98), order the CD is not that of the traditional numbers established by Hoboken, but is based on the dates of creation or composition. This choice of the editor is highly questionable because the Londoners are not a cycle just as Lieder and none of Winterreise "answers" to the previous; there are other, between them no opposition period and style. The publisher compensates this irritating inconvenience writing in large letters the numbers of symphonies in the CD order on each label.

I now turn to each symphony. In 93, the introduction Adagio is more exciting than Shelley and Allegro enjoys beautiful effects stamps, but the end seems rushed. The unstable tempo Andante tends to deconstruct inappropriately, but humorous ending is more successful than that of Shelley, without being so much as that of Jochum. The Finale, the more uptight than Jochum, highlights the opposition, so too sought, even if it works.
The introduction of the Surprise has a real dignity, a real depth, a mystery; very fast Vivace, stubborn when necessary, dreamy when it suits, almost equal that of Jochum, which is saying something. The minuet is too fast, hasty, brutal, often happen but enjoys extreme virtuosity; Tonight at speed conclusive nature of Finale, but after all Haydn asks the same tempo.
In the Allegro moderato of 95, instability and perhaps the limits of the instruments end in failure, that of making the greatness and power of movement. The Andante cantabile is quite formal and cold. Cello Trio performs games rather unexpected pace, but at least knows phrasing, which is not often the case.
The initial Allegro of 96 "The Miracle" is characterized by a raw energy, while Jochum animated by a true spirit of adventure, but 97 is an extraordinary achievement, finding the lesson of the greatest 50s (Scherchen, Szell I especially Abendroth) and exceeding some points. Although the Vivace lacking in passion, what is meant behind the ropes passes as a sort of underground aggression (this symphony has a Plutonian character that would make an almost obvious result of the Planets by Gustav Holst, which s' was arrested at Neptune). Adagio ma non troppo is a little faster, but the aggressive sound intended by Haydn in the third variation, the strange sounds of the coda are rendered admirably. The Minuet and trio reach similar success, but the finale is a bit too light and its dramatic end is less obvious than in the best versions.
The first movement of the 98 calls for the same remarks as the 95, but the Adagio cantabile reserve despite its speed a bereaved emotional quality not often found and enjoys a wonderful cello solo. The stamps triumph in the Trio; in the Finale, phrasing and overall movement make the success of the last minutes.
In the first movement of the 99, the noise and harshness are a little painful regret the delicacy of Jochum, but in the solo winds of the Adagio, stamps are wonderful. The Finale, taken within a reasonable tempo, the triumph variety of reasons, equaling that this was Jochum, except perhaps for the evidence of the rebound and transitions.
For the 100 "Militär-Symphonie", "Militara", "Militar", "Military", "Military", the Allegretto is striking: the massiveness and stridency find their use, the bassoon is a rare expressiveness and has finally fear that this movement had caused the London audience: it is with the 97 it has better there throughout the full!
The Andante of the 101 "Die Uhr", "Lo Relotge", "The Clock", "Clock" and is very successful with its original phrasing and his flashes of humor, but in the Trio of the Minuet, the strong sudden become real explosions, each preceded by a characteristic ahan from the head; even a joke unhelpful. The Finale dominated by energy and contrasts lacks the finesse that of Jochum, including transitions.
In 102, the Vivace is a bit brutal, but thankfully with a little underground aggressiveness that his nuance sometimes too directly athleticism. The Adagio gives an impression of slow and he did not take a depressive character. The Minuet is super-fast, almost military, but the trio still reserve its share of tenderness. The best is the beginning of the Final by his adventurous character inventiveness. This symphony is not the most successful of the integral.
Without repeating the jokes of the beginning of 103, the Andante is excellent, with its mysterious and underground sounds, and Finale is stubborn and tense, but consistently.
Both on period instruments, the 104 "Londoner Symphonie", "London", "London" and the Kuijken of Minkowski call to the opposition between Ingres and Delacroix, the classic of a design, color and passion boiling on the other. But both are very beautiful.