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Haydn: Symphonies Vol 31 - No 18-21 / Mallon, Toronto Co
In all likelihood Haydn's 18th symphony actually was his Third, but he was 27 when he wrote it, and these early pieces are by no means immature if that means lacking in polish, contrast, or quality. Indeed, all four works offer something distinctive. For example, none has exactly the same form. No. 18 has three movements: slow, fast, minuet (with a minor-key "Hungarian" trio section). No. 19 also has three movements, but in the traditional style of an Italian sinfonia: fast, slow, fast. No. 20, which includes trumpets and timpani, adopts the standard four-movement pattern with the minuet third, while the particularly lovely No. 21 opens with a beautiful adagio featuring characterful solos for oboes and horns.
There isn't a dull bar anywhere, and this is just as true of the performances by Kevin Mallon and the Toronto Chamber Orchestra. Tempos are lively, the string section phrases with excellent rhythm, and the wind players are top-notch, so much so in fact that I wish they were a bit more forwardly placed in the balance. One quibble: Mallon uses a harpsichord continuo, not terrible in itself, but he permits far too much doodling in the opening Adagio of Symphony No. 21, to the point of creating a spurious, independent part. It's a surprising lapse of taste in what are in all other respects exemplary performances that I can otherwise recommend to Haydn aficionados without hesitation. These symphonies are seldom recorded, and the good here far outweighs any minor reservations.
--David Hurwitz, ClassicsToday.com
There isn't a dull bar anywhere, and this is just as true of the performances by Kevin Mallon and the Toronto Chamber Orchestra. Tempos are lively, the string section phrases with excellent rhythm, and the wind players are top-notch, so much so in fact that I wish they were a bit more forwardly placed in the balance. One quibble: Mallon uses a harpsichord continuo, not terrible in itself, but he permits far too much doodling in the opening Adagio of Symphony No. 21, to the point of creating a spurious, independent part. It's a surprising lapse of taste in what are in all other respects exemplary performances that I can otherwise recommend to Haydn aficionados without hesitation. These symphonies are seldom recorded, and the good here far outweighs any minor reservations.
--David Hurwitz, ClassicsToday.com
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Haydn: Symphonies Vol 31 - No 18-21 / Mallon, Toronto Co
In all likelihood Haydn's 18th symphony actually was his Third, but he was 27 when he wrote it, and these early pieces are by no means immature if that means lacking in polish, contrast, or quality. Indeed, all four works offer something distinctive. For example, none has exactly the same form. No. 18 has three movements: slow, fast, minuet (with a minor-key "Hungarian" trio section). No. 19 also has three movements, but in the traditional style of an Italian sinfonia: fast, slow, fast. No. 20, which includes trumpets and timpani, adopts the standard four-movement pattern with the minuet third, while the particularly lovely No. 21 opens with a beautiful adagio featuring characterful solos for oboes and horns.
There isn't a dull bar anywhere, and this is just as true of the performances by Kevin Mallon and the Toronto Chamber Orchestra. Tempos are lively, the string section phrases with excellent rhythm, and the wind players are top-notch, so much so in fact that I wish they were a bit more forwardly placed in the balance. One quibble: Mallon uses a harpsichord continuo, not terrible in itself, but he permits far too much doodling in the opening Adagio of Symphony No. 21, to the point of creating a spurious, independent part. It's a surprising lapse of taste in what are in all other respects exemplary performances that I can otherwise recommend to Haydn aficionados without hesitation. These symphonies are seldom recorded, and the good here far outweighs any minor reservations.
--David Hurwitz, ClassicsToday.com
There isn't a dull bar anywhere, and this is just as true of the performances by Kevin Mallon and the Toronto Chamber Orchestra. Tempos are lively, the string section phrases with excellent rhythm, and the wind players are top-notch, so much so in fact that I wish they were a bit more forwardly placed in the balance. One quibble: Mallon uses a harpsichord continuo, not terrible in itself, but he permits far too much doodling in the opening Adagio of Symphony No. 21, to the point of creating a spurious, independent part. It's a surprising lapse of taste in what are in all other respects exemplary performances that I can otherwise recommend to Haydn aficionados without hesitation. These symphonies are seldom recorded, and the good here far outweighs any minor reservations.
--David Hurwitz, ClassicsToday.com
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In all likelihood Haydn's 18th symphony actually was his Third, but he was 27 when he wrote it, and these early pieces are by no means immature if that means lacking in polish, contrast, or quality. Indeed, all four works offer something distinctive. For example, none has exactly the same form. No. 18 has three movements: slow, fast, minuet (with a minor-key "Hungarian" trio section). No. 19 also has three movements, but in the traditional style of an Italian sinfonia: fast, slow, fast. No. 20, which includes trumpets and timpani, adopts the standard four-movement pattern with the minuet third, while the particularly lovely No. 21 opens with a beautiful adagio featuring characterful solos for oboes and horns.
There isn't a dull bar anywhere, and this is just as true of the performances by Kevin Mallon and the Toronto Chamber Orchestra. Tempos are lively, the string section phrases with excellent rhythm, and the wind players are top-notch, so much so in fact that I wish they were a bit more forwardly placed in the balance. One quibble: Mallon uses a harpsichord continuo, not terrible in itself, but he permits far too much doodling in the opening Adagio of Symphony No. 21, to the point of creating a spurious, independent part. It's a surprising lapse of taste in what are in all other respects exemplary performances that I can otherwise recommend to Haydn aficionados without hesitation. These symphonies are seldom recorded, and the good here far outweighs any minor reservations.
--David Hurwitz, ClassicsToday.com
There isn't a dull bar anywhere, and this is just as true of the performances by Kevin Mallon and the Toronto Chamber Orchestra. Tempos are lively, the string section phrases with excellent rhythm, and the wind players are top-notch, so much so in fact that I wish they were a bit more forwardly placed in the balance. One quibble: Mallon uses a harpsichord continuo, not terrible in itself, but he permits far too much doodling in the opening Adagio of Symphony No. 21, to the point of creating a spurious, independent part. It's a surprising lapse of taste in what are in all other respects exemplary performances that I can otherwise recommend to Haydn aficionados without hesitation. These symphonies are seldom recorded, and the good here far outweighs any minor reservations.
--David Hurwitz, ClassicsToday.com
