Syms 99-104 [Original recording remastered]

I would rate this at five stars if it were not for the remastering flaw on the final track of CD 2. In my opinion, these performances rate with Jochum's as the best available. Shame on EMI for letting the defective discs escape their notice. Apparently, all copies have the problem, since every review mentions it, and I have now exchanged the disc four times in search of a clean copy. Why can't EMI recall and reissue the set? I left a perfectly cordial message on the EMI website asking if they knew of the problem and if any unflawed copies were available. I got no response. Such contempt for their customers would drive many companies out of business.

This is the second portion of EMI's recent re-release of Beecham's extremely fine set of Haydn London Symphonies. The first installment, Nos. 93-98, was originally recorded in excellent mono; these, 99-104, in stereo. (Incidentally, my Symphony 104 does not suffer from the same technical problem encountered by the preceding reviewers with their discs.) The well known and long appreciated Beecham traits are all here---fastidious but appealing detail, sprightly rhythms, charm, wit, grace and convincing dynamics. In comparison with Scherchen in his DG Original Masters six cd set, Beecham seems somewhat more refined, even aristocratic at times. However, all of this doesn't necessarily mean he is more convincing musically than Scherchen. Each in his own way ably presents Haydn as a composer of varied and fascinating character, and not just as "the father" but a master of the symphony. If I was asked to cite one perceived overall difference between the styles of both conductors, I would say that Beecham's could be considered somewhat more cerebral, while Scherchen's might emanate a bit more from the heart. Soundwise, Scherchen's mono recordings tend to be warmer, while Beecham's sport more of the relatively lighter, open clarity of the stereo stage. So if pressed, who would I choose? A tough one. Beecham can be captivating, and Scherchen's drive and drama can be exciting. I suppose it depends on what I'm in the mood for. I'll easily take both with no difficulty.

These recordings of the last six London symphonies were recorded in 1958-59, but even after fifty years they gleam with freshness. Just as Beethoven is unthinkable without Furtwangler, Verdi without Toscanini, and Mahler without Bernstein, Haydn is fused with the name of Beecham. He was near the end when these stereo renditions were made, and at times the music isn't as vigorous or pointed as it could be, but the symphonies remain light, buoyant, and witty. Beecham simply had the magic touch when it came to Haydn. As to sonics, they are good enough , but loud passages can shriek a bit, and the Royal Phil. is at times scrappy compared to the best orchestras of today. But their playing is never bored, routine, or slick.

At present this composer is neglected. Unlike Mozart, Haydn's poised classicism doesn't feel deep enough to modern ears; he's never tragic or even conflicted. His music is charmng, balanced, self-assured, and incredibly inventive. That should be enough, but I can think of a host of major conductors who have recorded barely a handful of Haydn symphonies (Toscanini, Walter, Furtwangler, Abbado, Fricsay, etc.) The best of the true devotees includes, besides Beecham, Bernstein, Klemperer, and Karajan, with Szell adding his fair share, about eight symphonies in toto. Bernstein's set of the Paris symphonies stands on a plane with Beechaam's London symphonies. Together, they are must-listens in this delightful music.