Joseph Haydn Symphonies n os 24, 30 « Alleluia », 42 et 43 « Mercure » Orchestre Orfeo, Dir. György Vashegyi

Glossa continues its major contribution to the recording of the music of Jean-Philippe Rameau with a further ballet héroïque, Les Fêtes de Polymnie, directed by György Vashegyi and featuring accomplished ramistes such as Aurélia Legay, Emöke Barath or Mathias Vidal, and led by the incomparable Véronique Gens in the various vocal roles that appear in the Prologue and the three Entrées of this work.

Jos van Immerseel aime le son ou plutôt les sons… Il est capable de se passionner pour un pianoforte Walter (ca 1795-1800) comme pour les Erard 1897 ou 1904 du disque " Pièces à deux pianos " ou pour un Bechstein, ou Tröndlin… toujours à la recherche de la diversité et du singulier. C'est également cette passion du " sonner juste " qui l'a poussé à créer Anima Eterna, véritable laboratoire des acoustiques du XVIII au XX.

Accademia Bizantina under Ottavio Dantone are releasing a new album of Haydn Symphonies, Nos. 78-81. It is the first time Symphonies No.79 and 81 have been recorded on period instruments. This little-known quartet of Haydn symphonies 78-81 date from the years 1782-1784 when Haydn still served as kapellmeister to the Esterhazy family in their spectacular summer and winter palaces in Esterháza (present day Hungary) and Eisenstadt (Austria) where the music was first performed. These four symphonies have been specially recorded for the upcoming 36-CD set of Complete Haydn Symphonies, to be released later this year. It will be the first Haydn symphony cycle on period instruments.

2 CDs mit Leonard Bernsteins herausragenden Interpretationen der Haydn-Sinfonien mit dem New York Philharmonic Orchestra. Als erster US-Amerikaner war Leonard Bernstein von 1958-1969 Musikdirektor des New York Philhamonic Orchestra. In seinem Wirken als Dirigent fand er weltweit große Beachtung mit einem Repertoire, das von der Klassik bis zur Avantgarde reichte.

This recording, made in 1991, dates from what was perhaps the heyday of the English Chamber Orchestra (although the group's vigorous activities remain undiminished). The ECO, with origins as a conductorless Baroque orchestra, functioned smoothly as an ensemble, with a restrained sound and a high level of mutual sensitivity among the players. In these late Haydn symphonies, that translated into readings that were exceptionally effective in bringing out the humorous details and asides, the extensions of phrases so that they end with a wink or a joke, that are the essence of late Haydn. The orchestra is probably about the size of the one Haydn had at his disposal in London.

Recorded in St John's Church West Norwood, London in March 2022, Florilegium release their 31st Channel Classics album: Haydn Symphonies Nos. 6, 7 and 8. This recording involves 18 members of Florilegium, the exact same number Haydn had at his disposal when he composed these symphonies shortly after arriving at Esterhazy in 1761. Haydn’s first symphonies for his new employer, Prince Paul Anton Esterházy, form a group of three entitled Morning, Noon and Night. Perhaps these were a result of the Prince’s suggestion that Haydn write something programmatic along the lines of Vivaldi’s Four Seasons.

As ever, the conductor-less New York orchestra give lithe, impeccably groomed performances. Tempos tend to be swift, articulation exceptionally buoyant and precise, phrasing stylish and gracious. . . . [A]ll three minuets are beautifully judged, poised and light of foot . . . and the Andantes of the two D major symphonies are nicely done, too, with an awareness of deeper currents beneath the perky charm of No. 73. . . . [T]here's a lot of pleasure to be had from these nimble and elegantly crafted performances, cleanly recorded . . .

In Harry Christophers’ expert hands, Haydn comes to life in the first in a series of new live recordings from the Handel and Haydn Society. This disc showcases one of Haydn’s Paris Symphonies, L’ours (‘The Bear’), a festive and jubilant work commissioned by a Parisian orchestra in the 1780s, as well as one of his earlier symphonies, No. 6 Le matin, which is characterised by unusual virtuoso writing across the orchestral ensemble. Completing the disc is Haydn’s Violin Concerto in G major performed by Handel and Haydn’s fiery and expressive Concertmaster, Aisslinn Nosky, who makes her solo debut on the CORO label.