Replay

Hadyn: Surprise, Clock and Military Symphonies

Royal Concertgebouw Orchestra / Sir Colin Davis

(Recorded: 1978-1982)

(Philips 'Solo' 442 649-2)

Sir Colin Davis doesn't so much conduct Haydn symphonies as let them happen. I can remember him telling me how pleased he was with these particular sessions, especially in terms of individual Concertgebouw soloists (this is very much a "front desk" job) and the chamber-style intimacy of their pooled response to the music. Chosen tempos are, generally speaking, swift enough for genuine vigour and relaxed enough to allow plenty of detail through, though when the arguments intensify you sense energy in reserve.

Davis's characterisation eschews any hint of exaggeration (such as Bernstein and occasionally Beecham visited on these scores), while the recordings are close, clear and stereophonically life-like. Felicitous points of reference abound. For example, just listen to the "Clock" Symphony's ticking Andante, especially the mellow-toned bassoon and clean-limbed violins; and when it comes to the "Military" Symphony, brass-drum and cymbals colour rather than dominate the texture. Philips taped the entire set of "London" Symphonies (12 in all) over a period of a few years, and the whole series is simultaneously available on two cheap Philips "double-packs". That, I suppose, remains my primary recommendation but if three "named" symphonies suffice, then you won't go far wrong with this moderately priced CD. Victoria de los Angeles: The Early Recordings

Gerald Moore (piano)

(Recorded: 1942-1953)

(Testament SBT 1087)

One can hardly believe that Victoria de los Angeles has been recording for over 50 years and yet this admirable retrospective closes with a tasty "divertimento" of Hungarian folksongs, privately recorded in 1942 at the studios of Spanish EMI. If one were to choose a single word in support of De los Angeles's art it would be joy - joy at singing, at savouring a foreign text (such as Mosen's words for Schumann's "Der Nussbaum") or at communicating the musical essence of a particular song.

Her recital opens with "Oh! had I Jubal's lyre" from Handel's Joshua (sung in German), then progresses through Schumann, Brahms and a long sequence of Spanish delights, from Granados's Tonadillas and Falla's Seven Spanish Popular Songs (three of which are represented), to the dashing "Clavelitos" (De los Angeles's first recording of the piece) and a gorgeous pair of songs by Joaqun Turina. Here the accompaniment is for a few strings plus piano; the actual recording was made in 1949 and the performances are superb. Other highlights include Guridi's "No quiero tus avellanas" and some rare Respighi, two delightful songs, both tinged with Straussian influences. Gerald Moore provides most of the accompaniments, the transfers are excellent and the annotations extremely informative. Full texts and translations are provided.