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    Joseph Haydn - Symphonies 52, 49 & 58 (Fey Haydn Project Volume 6)

    Posted By: wursthans
    Joseph Haydn - Symphonies 52, 49 & 58 (Fey Haydn Project Volume 6)

    Joseph Haydn - Symphonies 52, 49 & 58 (Fey Haydn Project Volume 6)
    Genre: Classical Symphony | 1 CD | EAC & FLAC (CUE+LOG) | Complete Covers & PDF | 342 MB
    2005 recording & 2006 release | Publisher: hänssler CLASSIC CD 98.236
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    Works/Tracks

    1. (00:09:24) Symphony No. 52 in C minor: I. Allegro assai con brio
    2. (00:08:23) Symphony No. 52 in C minor: II. Andante
    3. (00:03:21) Symphony No. 52 in C minor: III. Menuetto. Allegretto
    4. (00:05:08) Symphony No. 52 in C minor: IV. Finale. Presto
    5. (00:09:37) Symphony No. 49 in F minor »La Passione«: I. Adagio
    6. (00:07:06) Symphony No. 49 in F minor »La Passione«: II. Allegro di molto
    7. (00:04:52) Symphony No. 49 in F minor »La Passione«: III. Menuet. Trio
    8. (00:03:15) Symphony No. 49 in F minor »La Passione«: IV. Finale. Presto
    9. (00:04:42) Symphony No. 58 in F: I. Allegro
    10. (00:05:58) Symphony No. 58 in F: II. Andante
    11. (00:02:39) Symphony No. 58 in F: III. Menuet all Zoppa. Un poco Allegretto
    12. (00:03:35) Symphony No. 58 in F: IV. Finale. Presto

    Performers

    Thomas Fey & Heidelberger Sinfoniker

    Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

    EAC extraction logfile from 19. June 2009, 21:38

    Thomas Fey & Heidelberger Sinfoniker / Joseph Haydn - Symphonies 52, 49 & 58

    Used drive : PLEXTOR CD-R PREMIUM2 Adapter: 3 ID: 0

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    Read offset correction : 30
    Overread into Lead-In and Lead-Out : Yes
    Fill up missing offset samples with silence : Yes
    Delete leading and trailing silent blocks : No
    Null samples used in CRC calculations : Yes
    Used interface : Native Win32 interface for Win NT & 2000
    Gap handling : Appended to previous track

    Used output format : User Defined Encoder
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    Command line compressor : D:\Programme\EAC099\Flac\flac.exe
    Additional command line options : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "TOTALTRACKS=%x" -T "GENRE=%m" -T "ALBUM ARTIST=%v" -T "ALBUMARTIST=%v" -T "COMMENT=EAC V0.99 prebeta 5, Secure Mode, Test & Copy, Accurat


    TOC of the extracted CD

    Track | Start | Length | Start sector | End sector
    ––––––––––––––––––––––––––––-
    1 | 0:00.00 | 9:24.13 | 0 | 42312
    2 | 9:24.13 | 8:22.46 | 42313 | 80008
    3 | 17:46.59 | 3:21.08 | 80009 | 95091
    4 | 21:07.67 | 5:08.08 | 95092 | 118199
    5 | 26:16.00 | 9:37.06 | 118200 | 161480
    6 | 35:53.06 | 7:05.69 | 161481 | 193424
    7 | 42:59.00 | 4:52.35 | 193425 | 215359
    8 | 47:51.35 | 3:14.40 | 215360 | 229949
    9 | 51:06.00 | 4:41.68 | 229950 | 251092
    10 | 55:47.68 | 5:57.68 | 251093 | 277935
    11 | 61:45.61 | 2:38.50 | 277936 | 289835
    12 | 64:24.36 | 3:35.19 | 289836 | 305979


    Track 1

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    Track 2

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    Track 3

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    Track 4

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    Track 5

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    Track 6

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    Track 7

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    Track 8

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    Track 9

    Filename E:\Joseph Haydn - Symphonies 52, 49 & 58 (2003) [FLAC] {Fey Haydn Project Vol. 6}\09 - [58] I. Allegro.wav

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    Track 10

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    Track 11

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    Track 12

    Filename E:\Joseph Haydn - Symphonies 52, 49 & 58 (2003) [FLAC] {Fey Haydn Project Vol. 6}\12 - [58] IV. Finale. Presto.wav

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    Accurately ripped (confidence 2) [C2E390BE]
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    8 track(s) accurately ripped
    4 track(s) could not be verified as accurate

    Some tracks could not be verified as accurate

    No errors occurred

    End of status report


    Recording Information

    recorded January & March 2005*
    Naturnhornakademie, Bad Dürkheim & Alte Synagoge,
    Hirschberg-Leuterhausen*
    released 2006

    hänssler CLASSIC
    CD 98.236


    Reviews

    Haydn's 49th and 52nd symphonies rank with the most emotionally tense works of his "Sturm und Drang" period, and you would think that their eruptive moods and jagged rhythms would play directly to Thomas Fey's strengths. Well, almost. He's certainly exciting in the allegros of both works, and he characterizes the "limping" ("alla Zoppa") of Symphony No. 58 particularly well. However, in the dark Adagio that opens "La Passione" his "authentic" approach to string timbre renders the result not so much gaunt as dessicated (or so it sounds in such deeply emotional music), though he has the very good sense to adopt a tempo that keeps the music flowing.

    The biggest problem with these performances stems from his decision to use a harpsichord continuo in the tuttis, a practice nowhere supported by the historical evidence, and one that undercuts the music's modernity and emotional intensity at every turn (and the instrument itself has an unusually twangy timbre). Now this is not the place to go into all of the reasons why this is a bad idea–just listen to the first movement of Symphony No. 52. I simply can't believe that even if Haydn did want a keyboard instrument, the player sat there and flailed away on the bass line's repeated eighth-notes like a petulant child having a tantrum. It's ugly, plain and simple. Rather than outlining the harmony and getting out of the way, the keyboard becomes a most unwelcome solo attraction, precisely the opposite of what a continuo part should be.

    So while I admire the intensity that Fey brings to these works, and the high standard of playing by his orchestral forces, these interpretations strike me as slightly misconceived at a very basic level. Other listeners might well disagree, and if so I understand. I can't knock down the rating too much based solely on this quirky preference of mine, so if you collect this series (as I do), you'll probably want this disc anyway, continuo or no.

    Finally, some readers may recall that I previously reviewed this disc, giving it a 10/10, almost exactly two years ago in 2006. Normally, I don't revisit reviews without very good reason, but this is one of those cases that I believe is justified. Thanks to the vagaries of Haenssler's US distribution, I received three Fey discs at once after a long hiatus (including this one, even though it's technically not a new release). Playing them in sequence at a sitting, I found two to be equally outstanding (the ones containing Symphonies Nos. 70 and 86), but this one struck me in context as a bit less good–primarily for the same reasons that I also noted in my original review, but expand upon here. So I hope that readers won't object to my taking a fresh look so as to give a more nuanced view of the series as a whole. (David Hurwitz on classicstoday.com)



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