HORENSTEIN conducts Seven Haydn & Mozart Symphonies (1956-1960) - PABX041

Excluding the vocal works, this three-volume collection represents Jascha Horenstein’s entire post-war output of commercial as well as one broadcast recording of music by Haydn and Mozart. These include Haydn symphonies 100 (“Military”), 101 (“The Clock”) and 104 (“London”), and Mozart symphonies 38 (“Prague”), 39 and 41 (“Jupiter”).

During the early part of his career Horenstein’s favoured symphonies by Haydn were no. 82, “The Bear”, and no. 86, characteristically adventurous choices for a period when the composer was better known by the later London symphonies. He also made an early and greatly admired recording of no. 94, “Surprise” (PASC 506), a work he appears never to have conducted on any other occasion. Haydn’s 101 and 104 first appeared in his schedule when he recorded them for Vox Records in 1957, and while the “Clock” symphony for a time was a regular item in his concerts, he never did the “London” symphony again. Later he added no. 100 and others to his repertoire but judging by the number of times he performed them, his favourites were no. 82 “The Bear” followed by no. 85 “La Reine”, though only the latter survives in an off-air recording and still awaits publication.

Although he conducted the four popular Mozart operas, the symphonies and other works on multiple occasions, sometimes with great success, Horenstein’s only commercial recordings of Mozart, again excluding the vocal works, are those he made for Vox Records in Vienna during the composer’s bicentenary year in 1956. It is unclear why the G-minor no. 40 was not included in this project. Also preserved but still unpublished are several off-air recordings of the Mozart symphonies taken from live broadcasts, including nos. 29, 31, 35, 39, and a fiery, agitated G-minor no. 40, by far his favourite of the canon judging by the number of times he conducted it.

Horenstein’s approach to both Haydn and Mozart was anchored to its era but even during his time it aroused conflicting reactions. His Haydn was often considered “beautiful and spiritually satisfying”, while others thought his “wholly unconventional” performances made him “one of the finest Mozart conductors of our time”. But some took a strongly contrary view. His tempi were considered problematic in repertoire from the Classical era, his performances were dull, austere, unsmiling or pedantic with sluggish rhythms that lacked tension and drive, or the playing criticized as sloppy, sleepy or laboured. “He can’t handle Mozart”, wrote a critic in Berlin. Both views accompanied him in this repertoire throughout his career.

Deliberate of pace, majestic and thoughtful, Horenstein’s recordings of the Haydn symphonies seem to bring Beethoven to mind. They are today considered large-scale performances although in music of this type he invariably used a reduced string section. This can be heard to great effect in the slow movement of the “Clock” symphony where the first flute rings out expressively over the violins, almost like a flute concerto. Horenstein’s forwardly placed woodwinds, reminiscent of Klemperer and with beneficial effect on colour, shading and tonal balance, can be heard to great advantage in all the recordings of this series.

Mozart conducted by Horenstein is taut, serious and dramatic, with brisk, lively rhythms in the outer fast movements, lyrical, poetic and warm in the slow inner sections. As a general rule his Mozart can be characterized as strong, virile and anti-romantic. Striking in the “Jupiter” is its lightness of touch, and the assertive energy and exuberance of the first movement; the long lines of sighing strings in the melancholy Andante; the dancing, peasant-like lilt in the Menuetto and the exceptional clarity of line and texture in the contrapuntal Finale. Some attributes that distinguish Horenstein’s style are inner energy and drive, forward motion, attention to detail within the phrase, grace and elegance and a general sense of purpose and aim.

Misha Horenstein

Excluding the vocal works, this collection represents Jascha Horenstein’s entire post-war output of commercial and some broadcast recordings of music by Haydn and Mozart. The first volume featured Haydn’s“Clock” and Mozart’s “Jupiter” symphonies, both restored from commercial recordings made originally for Vox Records. This, the second volume, continues that series with the “Prague” symphony but also includes live performances of two works Horenstein did not record commercially, Haydn’s “Military” and Mozart’s “Haffner”. Also preserved but still unpublished are several off-air and in-house recordings, including Haydn’s “La Reine” and “Clock” symphonies, and Mozart nos. 29, 31, 39 and 40, some of which will be included in future releases.

Horenstein’s approach to both Mozart and Haydn was anchored to its era but even during his time it aroused conflicting reactions. For some his “wholly unconventional” performances made him “one of the finest Mozart conductors of our time”, while his Haydn was often considered “beautiful and spiritually satisfying.” Others took a strongly contrary view, hearing performances that were dull, austere, unsmiling or pedantic with sluggish rhythms that lacked tension and drive. Although much opprobrium was directed at technical deficiencies in his recordings, contrary views of his interpretations in this repertoire accompanied him throughout his career.

Jumpy and sharp-edged, Haydn’s “Military” symphony, taken from a public concert in Paris in 1956, moves with lively tempos and strong forward motion. Horenstein’s view of the work is similar to Beecham’s in expressiveness but without the Englishman’s impish sophistication. He takes delight in the percussive clatter and fanfares of the "military" passages in II and IV, played exuberantly with all the mock pomp and gusto intended by the composer. There is nothing dainty or muted about this Haydn. Some subsidiary details are obscured by the limitations of the recording, taken from a radio broadcast. The master tapes are preserved in France’s Audiovisual Archive (INA).

According to Mozart himself, the first movement of his D-major “Haffner” symphony should be played “with fire”, an instruction abundantly evident throughout Horenstein's fleet-footed, sharply defined performance. The outer movements, spirited, assertive and energetic with crisply defined rhythms and harmonies recalling Mozart’s demonic side, are played with great fervour and enthusiasm, and no repeats, by a clearly attentive and energized Suisse Romande orchestra. The recording is taken from a radio broadcast of master tapes held in the archives of Radio Suisse Romande.

Mozart conducted by Horenstein is taut, serious and dramatic in the outer fast movements, lyrical, poetic and warm in the slow inner sections. As a general rule his Mozart can be characterized as strong, virile and anti-romantic. This is true for the “Prague” symphony, a studio recording made in Vienna for Vox Records during Mozart’s bicentenary year. The performance shows Horenstein to be a sympathetic Mozart interpreter. The carefully constructed outer movements exhibit lively rhythms that are never slack, while the Andante is delicate, songful and expressive with great depth of feeling. Some attributes that distinguish Horenstein’s style are inner energy and drive, forward motion, attention to detail within the phrase and a general sense of purpose and aim.

Misha Horenstein

The present release is the third and final volume of a series devoted to Haydn and Mozart conducted by Jascha Horenstein. The collection covers all of his commercial recordings of the symphonies originally released on the Vox label during the 1950s, as well as two recordings taken from live broadcasts of works he did not record commercially. Previous releases in this series have featured the  “Clock” and “Military” symphonies by Haydn, and Mozart’s “Haffner”, “Prague” and “Jupiter” symphonies.

Mozart's Symphony No. 39 was recorded as part of the composer’s bicentenary during a busy two week period for Horenstein in Vienna and followed the signing of his second contract for Vox Records on February 1st 1956. The contract stipulated a minimum of five recordings per year, an obligation quickly fulfilled over the next ten days that resulted in recordings of three Mozart symphonies, Beethoven’s Fifth and Ninth, the latter for a long time Horenstein’s best selling LP, Mozart’s Requiem and a couple of Beethoven overtures, and one can only regret that stereo was not an option at that time. According to one source Eine Kleine Nachtmusik was also recorded but this remains a rumour.

The Haydn symphonies were recorded in April 1957 if current research is accurate, and are among Horenstein’s first in stereo. Often the subject of severe criticism, Vox’s engineering of its two Haydn symphonies in this series was more successful than previous efforts and benefits noticeably from Pristine’s restoration, which despite the heavy studio resonance endows the orchestra with a full, rich and enveloping sound.

Horenstein’s approach to both Mozart and Haydn was anchored to its era but even during his time it aroused conflicting reactions. For some his “wholly unconventional” performances made him “one of the finest Mozart conductors of our time”, while his Haydn was often considered “beautiful and spiritually satisfying.” Others took a strongly contrary view, hearing performances that were austere, unsmiling or pedantic with sluggish rhythms that lacked tension and drive. Both views accompanied him in this repertoire throughout his career.

Haydn’s “London” Symphony conducted by Horenstein is gravitas personified. Serious and stately, it is strong of profile and deliberate of pace, weighty but never slack, no matter how slow the beat, and with a strong sense of forward motion. The regal opening Adagio of the first movement determines the relaxed tempo of the ensuing Allegro, which appears to lack forward drive until one realizes that Horenstein views it as a prelude, an introduction to the more elaborate second movement. He clearly views the Andante as the emotional center of the work and exploits its darker harmonies and turbulences to dramatic effect. The third movement, a courtly dance in distorted form, stays flat-footed, rustic and rough around the edges as intended. The finale, whose crisp and constant rhythms come as something of a relief, provide Horenstein with additional opportunities to emphasize the darker sides of Haydn’s drama. The forward placing of the woodwinds and comfortable tempi throughout are characteristic of Horenstein’s approach in this repertoire, allowing the musicians of the Vienna Symphony Orchestra ample opportunity to shine as well as conferring transparency and openness to the orchestral textures.  

Mozart conducted by Horenstein is taut, serious and dramatic in the outer fast movements, lyrical, poetic, reflective and warm in the slow inner sections. As a general rule his Mozart can be characterized as strong, virile and anti-romantic. This is true of the E-flat Symphony, a recording that shows Horenstein’s sympathy as a Mozart interpreter. His carefully constructed outer movements exhibit lively rhythms that are slow but never sluggish, the Andante is delicate, songful and expressive with great depth of feeling and the Minuet forceful, rustic and boisterous. Some attributes that distinguish Horenstein’s style are inner energy and drive, forward motion, attention to detail within the phrase and a general sense of purpose and aim.

Misha Horenstein