When I first got into classical music, purchasing all 104 symphonies by Haydn seemed like a monumental, if not impossible task. I simply couldn't afford something as grand as the Dorati Complete Haydn Symphonies Boxed Set, and besides I wasn't even sure if I'd like Haydn all that much. I played it safe and made my first four purchases the two Szell Sony Essential Classics discs collecting Symphonies Nos. 92-97 between them, and Bernstein Royal Editions of the Paris (82-87) and London (100-104) Symphonies. (I can't remember why I opted for these instead of the Davis Philips two-fers -- the performances are just as amazing, and they are probably cheaper when all is said and done.)

To say the least, these Szell and Bernstein performances were stunning, and I was definitely on my way to a love affair with Haydn. But as I searched out more single disc Haydn titles, I found it very difficult to fill in the gaps in my collection between Symphonies 80 and 104. I discovered a few quality recordings here and there that fit the bill -- a Furtwangler performance of Symphony No. 88 on DG Originals and a Klemperer recording of Symphony No. 98 on EMI -- but for the most part I came away empty-handed.

At this point, a friend suggested the Naxos label. I was naive then and I told my friend I wasn't interested in hearing Alfred Rumplestiltskin and the East Cowtown Nebraska orchestra perform the great works. He told me not to be such a snob, and assured me that the performances and recording quality were consistently excellent, and that symphonies like the Esterhazy and Cologne Chamber Orchestras, while not the Berlin Philharmonic, were certainly first class groups.

Well, now I am the proud owner of several Haydn Naxos Symphony CDs, including Volumes 12, 13, 16, 18, 20 and 21 (this title). All the performances are brilliant, and often indistinguishable from the Szell and Bernstein accounts, well at least to my intermediate-level listening ear. At this rate, I may continue backwards with Haydn's Symphonies on Naxos until I reach el numero uno. And another nice thing is that with Naxos that might even be an affordable undertaking.

Joseph Haydn (1732-1809) began to compose symphonies in his late 20s and continued with the last of his "London" symphonies in 1794-1795. Throughout this period, his symphonies exhibit both continuity and a slow process of growth. It is an extraordinary listening experience to follow Haydn from his earliest symphonic efforts through his final symphonies which are masterworks of the classical form.

The symphonies on this CD form part of a complete collection of the 104 symphonies on Naxos. The series offers an opportunity to explore the creative genius of a composer who once observed that because there were no models available to him, he "was compelled to become original".

This disk,consisting of symphonies 66,67, and 68, features the Nicholaus Esterhazy Sinfonia conducted by Bela Drahos. These works were composed in the mid-1770s. I found it worthwhile in listening to these works to contrast them with Haydn's passionate "storm and stress" symphonies of the late 1760's and to compare them with some of Haydn's mid-50 symphonies (symphonies 54,56,57 on another Naxos CD) with which they share much in common. But each of these symphonies is a work of its own and worth hearing in its own right.

The symphony no.66 in B-flat major is the most conventional of this set. It has, in common with the mid-50's symphonies, a skipping opening allegro beginning with a loud chord together with much use of the solo bassoon. The first movement, allegro con brio, consists of contrasting themes following the loud opening chord. Most of this movement is carried by the strings. The second movement, adagio, is in three parts. It opens quietly in the strings and leads to an extensive passage for solo violin. The middle section moves into the minor key and builds to an intense climax before thr return of the opening material. The theme of the minuet is stated in the strings with solos for bassoon and oboe in the trio. The finale, appropriately labled "scherzando e presto" is a rapid and lightly moving rondo with much use of counterpoint and an episode in the minor key.

Symphonies nos. 67 and 68 are much more original compositions. The first movement of the symphony no. 67 in F major is marked presto and features a soft opening theme followed by a much more dramatic section for strings backed by the horn. The movement maintains a distinctive rhythmic swing throughout. The adagio is a contrasting movement consisting of a smooth, lyrical theme. It features solos near the end for two violins, a short passage to be played with the wood of the violin bow, and two solemn notes in the horn to end the movement. The minuet also includes marked solo passages for the violin in the top of its register contrasting with a droned accompaniment for a second soloist. (In this section, the G string on the violin needs to be tuned down one step.) The finale is an extended and unusual movement marked "allego di molto-adagio e cantabile-tempo primo". After the opening statment by the orchestra, the movement turns suddenly into an adagio featuring a string trio. The slow movement builds in intensity until joined by the entire ensemble before the return of the opening material. There are two better-known finales of this type (in which a slow section is interjected in the middle) in Mozart's E-flat major piano concertos K. 271 and K. 482. This is the first instance of which I am aware of the use of this pattern in a symphony.

The final work on this CD, the symphony no. 68 in B-flat major also is full of inventiveness. The opening vivace is lively and is highlighted by a quick run up the scale in the strings. The movement makes extensive use of the winds and includes solo writing for the bassoon and the violin in the development section. The minuet is placed second in this symphony. It is short and light with a legato theme framing the solo violin in the trio. The minuet sets the stage for the extensive adagio cantabile which is the centerpiece of this symphony. This movement is almost as lengthy as the remainder of the symphony. It features a flowing, lyrical theme in the opening and conclusion with a contrasting middle section. The movement proceeds at a good tempo, doesn't take itself overly seriously, and has a lovely swing. The finale, presto, is full of good humor with a lively theme, solos for the bassoon and other winds, and passages for various solo instruments entering in turn at the conclusion.

This is an excellent CD of some lesser-known Haydn symphonies.

If you like early classical music, this recording of Haydn is wonderful. It is in the 2nd half of his symphonies (in terms of numbers). These are much fuller and richer then earlier works.

Excellent overall playing, decent sound. My usual complaint - too slow in the three adagio movements. Adagio does not mean slow, it means relaxed or easeful, and indicates mood not speed. Played at the typical speeds - someone like the conductor Bruno Weil is an exception, who usually paces better, i.e. faster - the adagios are sluggish, the phrasing occasionally awkward, certain notes unduly stretched and pauses overlong and lacking tension. Too slow speeds in adagios undermines their sprightliness, which is a feature of Haydn's writing almost invariably missed by the sleepy brigade.