Many thanks to our friend Jean-Luc for this fine collection
These performances have been a mainstay of the classical music world since they were first recorded and released (the recordings were made over a three and a half year period beginning in July 1969 and continuing through December 1972, with the first releases made on LP in 1970). Dorati’s project was just the second to record the complete Haydn symphonies, following Ernst Märzendorfer and the Vienna Chamber Orchestra, in very limited release on LP and infrequently mentioned today.
Please, pay attention: due to some errors on naming the last four Symphonies (101 was actually 103, 102 was actually 104…and vice-versa), I uploaded 5 archives with the symphonies 101-104 with the right names now. Please, DL them and replace the old files. Thank you!
Composer: Joseph Haydn
Orchestra: Philarmonia Hungarica
Conductor: Antal Dorati
Number of Discs: 6
DR-Analysis: DR 13
Size: 6.02 GB
Haydn was a remarkable composer. He has yet to be discovered by most listeners…I mean, REALLY discovered and relished. For after all, as the Kapellmeister to Prince Nicholas Esterhazy for so much of his lifetime, Haydn had to create entertainment for his Prince and his “occasions”. So Haydn wrote the music, repaired the instruments, saw to it his musicians were happy, and kept Prince Nicholas totally enthralled. For recreation Haydn would go on a royal hunt, a sport he dearly loved and which shows up in his music…If it wasn’t for his massive recording project, Hungarian-born conductor Antal Dorati would not have been acknowledged as a first-classconductor at a time when such giants as Leopold Stokowski, Herbert Von Karajan, George Solti and Leonard Bernstein were still conducting.
Dorati is an exemplary exponent of classical music, which is also to say Classical Era music (1750-1800). Nevertheless, even if Dorati has a superb touch for this kind of repertoire, he is equally as brilliant in 20th century music and Romantic Era music, as his Tchaikovsky symphonies and ballets have proven. At an expensive price, this recording is still worth it. It’s a legend in recorded history of classical music. No other conductor dared to take on such a monumental project as to record all 100 and plus symphonies of Franz Joseph Haydn, the composer who by definition began the movement of Classical Era music. It was Mozart, who was his younger friend, that is better known today for this kind of music and moreover, musicologists believe he refined and perfected the style. But don’t underestimate Papa Haydn. His music is beautiful, bursting with energy and lightness, elegance, warmth and melodic harmony that is so refreshing to hear especially in our own time which is full of stress.
Haydn’s symphonies are not all similar sounding. Each symphony was unique, like the hand prints on people. Yes, at times they do tend to sound the same, possibly because so many of them were in the key of D. Nevertheless, they are music of individual merit. As his symphonies approached its later years and maturation, Haydn employed slights of ear and orchestral innovations that were considered new and bold in his time. The “surprise” in his “Surprise Symphony” is a thunderous “bang” in fortissimo by the orchestra after a melody that is rather bland and sleepy (which to me sounds like “Mary Had A Little Lamb”). The “Clock” Symphony is measured in a kind of “tick-tock” beat and is very very elegant and memorable, as it conjures up the image of a Rococco clock or a clock museum. The Paris Symphonies are an Austrian-German man’s “trip” to Paris and his interpretation of French music. It sounds nothing at all like French music at the time although at times it nearly slips into the slow grandeur of the music of Baroque master Jean Baptiste Lully. The London Symphonies are among his best, with a kind of majesty and pomp typically associated with English royalty. If you listen carefully it’s in the music. A similar thing occurs in the music to the “Oxford” Symphony. Haydn had visited Oxford to teach music and was awarded a doctorate. He composed music for that special event and the music is brooding, intellectual and somehow very very English.
Antal Dorati and his formidable Hungarica Philharmonica is at their very best in this set. The sound is crisp, gleaming and unbeatable. Even if you get the individualized sets of these symphonies, you will be treating yourself to some top-notch classical music. A must have for fans of Antal Dorati.
Analyzed folder: /96k Haydn – Symphonies 93-104 – Dorati
DR Peak RMS Filename ———————————————————————————————-
DR13 -0.60 dB -19.03 dB A1 Symphony No. 93 In D – 1st Mvt. Adagio – Allegro Assai.aif
DR14 -3.24 dB -24.13 dB A2 Symphony No. 93 In D – 2nd Mvt. Largo Cantabile.aif
DR14 -1.12 dB -19.67 dB A3 Symphony No. 93 In D – 3rd Mvt. Menuetto E Trio – Allegro.aif
DR13 -0.84 dB -19.03 dB A4 Symphony No. 93 In D – 4th Mvt. Finale – Presto Ma Non Troppo.aif
DR15 -0.85 dB -21.55 dB B1 Symphony No. 94 In G ‘Surprise’ – 1st Mvt. Adagio – Vivace Assai.aif
DR14 -0.87 dB -21.60 dB B2 Symphony No. 94 In G ‘Surprise’ – 2nd Mvt. Andante.aif
DR13 -2.55 dB -19.89 dB B3 Symphony No. 94 In G ‘Surprise’ – 3rd Mvt. Menuet E Trio – Allegro Molto.aif
DR13 -0.82 dB -18.78 dB B4 Symphony No. 94 In G ‘Surprise’ – 4th Mvt. Finale – Allegro Di Molto.aif
DR13 -0.34 dB -18.80 dB C1 Symphony No. 95 In C Minor – 1st Mvt. Allegro Moderato.aif
DR16 -3.54 dB -24.64 dB C2 Symphony No. 95 In C Minor – 2nd Mvt. Andante Cantabile.aif
DR13 -2.99 dB -20.10 dB C3 Symphony No. 95 In C Minor – 3d Mvt. Menuet E Trio.aif
DR13 -1.99 dB -20.30 dB C4 Symphony No. 95 In C Minor – 4th Mvt. Finale – Vivace.aif
DR14 -0.66 dB -19.43 dB D1 Symphony No. 96 In D ‘The Miracle’ – 1st Mvt. Adagio – Allegro.aif
DR14 -1.67 dB -22.30 dB D2 Symphony No. 96 In D ‘The Miracle’ – 2nd Mvt. Andante.aif
DR14 -2.67 dB -20.04 dB D3 Symphony No. 96 In D ‘The Miracle’ – 3rd Mvt. Menuetto E Trio Allegretto.aif
DR13 -0.78 dB -19.53 dB D4 Symphony No. 96 In D ‘The Miracle’ – 4th Mvt. Finale – Vivace.aif
DR13 -0.34 dB -18.23 dB E1 Symphony No. 97 In C – 1st Mvt. Adagio – Vivace.aif
DR14 -2.05 dB -22.87 dB E2 Symphony No. 97 In C – 2nd Mvt. Adagio Ma Non Troppo.aif
DR12 -2.20 dB -18.55 dB E3 Symphony No. 97 In C – 3rd Mvt. Menuetto E Trio – Allegretto.aif
DR13 -0.78 dB -18.44 dB E4 Symphony No. 97 In C – 4th Mvt. Finale – Presto Assai.aif
DR14 -1.97 dB -19.21 dB F1 Symphony No. 98 In B Flat – 1st Mvt. Adagio – Allegro.aif
DR13 -3.52 dB -22.41 dB F2 Symphony No. 98 In B Flat – 2nd Mvt. Adagio.aif
DR15 -0.21 dB -20.26 dB F3 Symphony No. 98 In B Flat – 3rd Mvt. Menuetto E Trio – Allegro.aif
DR13 -0.95 dB -18.63 dB F4 Symphony No. 98 In B Flat – 4th Mvt. Finale – Presto.aif
DR14 -0.80 dB -19.36 dB G1 Symphony No. 99 In E Flat – 1st Mvt. Adagio – Vivace Assai.aif
DR13 -1.65 dB -20.97 dB G2 Symphony No. 99 In E Flat – 2nd Mvt. Adagio.aif
DR14 -3.44 dB -22.53 dB G3 Symphony No. 99 In E Flat – 3rd Mvt. Menuetto E Trio – Allegretto.aif
DR13 -2.08 dB -20.60 dB G4 Symphony No. 99 In E Flat – 4th Mvt. Finale – Vivace.aif
DR13 -1.36 dB -19.29 dB H1 Symphony No. 100 In G ‘Military’ – 1st Mvt. Adagio – Allegro.aif
DR13 -0.75 dB -19.40 dB H2 Symphony No. 100 In G ‘Military’ – 2nd Mvt. Allegretto.aif
DR13 -2.35 dB -19.96 dB H3 Symphony No. 100 In G ‘Military’ – 3rd Mvt. Menuetto E Trio – Moderato.aif
DR12 -1.51 dB -19.10 dB H4 Symphony No. 100 In G ‘Military’ – 4th Mvt. Finale – Presto.aif
DR13 -2.33 dB -21.33 dB I1 Symphony 101 In D ‘The Clock’ – 1st Mvt. Adagio – Presto.aif
DR15 -2.40 dB -24.50 dB I2 Symphony 101 In D ‘The Clock’ – 2nd Mvt. Andante.aif
DR14 -2.69 dB -22.23 dB I3 Symphony 101 In D ‘The Clock’ – 3rd Mvt. Menuetto E Trio – Allegretto.aif
DR13 -1.35 dB -19.59 dB I4 Symphony 101 In D ‘The Clock’ – 4th Mvt. Finale – Vivace.aif
DR13 -0.69 dB -18.74 dB J1 Symphony 102 In B Flat – 1st Mvt. Largo – Vivace.aif
DR15 -0.97 dB -22.57 dB J2 Symphony 102 In B Flat – 2nd Mvt. Adagio.aif
DR14 -1.36 dB -20.86 dB J3 Symphony 102 In B Flat – 3rd Mvt. Menuetto E Trio – Allegro.aif
DR13 -2.24 dB -19.27 dB J4 Symphony 102 In B Flat – 4th Mvt. Finale – Presto.aif
DR14 -1.24 dB -20.10 dB K1 Symphony 103 In E Flat ‘Drum Roll’ – 1st Mvt. Adagio – Allegro Con Spirito.aif
DR13 -2.52 dB -22.11 dB K2 Symphony 103 In E Flat ‘Drum Roll’ – 2nd Mvt. Andante Piu’ Tosto, Allegretto.aif
DR13 -1.52 dB -19.05 dB K3 Symphony 103 In E Flat ‘Drum Roll’ – 3rd Mvt. Menuetto E Trio.aif
DR13 -0.85 dB -18.96 dB K4 Symphony 103 In E Flat ‘Drum Roll’ – 4th Mvt. Finale – Allegro Con Spirito.aif
DR13 -1.68 dB -18.73 dB L1 Symphony 104 In D ‘London’ – 1st Mvt. Adagio – Allegro.aif
DR14 -2.79 dB -21.78 dB L2 Symphony 104 In D ‘London’ – 2nd Mvt. Andante.aif
DR13 -2.30 dB -19.06 dB L3 Symphony 104 In D ‘London’ – 3rd Mvt. Menuet E Trio – Allegro.aif
DR13 -1.79 dB -20.30 dB L4 Symphony 104 In D ‘London’ – 4th Mvt. Finale – Spiritoso.aif
Number of files: 48
Official DR value: DR14
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
Cartridge: Sumiko Black Bird
- Cartridge: ZYX 50R Bloom
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- Pre Amp: Audio Research SP15
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
A few words about the way i’ve been cleaning vinyl records and post-processing rips, since summer 2017: After washing and recording the vinyl, I use a kind of mixed cleaning of the rip, which consists of mostly manual rather than automatic de-clicking, (the latter only on unimportant passages, such as end of the groove, beginning and end of the songs, applause, speaking). I often leave the rips almost rough, de-clicking only the silences between the tracks. Never de-noising or/and EQ, as unfortunately some do. I prefer to hear a bit of quiet noises of the clean groove, that contain something of the music, rather than generate clinically clean files that may, eventually, sound a bit dead. If you do not agree, do not download my rips and buy instead digital files or CDs.
When I listen to music I “don’t hear” any noise: I enjoy the music 😀
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- Software: iZotope RX 5 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.18
- Very careful de-clicking with iZotope, significant clicks manually removed, never de-noising
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