Yet his job had but one future – when his voice finally broke at age 17, his only chance to remain was as a castrato. (Two earlier ventures had been cut (by excising the opening adagio and trimming the allegretto) to fit each movement onto a single 12-inch 78 rpm side – a 1916 set by the Victor Concert Orchestra in extremely clear detail for the time, and a 1926 Vox set by an unnamed orchestra led by Erich Kleiber. The first utilizes full orchestras, modern instruments and pitch, and exhibits little pretense of period style. 100 "Military", Franz Joseph Haydn: Symphony No. Encore! (Now known as the "Paris" Symphonies, Haydn wasn't above selling them to each of three publishers.) In all candor, the interpretive and sonic differences between these and those in the final group are barely perceptible, so the distinction often is a matter of resources rather than meaningful aesthetics. Audiences at the time might have expected to hear these special effects in the opera house, but not in a symphony. Perhaps the high point of this period came in 1785, when Haydn fulfilled a commission from Comte d'Ogny for six symphonies for an enormous (for the time) orchestra, including 40 violins and ten basses, enabling him to explore the sheer sonic power afforded by such then-massive resources. offspring of a wheelwright with no family history of musicians, Haydn spent a decade as a choirboy at the St. Stephen cathedral in Vienna (where he became outshone by his younger brother Michael, now known primarily as the composer of Mozart's putative Symphony # 37, for which Mozart actually wrote only a brief adagio introduction). A degree of reliability is suggested by the extreme congruence of their content, but their underlying accuracy may both stem simply from being based upon similar meetings Haydn conducted in his dotage with their authors. The third conductor is Mogens Woldike, also born in the nineteenth century, who led the Vienna State Opera Orchestra (the farm team for the Vienna Philharmonic) in superb, finely balanced 1956 stereo readings of the second six London symphonies (Vanguard) that boast a superb sense of style – tempos are all just right, phrasing enthused, execution precise, textures lean, balances ideal. Geiringer goes on to credit Haydn with treating the final recapitulation section not as a mere mechanical repeat of the opening exposition, but as richly inspired as the development, and recasting the coda into a dramatic concentration of the thematic material. (It is now known as Haydn's Symphony # 100 according to the compendium compiled by Eusebius Mandyczewski in 1907 which was remarkably complete, omitting only two youthful works, even though the chronology of the earlier works has been corrected by subsequent scholarship.) Many tend to be unduly dry, but I can wholeheartedly recommend Karl Geiringer's highly readable Haydn – A Creative Life in Music (W. W. Norton, 1946), which both provides an account of the composer's life and traces the development of his music across many genres. Heard today, it still sounds quite good, but so do most other recordings of the late mono LP era. Commentators point to several traits in the London symphonies that paved the way for future evolution of the genre, while enabling Haydn to bring the form to a peak that has never been matched. Haydn did not invent symphonic form, which grew out of the Baroque sinfonia, a fast-slow-fast single movement prologue to an opera or oratorio, to which a minuet was added from a divertimento or dance suite. 99 and portions of 100 and 101 (the latter nicknamed Clock by London audiences) for a new season of 12 concerts in the Hanover Square Rooms, where an expert orchestra now included clarinets. They lived mostly apart, she became jealous of his many affairs, and he referred to her as "that infernal beast.". Yet, the curious balance boosts the generally overlooked trumpet part to unnatural levels, suggesting a heightened martial character, and adding to the piece a novel perspective for those enamored of that instrument but otherwise disrupting the accustomed sonic blend, an anomaly not heard in Bernstein's other Haydn recordings of the same period. Joseph Haydn (1732-1809) never shied away from pleasing the crowd. Fischer also created an ensemble of 45, the Austro-Hungarian Haydn Orchestra, from the two countries that Eisenstadt now borders, both for purposes of becoming thoroughly immersed in the Haydn symphonic style and as a symbol of détente between former enemies. His performances are often controversial but always seem challenging and fresh, as is his Military with the Concertgebouw, which provides a rich palette for his concern with the shifting textures of the work, evident from the very outset with a deeply sensitively-shaped introduction with yielding tempos and surging intensity. 100 G-Dur; "Militär" & Nr. 100; Symphony No. David Johnson considers it an anachronism, a modest old-fashioned dance that stands apart from the typical minuets of the time, and that foreshadows the deeper undercurrents of Beethoven's scherzos. As the Morning Chronicle noted of that second performance (itself a rarity in an age that constantly demanded new works): "The middle movement again was received with absolute shouts of applause. Both reflect extreme respect for a dearly beloved artist, and Dies begins with a fawning dedication to Prince Esterházy. Over the next decade, Haydn scraped by with odd jobs as a freelance musician, teacher and even a stint as valet to an aged Italian composer, but always with a constant urge for self-improvement and an insatiable craving to acquire the tools needed as a composer. Out of loyalty and pride to those he had served at such length and with such devotion, Haydn accepted. Soon after, when Morzin disbanded his orchestra, Prince Paul brought Haydn aboard as assistant kappellmeister to officiate at his lavish 200-room Eisenstadt castle. At any rate Jochum's feat had been trumped by Beecham, Klemperer and Jones, who already had recorded the Londons with London ensembles. Among other recordings, only those that strive for historical accuracy have this presumably authentic touch, although they opt for the more mellow sound of the fortepiano. Rather, Haydn perfected the symphony while investing it with character and even humor, which later composers would personalize and deepen. And when all is said and done, despite all the effusive poetic literary descriptions of music at the time, the composers themselves all seem to have emphasized above all the importance of a steady beat and precise articulation. Even shorn of any rhetoric, Haydn's own humor and surprises emerge quite well, thus serving to testify to the quality of his conception and natural skill. Using forces that emulate Salomon's London orchestra, Fischer achieves a lovely fundamental chamber sonority for the Military, sweetened with modern vibrato and deepened with rich bass, that projects an overall image of intimacy that, in turn, creates an especially effective contrast with the Turkish outbursts.