The possible advantages of this disc: First, Maestro Robin Ticciati and the Scottish Chamber Orchestra play three symphonies by Austrian composer Joseph Haydn (1732-1909) from three periods in the man's life: early, middle, and late, giving the listener a useful overview of Haydn's developing output. Second, Linn Records provides another excellent-sounding album.
The possible disadvantages: First, Ticciati chooses to play each of the symphonies in something approaching historical accuracy, yet the orchestra performs on modern instruments. The combination may seem a tad disconcerting for some listeners. Second, Ticciati doesn't appear to display any discernable difference in playing style among the three symphonies even though they span a period of about thirty years. You would think that maybe as Haydn's style evolved, the playing practice might, too.
Anyway, things begin with the Symphony No. 31 in D major, which Haydn wrote in 1765 for his patron Nikolaus Esterházy. It acquired the nickname "Hornsignal" because it provides the horn section a rather large role in the proceedings. I really wasn't familiar with No. 31 (I hadn't heard Dorati's version in decades), but under Ticciati it sounds fresh, chipper, and alive. The Adagio is especially lovely, taken at a steady, enlivening gait that never indulges in sentimentality. And so it goes with a light, lilting flow throughout.
Next is the Symphony No. 70 in D major from 1779, written to commemorate the construction of a new opera house on Prince Esterhazy's property. Although it is not among Haydn's most-memorable symphonies, it does feature the composer's usual complement of pleasing harmonies. No. 70 starts out in a veritable storm of sounds, which Ticciati handles with ease, although the relatively small size of the Scottish Chamber Orchestra rather diminishes the overall effect. Yes, it sounds a tad underpowered compared to other renditions I've heard. Nevertheless, Ticciati again maintains a good forward pulse, and the movements proceed fluidly one to the next. He particularly handles the playful finale with dexterity.
Producer and engineer Philip Hobbs recorded the symphonies at Usher Hall, Edinburgh, UK in January and February 2015. He made the recording for hybrid SACD playback, so you can listen in multichannel or two-channel SACD if you have an SACD player and regular two-channel stereo if you have only a standard CD player.
In the two-channel SACD mode to which I listened, the sound appears warm and clear, with a good sense of depth and dimensionality. As this is a Linn recording, there is nothing hard, bright, compartmentalized, or close-up about the sonics. It just sounds natural and dynamic, with a sold timpani response and a mild hall resonance providing a realistic ambient bloom.
To listen to a brief excerpt from this album, click here: