Robin Ticciati & SCO - Haydn: Symphonies 31, 70 & 101 - The Arts Desk

Josef Haydn recalled his three decades spent working for the Esterházy court in the following terms: "I was cut off from the world, there was no one near me to torment me or make me doubt myself, so I had to become original." And the three D major symphonies on this generously-filled disc do bubble with originality;  No. 31, nicknamed the Hornsignal, opens with a four-horn blast which looks forward to Tchaikovsky's 4th. Haydn's ready access to a quartet of highly paid horn virtuosi in his court orchestra prompted some inspired (and still extremely difficult) writing. The big fanfares impress, played on natural horns, but it's the trickier quiet moments which amaze. Like the duets in the "Adagio", or the "Menuet"'s fiendish trio. And the opening fanfare returns to crown the end of the finale's set of variations. You could argue that the Scottish Chamber Orchestra's horns are too loud, but isn't that the point of this piece? They're brilliantly supported too; Robin Ticciati's reading is taut, sharp and witty.

He follows it with the much shorter, more enigmatic Symphony No.70, a work dominated by loud timpani thwacks and sharp trumpet blasts. Oddest is Haydn's fiery last movement, daring its audience to clap before the final chord. And there's the better known Symphony No 101. Ticciati's introduction broods magnificently. Ticking bassoons charm in the "Andante". The third movement's trio still sounds deeply strange; the flighty flute solo played out over static string chords. All thought-provoking and highly enjoyable - Ticciati's best disc so far.