Album Review: Symphonies 88-92 by Haydn, La Petite Bande, Sigiswald Kuijken
Alright, let’s dive into this gem of an album—Symphonies 88-92 by Joseph Haydn. Performed by La Petite Bande under the baton (well, more like bow) of Sigiswald Kuijken, it’s a solid throwback to classical roots with just enough flair to keep things fresh. Released in 1999 on Virgin Veritas, this record feels like stepping into a time machine set for 18th-century Europe—but don’t worry, you won’t need powdered wigs or fancy breeches to enjoy it.
First off, let’s talk about two tracks that stuck with me: Symphony No. 92 “Oxford” in G Major and Symphony No. 88 in G Major. Now, I’m no musicologist, but these pieces hit differently. The “Oxford” symphony kicks off with that Adagio - Allegro Spiritoso movement, and honestly? It’s like being handed a warm cup of tea on a rainy day. You know those moments when life gets chaotic, and then something smooths everything out? That’s what this track does. Kuijken and his crew nail the balance between precision and emotion here—it’s not too stiff, not too loose. Just right.
Then there’s Symphony No. 88. Oh man, this one’s got swagger. From the opening notes of the Adagio - Allegro, you can tell Haydn was feeling himself when he wrote this. There’s a kind of playful confidence running through the whole thing, especially in the Menuet. It’s almost as if the orchestra is winking at you while they play. Like, “Yeah, we know this is good.” And guess what? They’re absolutely right. This symphony has stuck in my head for days—not because it’s catchy in a pop-song way, but because it’s clever. Every little detail feels intentional, from the strings to the horns. Big props to engineer Adriaan Verstijnen for making sure every instrument shines without overpowering the others.
One thing I gotta mention is how clean the production sounds. Producer Nicholas Parker clearly knew what he was doing. Even though this is a period-style performance, it doesn’t feel dusty or outdated. Instead, it’s vibrant, alive, almost like you’re sitting in the room with the musicians. Credit also goes to editor Adrian Hunter for keeping CD 2 tight—he didn’t let anything drag, which honestly could’ve happened given the length of some movements.
Now, onto the design and liner notes. UNA (London) did a bang-up job with the artwork—it’s classy but not over-the-top. And the liner notes from Virgin Classics are pretty decent too; they give you enough context without drowning you in jargon. If you’re new to Haydn, this package makes him approachable rather than intimidating.
So yeah, this album isn’t gonna blow your socks off with crazy beats or experimental sounds. But sometimes, you don’t want that. Sometimes, you just wanna chill with some timeless tunes that remind you why classical music still matters today. Listening to this record made me realize how much joy can come from simplicity done well.
Oh, and here’s a random thought: if Haydn were alive now, would he be dropping bangers on Spotify? Probably not, but hey, who knows? Maybe he’d team up with Sigiswald Kuijken for a remix EP. Stranger things have happened, right?
