These energetic symphonies fairly zip along and the musicians' love of the music is evident from the playing -- with great verve in the fast movements and tenderness and subtlety in the slow. The sound is crystal clear, highlighting the unique sounds of the instruments, especially the rasping brass and delicate flutes. A real treat.
. . . superb . . . Engineering is outstanding, capturing the period instruments with resonance and warmth.
. . . [these four symphonies] are done full justice by the Accademia Bizantina and Ottavio Dantone . . . Accademia Bizantina responds to the music's vigour and its expressive character. And their handling of repeats (all observed) is imaginative, with subtle changes introduced.
Beautifully recorded and rendered, these original instrument realizations of rare Haydn symphonies do everyone honor.
. . . [Accademia Bizantina] turn in a brilliant performance . . . careful attention is paid to articulation marks, detached notes are detached, Haydn's characteristic short slurs are rarely elongated as is sometimes the case in other recordings. Perhaps best of all, Haydn's unique wit is allowed to breathe in the composer's characteristic use of silence . . . [Haydn 80]: the detached 16th note runs in the last movement of this symphony (marked Presto), along with those snarling horns in the Accadernia Bizantina recording, are thrilling . . . [this new recording] belongs near the front of the class . . .
The keenness of these young players is impressive and the performances with brisk "menuettos" and abrupt dynamic contrasts are very much in today's interpretative manner.
Hier vollbringt er (Dantone) mit seiner auf historischen Instrumenten spielenden Accademia Bizantina kleine Wunder an Durchhörbarkeit und Feinstabstimmung. Da klingt so manches rauer als gewohnt, aber eben auch äußerst pointiert und humorvoll. Da stehen kleine Pfiffigkeiten neben gröberen Scherzen und Eleganz neben vorwärts drängender Dramatik. Das macht einen Heidenspaß.