The material for these performances was prepared by myself from the editions published by the Mozart-Haydn Presse and Henle Verlag. Articulation and phrasing, dynamics and rhythms have all been supplemented where necessary, according to eighteenth-century principles, and many errors have been corrected.
The Hanover Band performs on period instruments at a pitch of A = 430Hz, and since I firmly believe that Haydn either played or expected a keyboard continuo instrument, I direct symphonies 1 to 92 from the harpsichord, and symphonies 93 to 104 from a Broadwood fortepiano, with the violins divided on opposite sides.
All repeats are observed as a matter of course (unless there is an obvious dramatic reason for not doing so) and in those symphonies where the parts for trumpets and drums appear to have been added later or composed as an alternative to the horns (often ‘in alt’), their services have been dispensed with. The tempo markings which Hummel and Czerny gave to several Haydn symphonies have prompted me to reassess particularly the speed of Andante and Minuet movements, which are nowadays often performed much too slowly.
'Very strongly recommended' (Fanfare, USA)
H. C. v. Dadelsen in FonoForum 11 / 94: "Sorg-
falt im Detail, eine differenzierte Ausar-
beitung der vielfältigen Charaktere und ein
präzises und unprätentiöses Verhältnis von
Melodie- und Begleitstimmen zeichnet auch
diese 16. Folge der laufenden Gesamteinspie-
lung aus. Alles gelingt locker, und selbst
die langsamen Sätze, die von vielen Dirigenten
dramaturgisch vernachlässigt werden, klingen
bei Goodman spannungsvoll, doch nicht künst-