Yet another outstanding coupling of late Haydn symphonies given extremely good sound. Only in January was I greatly enjoying Solti's very fine performance of No. 104 (Decca—coupled with the delectable No. 95) and in 1981 RG gave the warmest welcome to Sir Colin Davis's Philips version of No. 102, where the analogue sound is first class, although digital recording does bring a degree of extra clarity. What is fascinating is to find that not only solti but also Davis tend to choose slightly faster tempos than Jeffrey Tate, yet listened to independently Tate's more spacious approach is entirely convincing, for the ECO string playing is crisply resilient.
The very opening of No. 104 with the timpani strokes precisely placed demonstrates how clean is the articulation. Yet the humanity of Haydn is conveyed by the warmth of the phrasing, and in both slow movements Tate is glowingly gracious. The wind solos are equally felicitous and the forward looking melodic line of the Trio of the Minuet of No. 102 has great character. The sound balance is natural and pleasing, slightly mellower than Solti's, more transparent than with Davis. I have a very soft spot for Solti's No. 95, but if Tate's choice of works appeals then this EMI record can be strongly recommended.'