Both the symphonies on this record were performed in 1791 during Haydn's stay in London. They are similarly scored for a richly textured ensemble of flutes, oboes, bassoons, horns, trumpets, drums and strings. Symphony No. 94 in G (Surprise) has for a very long time been one of the works through which Haydn has reached his widest audience; but the 'surprise' for me has been the impact of Christopher Hogwood's vigorous, fresh and light-hearted reading. I cannot recall ever having heard a wholly dull performance of the work but this one focused my attention from start to finish. The intonation of the large period-instrument band is pretty liable throughout both symphonies, and ensemble is clear and incisive. Hogwood's direction is notably fluent, especially perhaps, in the Surprise Symphony, which he has already recorded in Salomon's scaled-down arrangement of it for string quartet, flute and fortepiano (L'Oiseau-Lyre D263D2, 10/82—part of a two-LP set). He directs both the present performances from a fortepiano, by the way. Readers committed to the more familiar size and sounds of a modern symphony orchestra approach may not at first be so attracted by the Academy of Ancient Music's sonorities as I am, but I should be suprised if they were to find nothing here to stir their must congratulate the engineers on an admirable balance which captures the individual character of the various families of instruments.
I confess that in the past I have sometimes found symphonic performances by this orchestra a little prosaic in outlook and ungratifying in ensemble; but there is a fluency and, I think, a maturity in its account of these Haydn symphonies which make for satisfying interpretations. The waltz-like character of the Menuet of Symphony No. 94 for example is nicely judged and the orchestra rises admirably to the challenge of the brief but demanding finale. In short, this is a record which I shall listen to many times over. Fine pressings and, as I have implied, illuminating recorded sound. Warmly commended. Haydn would have arrived in London too late to have witnessed the ascent of the balloon in St George's Fields, featured on the sleeve front; but his decision to travel to England perhaps required almost as much courage.'