The Haydn Sinfonia Concertante, too often neglected for requiring such a full complement of soloists who need to rehearse together, is now, on record at least, getting a better showing. This latest version from Abbado and the Chamber Orchestra of Europe is in many ways even finer than those recent versions listed above, and though the coupling is ungenerous, it brings an equally lively and winning account of the Symphony No. 96, Miracle, another work now coming into its own on record. In both performances, inspired by the young players of an orchestra he has been fostering from its foundation, Abbado finds sparkle and wit of a kind that does not always mark his work, but which notably came out in his Gramophone Award-winning DG set (recorded live) of Rossini's Il viaggio a Reims, also with the COE.
In the first movement of the Sinfonia this performance is even fresher and bouncier than Bernstein's (also on DG), and the central Andante. taken at a more flowing speed, is more elegant, less heavily underlined, while the marginally more relaxed speed for the finale allows for springier rhythms and finer detail in dynamic shading.
The four soloists respond to each other in their expressive nuances with winning individuality, sounding on balance more spontaneous than their distinguished colleagues of the Vienna Philharmonic in the Bernstein version, while achieving ensemble of comparably high polish. Unlike the Bernstein (and unlike the Rossini opera) this is a studio recording, and the only significant disappointment is that the balance of the soloists is rather too forward, with the discrepancy underlined by the fact that their sound is drier as well as closer than that of the orchestra behind. Otherwise it is a very full and vivid recording with plenty of presence.
The Symphony, too, brings some brilliant playing, with the oboe and bassoon again very persuasive in their solos, and the outer movements bringing an exhilarating lightness, capturing the fun of Haydn's inspiration without any hint of undue haste or breathlessness. I hope Abbado will now find time to make many more records with the Chamber Orchestra of Europe.'