Paavo Järvi and the Deutsche Kammerphilharmonie Bremen (DKAM) has celebrated 20th year of collaboration, since Järvi assumed artistic director/principal conductorship of DKAM in 2004. They have been active in classical music scene and their fresh and innovative interpretation of Symphonic works by Beethoven, Schumann and Brahms among others have been praised in concert and as recordings worldwide.
Their current recording project is Haydn’s London Symphonies (Nos.93-104), 12 masterworks composed specifically for London audience between 1791 and 1795. These 12 symphonies are the culmination of Haydn’s creative activity and sum up his matured symphonic writing for the orchestra. All of them were first performed during Haydn’s two prolonged stays in London and became the highlights of the city’s musical seasons. Recognizable nicknames like “Surprise”, “Miracle”, “The Clock”were instantly given to many of them.
The first volume including Symphonies No. 101 “The Clock” and No. 103 “Drum Roll”) was released in 2022, and hugely praise worldwide, including the Gramophone Magazine’s Orchestra of the Year in 2023, and “Orchestra of the Year” of Opus Klassik award in 2024
The second volume of the cycle includes four symphonies, ultra-famous No. 94 “Surprise” named after the humous and shocking loud chord, No. 95 , No. 98 and No. 99.
Paavo Järvi has loved Haydn’s symphonies for a long time and considers them quite neglected in the shadows of Mozart and Beethoven. With DKAM and their absorption of historically informed practice, now is the perfect time for him to explore the world of Haydn, because “on the surface his music can often appear brilliant yet facile. But there’s much more to it than that, like Mozart and Beethoven, it is much more complex and nuanced. This requires the kind of teamwork that can only be found in a group that thinks and breathes like a chamber music ensemble. (……) With the Kammerphilharmonie it is one of our greatest joys to share in this amazing spirit. I hope when you hear our recording Haydn’s true greatness and genius will be readily apparent when you find yourself laughing with him.”
As with all of the past albums of Paavo Järvi and DKAM, the recording sessions took place after they perform each symphony many times in concerts and absorbed even the subtlest nuances of the score. Produced by Philip Traugott and engineered by Jean-Marie Geijsen (Polyhimnia), the excitement and vividness of their performances are perfectly captured in minute detail.
