Prince Esterhazy’s orchestra was renowned for the virtuosity of its members, and this programme exemplifies Haydn’s exploitation of the orchestra’s instrumentalists most impressively. Thus, in this second volume of Haydn’s Divertimentos (the first was reviewed in 11/95), Manfred Huss appropriately takes every opportunity to highlight the Vienna Haydn Sinfonietta’s excellent soloist and ensemble skills in performances of abounding vitality. The period-instrument sound – emphasized by a full, bright recording – does have the occasional rough edge, but this only adds power and piquancy to these compelling accounts. Huss and his team vividly bring out the striking baroque colours in the G major Divertimento (HobII/1), conveying the music’s startling array of expressive moods with elegant phrasing in the slow movements, and further underlining the score’s rich stylistic diversity in the theme and variations of the finale. In the D major Divertimento, on the other hand, Huss deftly balances bravura horn writing and strings to reveal the full sparkle and textural variety of this engagingly robust piece. Listen to the enchanting discourse between the horns in the slow movement, or the dazzling virtuosity from everyone in the finale.
Until recently, the unfortunate state of the sources for the G major Divertimento (HobII/9) had made modern performances impossible. However, with the discovery of new material, Huss and the Haydn Sinfonietta here display the work’s infectious vivacity with exquisite playing all round, thus restoring this splendid music to the repertory. Serene poise in the slow movement evocatively contrasts cantabile melody and pizzicato accompaniment, and the piece culminates in a finale of arresting vigour.'