"In the wake of Haydn's glorious first journey to England in 1791-1792 (after three decades in Esterháza castle on a marshy plain in Western Hungary), he grew angry and dispirited back home in Vienna, where Prince Anton had moved the court. While he remained the official and fully-salaried Esterházy Kapellmeister, there were no duties. Newspapers took no notice of his return or the extraordinary success abroad. His cherished Mozart had died; his Xanthippean wife behaved more mulishly than ever; and there was an unpleasant year spent with brash young Beethoven � come from Bonn to study with him � who made it plain that were Mozart still alive, he would have been first choice.
And so, when Johann Peter Salomon invited Haydn back to England for two more seasons of concerts, he was primed. Managing to finagle permission from Prince Anton (who kept him on the payroll as a trophy), he left Vienna on January 19, 1794, accompanied by his copyist and devoted factotum, Joseph Elssler. Haydn had already composed Symphony No. 99 and portions of 100 and 101 (the latter nicknamed Clock by London audiences) for a new season of 12 concerts in the Hanover Square Rooms, where an expert orchestra now included clarinets. He and Salomon co-conducted � from the harpsichord and the concertmaster's chair, respectively." - AMG.
This is a 1st Pressing with FR1/FR1 as part of the Matrix.
This is a Mercury Living Presence Stereo recording from 1959.
Mastered by George Piros.
This series is highly regarded by Audiophiles as being some of the finest recordings ever made, even by today's standards and techniques!
These recordings are considered to be of true Audiophile quality.
The record is Exc++.
The jacket is NM-.
The LP plays/sounds NM.
Incredible micro-detail, tonality, imaging and soundstage define this recroding. There is so much micro-detail captured that you can hear the texture of the strings, the resin on the bows, the overtones from the instruments etc. In groups of massed strings you can identify the individual instruments. The soundstage is wide and very deep and captures hall ambience for a most realistic sound. Bass is deep, mid-range sweet and the high's are bell-like. An absolutely wonderful recording.
Surface noise is mostly low-level "ticks/crackles" which do not intrude on the music. Very little surface noise on Side 2.
Each record is washed on a VPI cleaning machine using a proprietary 3-5 agent process which is determined by the needs of the individual record. Each record is then listened to 100% to insure that the posted description is exactly what you can expect to get.
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