ABSTRACT
The general activity on the scene of Joseph Haydn interpretation, even if not in every genre, is steadily growing. In the genre string quartet accomplishment of period-instrument groups is overwhelming. Haydn's instrumental music has been established as an ideal repertoire to coach first-class musicians, to experiment with different-sized ensembles in different acoustic surroundings, on modern and period instruments alike. Haydn's "London" symphonies as recorded in the 1980s—1990s by Georg Solti, Claudio Abbado, or Andre Previn with Europe's leading orchestras, or by Adam Fischer with his Osterreichisch-Ungarische Haydn-Philharmonie are very good renditions. An essential observation is that, unfortunately more often than desired, recordings and not live performances are the main medium of the appearance of new trends and qualities in the Haydn interpretation. The appearance of string quartets in the volumes of Joseph Haydn Werke opened new vistas. Several details of the notation with important consequences for the rendition have not yet been adequately recognized and discussed by performance practice studies.
