Haydn: The London Symphonies, No's. 95-96-98-102-103-104 [2-CD] (1994)

~wikipedia
Franz Joseph Haydn (31 March 1732 – 31 May 1809), known as Joseph Haydn , was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form.

A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe.

Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.

Childhood
Map showing locations where Haydn lived or visited. For discussion, see List of residences of Joseph Haydn.

Joseph Haydn was born in Rohrau, Austria, a village near the border with Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother Maria, née Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music; however, Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbors.

Haydn's parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to obtain any serious musical training. It was for this reason that they accepted a proposal from their relative Johann Matthias Frankh, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Frankh in his home to train as a musician. Haydn therefore went off with Frankh to Hainburg (seven miles away) and never again lived with his parents. He was about six years old.

Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry as well as constantly humiliated by the filthy state of his clothing. However, he did begin his musical training there, and soon was able to play both harpsichord and violin. The people of Hainburg heard him sing treble parts in the church choir.

There is reason to think that Haydn's singing impressed those who heard him, because he was soon brought to the attention of Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who happened to be visiting Hainburg. Haydn passed his audition with Reutter, and in 1740 moved to Vienna, where he worked for the next nine years as a chorister, after 1745 in the company of his younger brother Michael.

Haydn lived in the Kapellhaus next to the cathedral, along with Reutter, Reutter's family, and the other four choirboys. He was instructed in Latin and other school subjects as well as voice, violin, and keyboard. Reutter was of little help to Haydn in the areas of music theory and composition, giving him only two lessons in his entire time as chorister. However, since St. Stephen's was one of the leading musical centers in Europe, Haydn was able to learn a great deal simply by serving as a professional musician there.

Like Frankh before him, Reutter did not always bother to make sure Haydn was properly fed. As he later told his biographer Albert Christoph Dies, Haydn was motivated to sing very well, in hopes of gaining more invitations to perform before aristocratic audiences—where the singers were usually served refreshments.

Struggles as a freelancer
By 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts—the Empress herself complained to Reutter about his singing, calling it "crowing". One day, Haydn carried out a prank, snipping off the pigtail of a fellow chorister. This was enough for Reutter: Haydn was first caned, then summarily dismissed and sent into the streets with no home to go to. He had the good fortune to be taken in by a friend, Johann Michael Spangler, who for a few months shared with Haydn his family's crowded garret room. Haydn was able to begin immediately his pursuit of a career as a freelance musician.

During this arduous time, Haydn worked at many different jobs: as a music teacher, as a street serenader, and eventually, in 1752, as valet–accompanist for the Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition". He also was briefly in Count Friedrich Wilhelm von Haugwitz's employ, playing the organ in the Bohemian Chancellery chapel at the Judenplatz.

When he was a chorister, Haydn had not received serious training in music theory and composition, which he perceived as a serious gap. To fill it, he worked his way through the counterpoint exercises in the text Gradus ad Parnassum by Johann Joseph Fux, and carefully studied the work of Carl Philipp Emanuel Bach, whom he later acknowledged as an important influence.

As his skills increased, Haydn began to acquire a public reputation, first as the composer of an opera, Der krumme Teufel "The Limping Devil", written for the comic actor Johann Joseph Felix Kurz, whose stage name was "Bernardon". The work was premiered successfully in 1753, but was soon closed down by the censors. Haydn also noticed, apparently without annoyance, that works he had simply given away were being published and sold in local music shops. Between 1754 and 1756 Haydn also worked freelance for the court in Vienna. He was among several musicians who were paid for services as supplementary musicians at balls given for the imperial children during carnival season, and as supplementary singers in the imperial chapel (the Hofkapelle) in Lent and Holy Week.

With the increase in his reputation, Haydn eventually was able to obtain aristocratic patronage, crucial for the career of a composer in his day. Countess Thun, having seen one of Haydn's compositions, summoned him and engaged him as her singing and keyboard teacher. In 1756, Baron Carl Josef Fürnberg employed Haydn at his country estate, Weinzierl, where the composer wrote his first string quartets. Fürnberg later recommended Haydn to Count Morzin, who, in 1757, became his first full time employer.

The years as Kapellmeister
Haydn portrait by Ludwig Guttenbrunn, painted ca. 1791-2, depicts Haydn ca. 1770

Haydn's job title under Count Morzin was Kapellmeister, that is, music director. He led the count's small orchestra and wrote his first symphonies for this ensemble. In 1760, with the security of a Kapellmeister position, Haydn married. His wife was the former Maria Anna Aloysia Apollonia Keller (1729–1800), the sister of Therese (b. 1733), with whom Haydn had previously been in love. Haydn and his wife had a completely unhappy marriage, from which the laws of the time permitted them no escape; and they produced no children. Both took lovers.

Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) by Prince Paul Anton, head of the immensely wealthy Esterházy family. Haydn's job title was only Vice-Kapellmeister, but he was immediately placed in charge of most of the Esterházy musical establishment, with the old Kapellmeister, Gregor Werner, retaining authority only for church music. When Werner died in 1766, Haydn was elevated to full Kapellmeister.

As a "house officer" in the Esterházy establishment, Haydn wore livery and followed the family as they moved among their various palaces, most importantly the family's ancestral seat Schloss Esterházy in Eisenstadt and later on Eszterháza, a grand new palace built in rural Hungary in the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing chamber music for and with his patrons, and eventually the mounting of operatic productions. Despite this backbreaking workload, the job was in artistic terms a superb opportunity for Haydn. The Esterházy princes (Paul Anton, then from 1762–1790 Nikolaus I) were musical connoisseurs who appreciated his work and gave him daily access to his own small orchestra.
Prince Nikolaus Esterházy, Haydn's most important patron

During the nearly thirty years that Haydn worked at the Esterházy court, he produced a flood of compositions, and his musical style continued to develop. His popularity in the outside world also increased. Gradually, Haydn came to write as much for publication as for his employer, and several important works of this period, such as the Paris symphonies (1785–1786) and the original orchestral version of The Seven Last Words of Christ (1786), were commissions from abroad.

Haydn also gradually came to feel more isolated and lonely, particularly as the court came to spend most of the year at Esterháza, far from Vienna, rather than the closer-by Eisenstadt. Haydn particularly longed to visit Vienna because of his friendships there.

Of these, a particularly important one was with Maria Anna von Genzinger (1754–93), the wife of Prince Nikolaus's personal physician in Vienna, who began a close, platonic, relationship with the composer in 1789. Haydn wrote to Mrs. Genzinger often, expressing his loneliness at Eszterháza and his happiness for the few occasions on which he was able to visit her in Vienna; later on, Haydn wrote to her frequently from London. Her premature death in 1793 was a blow to Haydn, and his F minor variations for piano, Hob. XVII:6, may have been written in response to her death.

Another friend in Vienna was Wolfgang Amadeus Mozart, whom Haydn had met sometime around 1784. According to later testimony by Michael Kelly and others, the two composers occasionally played in string quartets together. Haydn was hugely impressed with Mozart's work and praised it unstintingly to others. Mozart evidently returned the esteem, as seen in his dedication of a set of six quartets, now called the "Haydn" quartets, to his friend. For further details see Haydn and Mozart.

The London journeys
In 1790, Prince Nikolaus died and was succeeded as prince by his son Anton. Following a trend of the time, Anton sought to economize by dismissing most of the court musicians. Haydn retained a nominal appointment with Anton, at a reduced salary of 400 florins, as well as a 1000-florin pension from Nikolaus. Since Anton had little need of Haydn's services he was willing to let Haydn travel elsewhere, and the composer accepted a lucrative offer from Johann Peter Salomon, a German impresario, to visit England and conduct new symphonies with a large orchestra.

The visit (1791–1792), along with a repeat visit (1794–1795), was a huge success. Audiences flocked to Haydn's concerts; Haydn augmented his fame and made large profits, thus becoming financially secure. Charles Burney reviewed the first concert thus: "Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England."

Musically, the visits to England generated some of Haydn's best-known work, including the Surprise, Military, Drumroll, and London symphonies, the Rider quartet, and the "Gypsy Rondo" piano trio. The only misstep in the venture was an opera, L'anima del filosofo, which Haydn was contracted to compose, but whose performance was blocked by intrigues. Haydn made many new friends and was involved for a time in a romantic relationship with Rebecca Schroeter.
Portrait of Beethoven as a young man by Carl Traugott Riedel (1769–1832)

While traveling to London in 1790, Haydn had met the young Ludwig van Beethoven in his native city of Bonn. On Haydn's return, Beethoven came to Vienna and during the time up to the second London visit was Haydn's pupil. For discussion of their relationship, see Beethoven and his contemporaries.

Final years in Vienna
Haydn returned to Vienna in 1795. Prince Anton had died, and his successor Nikolaus II proposed to revive the Esterházy musical establishment with Haydn serving again as Kapellmeister. Haydn took up the position, though only on a part-time basis. He spent his summers with the Esterházys in Eisenstadt, and over the course of several years wrote six masses for them. But by this time Haydn had become a public figure in Vienna. He spent most of his time in his own home, a large house in the suburb of Gumpendorf, and wrote works for public performance. In collaboration with his librettist and mentor Gottfried van Swieten, and with funding from van Swieten's Gesellschaft der Associierten, Haydn composed his two great oratorios The Creation (1798) and The Seasons (1801). Both were enthusiastically received. Haydn frequently appeared before the public, often leading performances of The Creation for charity benefits. He also composed instrumental music: the popular Trumpet Concerto and the last nine in his long series of string quartets, including the Fifths, Emperor, and Sunrise quartets.

During the later years of this successful period Haydn faced incipient old age and fluctuating health, and he had to struggle to complete his final works. By about 1802, his condition had declined to the point that he became physically unable to compose. This was doubtless very difficult for him because, as he acknowledged, the flow of fresh musical ideas waiting to be worked out as compositions did not cease. Haydn was well cared for by his servants, and he received many visitors and public honours during his last years, but they could not have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing Gott erhalte Franz den Kaiser, which he had composed himself as a patriotic gesture in 1797. This melody later was used for the Austrian and German national anthems.

A final triumph occurred on 27 March 1808, when a performance of The Creation was organized in Haydn's honor. The very frail composer was brought into the hall on an armchair to the sound of trumpets and drums, and was greeted by Beethoven, by Salieri (who led the performance), and by other musicians and members of the aristocracy – many of whom probably sensed that they were saying goodbye to the elderly composer. Haydn was both moved and exhausted by the experience, and had to depart at intermission.

Haydn lived on for another year. He died, aged 77, at the end of May 1809, shortly after an attack on Vienna by the French army under Napoleon. Among his last words was his attempt to calm and reassure his servants when cannon shot fell in the neighborhood: "My children, have no fear, for where Haydn is, no harm can fall." Two weeks later, a memorial service was held in the Schottenkirche on 15 June 1809, at which Mozart's Requiem was performed.

Character and appearance
James Webster writes of Haydn's public character thus: "Haydn's public life exemplified the Enlightenment ideal of the honnête homme (honest man): the man whose good character and worldly success enable and justify each other. His modesty and probity were everywhere acknowledged. These traits were not only prerequisites to his success as Kapellmeister, entrepreneur and public figure, but also aided the favourable reception of his music." Haydn was especially respected by the Eszterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see Papa Haydn and the tale of the "Farewell" Symphony.
Haydn's signature on a musical work. He writes in Italian, a language he often used professionally: di me giuseppe Haydn, "by me Joseph Haydn".

Haydn had a robust sense of humor, evident in his love of practical jokes and often apparent in his music, and he had many friends. For much of his life he benefited from a "happy and naturally cheerful temperament", but in his later life, there is evidence for periods of depression, notably in the correspondence with Mrs. Genzinger and in Dies's biography, based on visits made in Haydn's old age.

Haydn was a devout Catholic who often turned to his rosary when he had trouble composing, a practice that he usually found to be effective. He normally began the manuscript of each composition with "in nomine Domini" ("in the name of the Lord") and ended with "Laus Deo" ("praise be to God").

Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. He was not handsome, and like many in his day he was a survivor of smallpox, his face being pitted with the scars of this disease. His biographer Dies wrote, "he couldn't understand how it happened that in his life he had been loved by many a pretty woman. 'They couldn't have been led to it by my beauty'".

Haydn also suffered from nasal polyposis for much of his adult life; this was an agonizing and debilitating disease in the 18th century, and at times it prevented him from writing music.
Haydn's musical handwriting: the original copy of Gott erhalte Franz den Kaiser (click to enlarge)

Works
James Webster summarizes Haydn's role in the history of classical music as follows: "He excelled in every musical genre… He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres."

Structure and character of the music
A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.

Haydn's work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called "monothematic exposition", in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.

Haydn's formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic (see sonata rondo form). Haydn was also the principal exponent of the double variation form—variations on two alternating themes, which are often major- and minor-mode versions of each other.

Perhaps more than any other composer's, Haydn's music is known for its humor. The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.

Much of the music was written to please and delight a prince, and its emotional tone is correspondingly upbeat. This tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, form striking exceptions to the general rule. Haydn's fast movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the finales. Some characteristic examples of Haydn's "rollicking" finale type are found in the "London" symphony No. 104, the string quartet Op. 50 No. 1, and the piano trio Hob XV: 27. Haydn's early slow movements are usually not too slow in tempo, relaxed, and reflective. Later on, the emotional range of the slow movements increases, notably in the deeply felt slow movements of the quartets Op. 76 Nos. 3 and 5, Symphony No. 98, Symphony No. 102, and piano trio Hob XV: 23. The minuets tend to have a strong downbeat and a clearly popular character. Over time, Haydn turned some of his minuets into "scherzi" which are much faster, at one beat to the bar.

Evolution of Haydn's style
Haydn's early work dates from a period in which the compositional style of the High Baroque (seen in Bach and Handel) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was himself one of the musical explorers of this time. An older contemporary whose work Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach.

Tracing Haydn's work over the six decades in which it was produced (roughly, 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues. Several important landmarks have been observed in the evolution of Haydn's musical style.

In the late 1760s and early 1770s Haydn entered a stylistic period known as "Sturm und Drang" (storm and stress). This term is taken from a literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years. The musical language of this period is similar to what went before, but it is deployed in work that is more intensely expressive, especially in the works in minor keys. James Webster describes the works of this period as "longer, more passionate, and more daring." Some of the most famous compositions of this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the piano sonata in C minor (Hob. XVI/20, L. 33), and the six string quartets of Op. 20 (the "Sun" quartets), all from ca. 1771–1772. It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with such fugues.

Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more overtly entertaining style. There are no quartets from this period, and the symphonies take on new features: the scoring often includes trumpets and timpani. These changes are often related to a major shift in Haydn's professional duties, which moved him away from "pure" music and toward the production of comic operas. Several of the operas were Haydn's own work (see List of operas by Joseph Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works, which helped him continue his career as a symphonist during this hectic decade.

In 1779, an important change in Haydn's contract permitted him to publish his compositions without prior authorization from his employer. This may have encouraged Haydn to rekindle his career as a composer of "pure" music. The change made itself felt most dramatically in 1781, when Haydn published the six string quartets of Opus 33, announcing (in a letter to potential purchasers) that they were written in "a new and completely special way". Charles Rosen has argued that this assertion on Haydn's part was not just sales talk, but meant quite seriously; and he points out a number of important advances in Haydn's compositional technique that appear in these quartets, advances that mark the advent of the Classical style in full flower. These include a fluid form of phrasing, in which each motif emerges from the previous one without interruption, the practice of letting accompanying material evolve into melodic material, and a kind of "Classical counterpoint" in which each instrumental part maintains its own integrity. These traits continue in the many quartets that Haydn wrote after Opus 33.

In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his "popular style", a way of composition that, with unprecedented success, created music having great popular appeal but retaining a learned and rigorous musical structure. An important element of the popular style was the frequent use of folk or folk-like material, as discussed in the article Haydn and folk music. Haydn took care to deploy this material in appropriate locations, such as the endings of sonata expositions or the opening themes of finales. In such locations, the folk material serves as an element of stability, helping to anchor the larger structure. Haydn's popular style can be heard in virtually all of his later work, including the twelve London symphonies, the late quartets and piano trios, and the two late oratorios.
The house in Vienna where Haydn lived in the last years of his life, now a museum

The return to Vienna in 1795 marked the last turning point in Haydn's career. Although his musical style evolved little, his intentions as a composer changed. While he had been a servant, and later a busy entrepreneur, Haydn wrote his works quickly and in profusion, with frequent deadlines. As a rich man, Haydn now felt he had the privilege of taking his time and writing for posterity. This is reflected in the subject matter of The Creation (1798) and The Seasons (1801), which address such weighty topics as the meaning of life and the purpose of humankind, and represent an attempt to render the sublime in music. Haydn's new intentions also meant that he was willing to spend much time on a single work: both oratorios took him over a year to complete. Haydn once remarked that he had worked on The Creation so long because he wanted it to last.

The change in Haydn's approach was important in the history of music, as other composers soon were following his lead. Notably, Beethoven adopted the practice of taking his time and aiming high.

Identifying Haydn's works
Haydn's works are listed in a comprehensive catalogue prepared by Anthony van Hoboken. This Hoboken catalogue provides each work with an identifying number, called its Hoboken number (abbreviation: H. or Hob.). The string quartets also have Hoboken numbers, but are usually identified instead by their opus numbers, which have the advantage of indicating the groups of six quartets that Haydn published together; thus for example the string quartet Opus 76, No. 3 is the third of the six quartets published in 1799 as Opus 76.

~wikipedia
Sir Colin Rex Davis, CH, CBE (born 25 September 1927) is an English conductor. His repertoire is broad, but among the composers with whom he is particularly associated are Mozart, Berlioz, Elgar, Sibelius, Stravinsky and Tippett.

He studied as a clarinettist, but was intent on becoming a conductor. After struggles as a freelance conductor from 1949 to 1957, he gained a series of appointments with orchestras including the BBC Scottish Orchestra, the BBC Symphony Orchestra and the Bavarian Radio Symphony Orchestra. He has been associated with the London Symphony Orchestra for over 50 years, including over ten years as its principal conductor. He has also held the musical directorships of Sadler's Wells Opera and the Royal Opera House, where he was principal conductor for over fifteen years. His guest conductorships include the Boston Symphony Orchestra, the New York Philharmonic Orchestra, and the Dresden Staatskapelle, among many others.

As a teacher, Davis holds posts at the Royal Academy of Music, London, and the Carl Maria von Weber High School of Music in Dresden. He made his first gramophone recordings in 1958, and his discography built up in the succeeding five decades is extensive, with a large number of studio recordings for Philips Records and a growing catalogue of live recordings for the London Symphony Orchestra's own label.

Biography - Early years
Davis was born in Weybridge, Surrey, the youngest of three sons among seven siblings, to Reginald George and Lillian Davis. The family was musical, and Davis was exposed to music from his early years. He recalled, "I can still see Sargent conducting the first concert I ever attended. I can still hear Melchior in the final scene of Siegfried – an old 78 playing on my father's gramophone. … I can also remember the moment I decided to make music my life. I was 13 or 14 at the time and the performance was of Beethoven's Eighth. Doors were suddenly opened. I became totally involved, even obsessed by music, although I was frightfully enclosed by my likes and dislikes. Today I'm game for anything."

Davis was educated at Christ's Hospital and then won a scholarship to the Royal College of Music in London, where he studied the clarinet with Frederick Thurston. As a clarinettist he was overshadowed by his fellow-student Gervase de Peyer, but he had in any case already set his mind to conducting. He was, however, not eligible for the conducting class at the college, because he could not play the piano.

His ambitions to conduct were further disrupted by compulsory military service, which was in force in Britain at that time. After leaving the college, Davis served as a clarinettist in the band of the Household Cavalry. Stationed at Windsor he had continual opportunities to attend concerts in London under conductors including Sir Thomas Beecham and Bruno Walter. After completing his military service, he launched himself in 1949 into what he later described as the "freelance wilderness", where he remained until 1957. His first conducting work was with the Kalmar Orchestra, which he co-founded with other former students of the Royal College. He made a good impression and was invited to conduct the recently-founded Chelsea Opera Group in Don Giovanni. In the early years of his career he also took some engagements as an orchestral clarinettist. What seemed at first to be a full-time conducting appointment, for the Original Ballet Russe in 1952, came to an abrupt end after three months, when the company collapsed. In between sparse conducting engagements, Davis worked as a coach and lecturer, including spells at the Cambridge University Musical Society and the Bryanston Summer School, where a performance of L'enfance du Christ awakened his love of Berlioz's music.

BBC and Sadler's Wells
His first breakthrough came in 1957, when at his third attempt he secured the post of assistant conductor of the BBC Scottish Orchestra (now the BBC Scottish Symphony Orchestra). The chief conductor of the orchestra generally chose to conduct the standard repertoire pieces himself, leaving Davis with modern works and non-standard repertoire works including those of Berlioz. By 1959 he had developed to the extent that, after a concert of Stravinsky and Mozart with the London Mozart Players, the chief music critic of The Observer, Peter Heyworth, wrote, "Mr Davis conducted two works in a manner that showed that he is not only outstanding among our younger conductors, but probably the best we have produced since Sir Thomas Beecham, his senior by forty-eight years."

Davis first found wide acclaim when he stood in for an ill Otto Klemperer in a performance of Don Giovanni, at the Royal Festival Hall in 1959. A year later, Beecham invited him to collaborate with him in preparing The Magic Flute at Glyndebourne. Beecham was taken ill, and Davis conducted the opera. After the Don Giovanni, The Times wrote, "A superb conductor of Mozart declared himself last night at the Festival Hall…. Mr Davis emerged as a conductor ripe for greatness." Neville Cardus in The Guardian was less enthusiastic but nevertheless considered that Davis "had his triumphs" in the performance. After The Magic Flute, The Times called Davis "master of Mozart's idiom, style and significance", although Heyworth in The Observer was disappointed by his tempi, judging them to be too slow.

In 1960 Davis made his début at the Proms in a programme of Britten, Schumann, Mozart and Berlioz. In the same year, he was appointed chief conductor of Sadler's Wells Opera, and in 1961 he was made musical director of the company, with whom he built up a large repertoire of operas, conducting in London and on tour. Grove's Dictionary of Music and Musicians wrote of this period, "He excelled in Idomeneo, The Rake's Progress and Oedipus rex, and Fidelio; his Wagner, Verdi and Puccini were less successful. He introduced Weill's Mahagonny, and Pizzetti's Assassinio nella cattedrale to the British public and conducted the première of Bennett's The Mines of Sulphur (1965)." Together with the stage director Glen Byam Shaw, he worked to present operas in a way that gave due weight to the drama as well as the music. In his early years, Davis was known as something of a firebrand with a short fuse in rehearsals, and his departure from Sadler's Wells in 1965 was not without acrimony.

After he left Sadler's Wells it was widely expected that he would be offered the chief conductorship of the London Symphony Orchestra, but the post went to István Kertész. Soon afterwards Davis was offered the post of chief conductor of the BBC Symphony Orchestra, though the appointment was not effective until September 1967. At first, so far as the public was concerned, his tenure was overshadowed, at least during the orchestra's most conspicuous concert seasons, the Proms, by the memory of Sir Malcolm Sargent, who had been an immensely popular figure as chief conductor of the Proms until 1966. Sargent had been "a suave father figure" to the promenaders, and it took some time for the much younger Davis to be accepted. The BBC's official historian of the Proms later wrote, "Davis never really identified himself with the Proms in the way that Sargent had done. Davis was uncomfortable with the traditional hullabaloo of the Last Night of the Proms and attempted, unsuccessfully, to modernise it. The BBC's Controller of Music, William Glock, was a long-standing admirer of Davis, and encouraged him to put on adventurous programmes, with a new emphasis on modern music, both at the Proms and throughout the rest of the orchestra's annual schedule.

Covent Garden
In 1970, Sir David Webster, who ran the Royal Opera and the Royal Ballet companies at Covent Garden, invited Davis to succeed Georg Solti as principal conductor of the opera. At about the same time, the Boston Symphony Orchestra invited him to become its musical director, but Davis felt that if Covent Garden needed him, it was his duty to take on the post. Webster's vision was that Davis and the stage director Peter Hall, formerly of the Royal Shakespeare Company, would work in equal partnership as musical director and director of productions. After early successes together, including the première of Michael Tippett's The Knot Garden in December 1970, Hall left to succeed Laurence Olivier as director of the National Theatre. Webster had retired by that time, leaving Davis, together with Webster's successor as General Administrator, John Tooley, to run the Royal Opera.

Davis's early months in charge at Covent Garden were marked by dissatisfaction among some of the audience, and booing was heard at a "disastrous" Nabucco in 1971, and his conducting of Wagner's Ring was at first compared unfavourably with that of his predecessor. Among his successes were Berlioz's massive Les Troyens and Benvenuto Cellini, Verdi's Falstaff, the major Mozart operas, and, as one critic put it, he "confirmed his preeminence as a Britten and Stravinsky interpreter" with productions of Peter Grimes and The Rake's Progress. Davis conducted more than 30 operas during his fifteen-year tenure, but "since people like Maazel, Abbado and Muti would only come for new productions", Davis yielded the baton to these foreign conductors, giving up the chance to conduct several major operas, including Der Rosenkavalier, Rigoletto and Aida.

In addition to the standard operatic repertoire, Davis conducted a number of atonal and other modern operas, including Alban Berg's Lulu and Wozzeck, Tippett's The Knot Garden and The Ice Break (of which he is the dedicatee), and Alexander Zemlinsky's The Dwarf and Eine Florentinische Tragödie. With later stage directors at Covent Garden, Davis preferred to work with those who respected the libretto: "I have a hankering for producers who don't feel jealous of composers for being better than they are, and want to impose their, often admittedly clever, ideas on the work in hand." Davis hoped that Goetz Friedrich, with whom he worked on Wagner's Ring cycle, would take on the role of principal producer vacated by Hall, "but it seemed that nobody wanted to commit themselves."

During his Covent Garden tenure, Davis was also principal guest conductor of the BBC Symphony Orchestra from 1971 to 1975 and of the Boston Symphony Orchestra from 1972 to 1984. Another guest conducting engagement was in 1977, when he became the first English conductor to appear at Bayreuth, where he conducted the opening opera of the festival, Tannhäuser. Despite the Bayreuth habitués' suspicion of newcomers, Davis's Tannhäuser was "highly successful". He debuted at the Metropolitan Opera, New York City, in 1969, the Vienna State Opera in 1986 and the Bavarian State Opera in 1994.

Bavarian Radio Symphony and London Symphony Orchestras
From 1983 to 1993, Davis was chief conductor of the Bavarian Radio Symphony Orchestra, with whom he developed his concert hall repertoire, including symphonies by Bruckner and Mahler. He was offered but declined the chief conductorships of the Cleveland Orchestra in succession to Maazel and the New York Philharmonic in succession to Zubin Mehta. As a principal guest conductor he was associated with the Dresden Staatskapelle, which appointed him honorary conductor (Ehrendirigent) in 1990, the first in the orchestra's 460-year-history. From 1998–2003, he was principal guest conductor of the New York Philharmonic.

In 1995, Davis was appointed principal conductor of the London Symphony Orchestra. It was the culmination of a long association with the orchestra. He had first conducted the LSO in 1959, and in 1964 he headed the orchestra's first world tour. He became principal guest conductor in 1975 and was at the helm in the LSO's first major series at its new home, the Barbican Centre, in a Berlioz/Tippett festival in 1983. In 1997 he conducted the LSO's first residency at Lincoln Center in New York City. Davis was the longest-serving principal conductor in the history of the LSO holding the post from 1995 until 2006, after which the orchestra appointed him President of the LSO, an honour previously held only by Arthur Bliss, William Walton, Karl Böhm and Leonard Bernstein. On 21 June 2009, 50 years to the day after his first LSO performance, a special concert was given at the Barbican, at which present-day players were joined by many past members of the orchestra. Davis's programme for the concert was Mozart's Symphony No 40 in G minor, and Brahms's Piano Concerto No 2, with Nelson Freire as soloist.

During his time with the LSO, both as principal conductor and later as president, Davis has conducted series and cycles of the music of Sibelius, Berlioz, Bruckner, Mozart, Elgar, Beethoven, and Brahms, and in 2009 began presenting a cycle of the symphonies of Carl Nielsen. Grove's Dictionary of Music and Musicians wrote, "He conducted a Sibelius cycle in 1992 and a concert performance of Les Troyens the following year, both of which have become the stuff of legend. More recently he has added grand performances of Bruckner, Richard Strauss and Elgar, the première of Tippett's last major work, The Rose Lake (1995), and a Berlioz cycle begun with Benvenuto Cellini in 1999 and crowned by an incandescent Les Troyens in December 2000, all confirming his partnership with the LSO as one of the most important of its time."

Teacher
Davis is president of the Landesgymnasium für Musik "Carl Maria von Weber" in Dresden, and holds the International Chair of Orchestral Studies at the Royal Academy of Music, London. Jonathan Freeman-Attwood, principal of the academy, wrote of Davis, "As the Academy's International Chair of Conducting over 25 years, Sir Colin has helmed six opera productions and over sixty concerts, classes and chamber music projects. Such extraordinary generosity from a major international conductor is surely unique. He has inspired a whole generation here, as did Henry Wood and John Barbirolli before him."

Recordings
Davis's discography is extensive. He made his first records in 1958 for the World Record Club: three Mozart symphonies and the Oboe Concerto with Leon Goossens. He made several records for the small independent label L'Oiseau Lyre, including a 1960 L'enfance du Christ and a 1962 Béatrice et Bénédict which, at January 2010, were both still available on CD. For EMI he made both operatic and orchestral recordings, the former with Sadler's Wells forces, including excerpts from Carmen and a complete Oedipus Rex, and the latter including Harold in Italy with Yehudi Menuhin, and what remains one of his best-known recordings, a 1961 Beethoven Seventh Symphony.

Philips and RCA
In the 1960s, Davis signed as an exclusive artist for Philips Records, with whom he made an extensive range of recordings in the symphonic repertoire and a large number of operatic recordings, including the major Mozart operas; operas by Tippett, Britten, Verdi and Puccini; and a comprehensive survey of the operas of Berlioz, culminating in an award-winning first recording of the complete Les Troyens issued in May 1970.

Davis's 1966 Philips recording of Handel's Messiah was regarded as revelatory at the time of its issue for its departure from the large-scale Victorian-style performances that had been customary before then. Other Philips recordings included a 1982 set of Haydn's twelve London Symphonies with the Concertgebouw Orchestra "distinguished by performances of tremendous style and authority, and a sense of rhythmic impetus that is most exhilarating"; and a 1995 Beethoven symphony cycle with the Dresden Staatskapelle, of which The Gramophone wrote, "There has not been a Beethoven cycle like this since Klemperer's heyday."

Davis made a number of records with the Boston Symphony Orchestra for Philips, including the first of his three Sibelius cycles, which remains in the CD catalogues. They also recorded works by Debussy, Grieg, Schubert, Schumann, and Tchaikovsky.

For RCA, Davis recorded complete symphony cycles of Sibelius (with the LSO), Brahms (Bavarian Radio Symphony Orchestra, 1989–98), and Schubert (Dresden Staatskapelle, 1996).

LSO Live
Davis's terms as chief conductor, and latterly president, of the LSO have coincided with the orchestra's decision to launch its own record label, issuing live recordings (patched where necessary with takes from rehearsals) at budget prices. Davis's recordings on the LSO Live label include Beethoven's opera Fidelio (2006), a wide range of Berlioz works, including a second recording of Les Troyens (2000), La Damnation de Faust (2000), Roméo et Juliette (2000), Béatrice et Bénédict (2000), Harold en Italie (2003), and the Symphonie Fantastique (2000); Britten's Peter Grimes (2004); Dvořák's Symphonies Nos. 6–9 (1999–2004); five Elgar sets: the Enigma Variations (2007) and the Introduction and Allegro for Strings (2005), the three symphonies (2001), and The Dream of Gerontius (2005); Handel's Messiah (2006); Haydn's Die Schöpfung (2007); Holst's The Planets (2002); James MacMillan's St John Passion, (2008) The World's Ransoming and The Confession of Isobel Gowdie (2007); Mozart's Requiem (2007); Nielsen's Symphonies Nos. 4-5 (2011); a third Sibelius symphony cycle (2002–2008); Smetana's Má vlast (2005); Tippett's A Child of our Time (2007), Verdi's Falstaff (2004), Requiem (2009), and Otello (2010); and Walton's First Symphony (2005).

Awards
Davis was appointed CBE in 1965, knighted in 1980 and appointed Companion of Honour in 2001. He was awarded the Royal Philharmonic Society's gold medal in 1995, the Queen's Medal for Music, 2009, and has numerous international awards, including Commendatore of the Republic of Italy, 1976; Commander's Cross, Order of Merit (Germany), 1987; Commandeur, l'Ordre des Arts et des Lettres (France), 1990; Commander, Order of the Lion (Finland), 1992; Order of Merit (Bavaria), 1993; Officier, Légion d'Honneur (France), 1999 (Chevalier, 1982); Order of Maximilian (Bavaria), 2000.

Other awards include Pipe Smoker of the Year in 1996, Male Artist of the Year in the Classical Brit Awards 2008, and the Grammy Award in 2006 for Best Opera for his LSO Live recording of Verdi's Falstaff.

Personal life
In 1949, Davis married the soprano April Cantelo. They had two children, Suzanne and Christopher. Their marriage ended in 1964, and in that same year, Davis married Ashraf Naini, known as Shamsi. To satisfy both the Iranian and British authorities, the couple were married three times, once in Iran and twice in the UK, in the Iranian Embassy as well as in a regular UK civil ceremony; they had five children. One of their children is the conductor Joseph Wolfe, who chose a different surname, because he wanted to "create some space to grow and develop my own identity as a musician." Lady Davis died in June 2010.

Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 11. November 2011, 18:37

Haydn / The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}

Used drive : ASUS DRW-1608P3S Adapter: 0 ID: 1

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.32 | 6:31.00 | 32 | 29356
2 | 6:31.32 | 4:17.00 | 29357 | 48631
3 | 10:48.32 | 4:58.00 | 48632 | 70981
4 | 15:46.32 | 3:52.00 | 70982 | 88381
5 | 19:38.32 | 8:04.00 | 88382 | 124681
6 | 27:42.32 | 6:32.00 | 124682 | 154081
7 | 34:14.32 | 5:07.00 | 154082 | 177106
8 | 39:21.32 | 8:13.00 | 177107 | 214081
9 | 47:34.32 | 8:32.00 | 214082 | 252481
10 | 56:06.32 | 8:13.00 | 252482 | 289456
11 | 64:19.32 | 4:28.00 | 289457 | 309556
12 | 68:47.32 | 6:54.00 | 309557 | 340606


Track 1

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\01 - Symphony in C minor, Hob. I-95, I. Allegro moderato.wav

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Test CRC B76E8289
Copy CRC B76E8289
Accurately ripped (confidence 10) [BE083C2C]
Copy OK

Track 2

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\02 - Symphony in C minor, Hob. I-95, II. Andante.wav

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Track quality 99.9 %
Test CRC F30C3407
Copy CRC F30C3407
Accurately ripped (confidence 10) [6864AF07]
Copy OK

Track 3

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\03 - Symphony in C minor, Hob. I-95, III. Menuetto.wav

Peak level 74.5 %
Extraction speed 6.1 X
Track quality 100.0 %
Test CRC 9B2A3E10
Copy CRC 9B2A3E10
Accurately ripped (confidence 10) [4C1E0B19]
Copy OK

Track 4

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\04 - Symphony in C minor, Hob. I-95, IV. Finale, Vivace.wav

Peak level 90.6 %
Extraction speed 6.2 X
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Test CRC 249D09C3
Copy CRC 249D09C3
Accurately ripped (confidence 10) [C5202BB2]
Copy OK

Track 5

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\05 - Symphony in B flat, Hob. I-98, I. Adagio - Allegro.wav

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Test CRC 0543A550
Copy CRC 0543A550
Accurately ripped (confidence 10) [48400F97]
Copy OK

Track 6

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\06 - Symphony in B flat, Hob. I-98, II. Adagio.wav

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Test CRC EDE7124F
Copy CRC EDE7124F
Accurately ripped (confidence 10) [C3E60383]
Copy OK

Track 7

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\07 - Symphony in B flat, Hob. I-98, III. Menuetto, Allegro.wav

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Test CRC B36CFB8C
Copy CRC B36CFB8C
Accurately ripped (confidence 10) [C117C10A]
Copy OK

Track 8

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\08 - Symphony in B flat, Hob. I-98, IV. Finale, Presto.wav

Peak level 84.7 %
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Test CRC 17241D63
Copy CRC 17241D63
Accurately ripped (confidence 10) [872A8833]
Copy OK

Track 9

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\09 - Symphony in D, Hob. I-104 ''London'' - I. Adagio - Allegro.wav

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Test CRC D5ACBAFD
Copy CRC D5ACBAFD
Accurately ripped (confidence 10) [537270B8]
Copy OK

Track 10

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\10 - Symphony in D, Hob. I-104 ''London'' - II. Andante.wav

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Test CRC FA6EC6E1
Copy CRC FA6EC6E1
Accurately ripped (confidence 10) [48E4E5CE]
Copy OK

Track 11

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\11 - Symphony in D, Hob. I-104 ''London'' - III. Menuetto, Allegro.wav

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Test CRC 9F0C9243
Copy CRC 9F0C9243
Accurately ripped (confidence 9) [7BCE2894]
Copy OK

Track 12

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-1] {Philips}\12 - Symphony in D, Hob. I-104 ''London'' - IV. Finale, Spiritoso.wav

Peak level 94.9 %
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Copy CRC FF4B3A9A
Accurately ripped (confidence 10) [384680B5]
Copy OK


All tracks accurately ripped

No errors occurred

End of status report

==== Log checksum 2F801D75023EE93DBA950EF393260B65A973BFFB64D46683486CF223F18E9E76 ====

Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 11. November 2011, 19:56

Haydn / The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}

Used drive : ASUS DRW-1608P3S Adapter: 0 ID: 1

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.32 | 6:57.00 | 32 | 31306
2 | 6:57.32 | 5:37.00 | 31307 | 56581
3 | 12:34.32 | 5:08.00 | 56582 | 79681
4 | 17:42.32 | 3:55.00 | 79682 | 97306
5 | 21:37.32 | 8:01.00 | 97307 | 133381
6 | 29:38.32 | 5:44.00 | 133382 | 159181
7 | 35:22.32 | 5:25.00 | 159182 | 183556
8 | 40:47.32 | 4:53.00 | 183557 | 205531
9 | 45:40.32 | 9:29.00 | 205532 | 248206
10 | 55:09.32 | 10:37.00 | 248207 | 295981
11 | 65:46.32 | 4:43.00 | 295982 | 317206
12 | 70:29.32 | 5:29.00 | 317207 | 341881


Track 1

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Copy CRC B8F7C017
Accurately ripped (confidence 10) [64D7BF6D]
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Track 2

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Test CRC 13EFF8CD
Copy CRC 13EFF8CD
Accurately ripped (confidence 10) [44767933]
Copy OK

Track 3

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\03 - Symphony in D, Hob. I-96 ''Miracle'' - III. Menuetto, Allegretto.wav

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Test CRC 4678F106
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Accurately ripped (confidence 10) [7A7C6DCB]
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Track 4

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\04 - Symphony in D, Hob. I-96 ''Miracle'' - IV. Finale, Vivace assai.wav

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Copy CRC 24790F11
Accurately ripped (confidence 10) [22FC6C8A]
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Track 5

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\05 - Symphony in B flat, Hob. I-102 - I. Largo - Vivace.wav

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Copy CRC 336E9565
Accurately ripped (confidence 10) [8F796E97]
Copy OK

Track 6

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\06 - Symphony in B flat, Hob. I-102 - II. Adagio.wav

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Test CRC D75C3A0D
Copy CRC D75C3A0D
Accurately ripped (confidence 10) [A8FB3F80]
Copy OK

Track 7

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\07 - Symphony in B flat, Hob. I-102 - III. Menuetto, Allegro.wav

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Test CRC F53DD6DE
Copy CRC F53DD6DE
Accurately ripped (confidence 9) [FE843673]
Copy OK

Track 8

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\08 - Symphony in B flat, Hob. I-102 - IV. Finale, Presto.wav

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Copy CRC A3D05558
Accurately ripped (confidence 10) [4BE01BB5]
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Track 9

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Accurately ripped (confidence 10) [A062675E]
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Track 10

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\10 - Symphony in E flat, Hob. I-103 ''Drum Roll'' - II. Andante piu tosto allegretto.wav

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Test CRC EAA4333E
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Accurately ripped (confidence 10) [2A37ED1E]
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Track 11

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\11 - Symphony in E flat, Hob. I-103 ''Drum Roll'' - III. Menuetto.wav

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Accurately ripped (confidence 10) [77F0E4A5]
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Track 12

Filename H:\EAC@Oceandrop rips\Haydn - The London Symphonies, Vol.1 ''Sir Colin Davis'' [CD-2] {Philips}\12 - Symphony in E flat, Hob. I-103 ''Drum Roll'' - IV. Finale. Allegro con spirito.wav

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Copy CRC FD013FE8
Accurately ripped (confidence 10) [0E1D2012]
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All tracks accurately ripped

No errors occurred

End of status report

==== Log checksum FC899B65C80906AEAF565A64A25591F06937EBA13C15A167F316DCEFAE402E8A ====

[CUETools log; Date: 11.11.2011 19:16:32; Version: 2.0.9]
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05 [268c6438] (06/70) No match but offset
06 [aabdaa43] (00/70) No match
07 [668cd2da] (00/71) No match
08 [d1116a82] (00/71) No match
09 [fc22a869] (00/69) No match
10 [2631f7dc] (00/72) No match
11 [7303c422] (00/70) No match
12 [1b725acd] (00/69) No match
Offsetted by 549:
01 [598ad8e4] (00/71) No match
02 [009bbb19] (00/71) No match
03 [d7a024a2] (00/70) No match
04 [ecb49a8e] (00/71) No match
05 [2c2103aa] (00/70) No match
06 [81874861] (00/70) No match
07 [8d9a9df5] (06/71) No match but offset
08 [d50450f0] (00/71) No match
09 [e57e3561] (00/69) No match
10 [5a0267a4] (00/72) No match
11 [db45b83e] (00/70) No match
12 [4809ed20] (00/69) No match
Offsetted by 553:
01 [1323b523] (06/71) Accurately ripped
02 [8765c6bc] (06/71) Accurately ripped
03 [7283378b] (06/70) Accurately ripped
04 [ffa35433] (06/71) No match but offset
05 [5c065da1] (00/70) No match
06 [495efd47] (06/70) No match but offset
07 [d5fe8169] (00/71) No match
08 [1ec0b28a] (06/71) Accurately ripped
09 [e2c9b14e] (06/69) Accurately ripped
10 [641adf1a] (06/72) Accurately ripped
11 [ecfbb992] (05/70) Accurately ripped
12 [2b31a127] (05/69) No match but offset
Offsetted by 633:
01 [4dd4dda8] (00/71) No match
02 [61ce0800] (00/71) No match
03 [9e14ea67] (00/70) No match
04 [c1f51dc5] (00/71) No match
05 [aa1289b4] (03/70) No match but offset
06 [94581b6d] (00/70) No match
07 [c5d8c2fa] (00/71) No match
08 [0c28faa1] (00/71) No match
09 [fd09065a] (00/69) No match
10 [8ee65144] (00/72) No match
11 [c176b222] (00/70) No match
12 [8da46003] (00/69) No match
Offsetted by 635:
01 [4d4e55f8] (00/71) No match
02 [9c8c6873] (00/71) No match
03 [36797b9a] (00/70) No match
04 [7a968f3a] (00/71) No match
05 [2b015ce5] (07/70) No match but offset
06 [7398271f] (00/70) No match
07 [909fec04] (00/71) No match
08 [fcd1812a] (00/71) No match
09 [2970ab58] (00/69) No match
10 [9a526a27] (00/72) No match
11 [d6156a93] (00/70) No match
12 [db68aa63] (00/69) No match
Offsetted by 642:
01 [f5b2dea8] (00/71) No match
02 [401b9a05] (00/71) No match
03 [dd3cb081] (00/70) No match
04 [182f1c15] (00/71) No match
05 [0c0f5151] (00/70) No match
06 [10322a20] (00/70) No match
07 [486bf38c] (03/71) No match but offset
08 [e083faee] (00/71) No match
09 [ad349588] (00/69) No match
10 [b600fa08] (00/72) No match
11 [0b9a1479] (00/70) No match
12 [ecdc0a59] (00/69) No match
Offsetted by 644:
01 [250193b1] (00/71) No match
02 [be5977ba] (00/71) No match
03 [e688397c] (00/70) No match
04 [f43b79bf] (00/71) No match
05 [3727bd0c] (00/70) No match
06 [5ba898f0] (00/70) No match
07 [8ac0da45] (08/71) No match but offset
08 [621cf79d] (00/71) No match
09 [318ffc21] (00/69) No match
10 [56b25d17] (00/72) No match
11 [e2edcdcb] (00/70) No match
12 [2aab4bf2] (00/69) No match
Offsetted by 646:
01 [a6af2cda] (03/71) Accurately ripped
02 [59399332] (03/71) Accurately ripped
03 [71ec11cf] (03/70) Accurately ripped
04 [cb7cea2c] (03/71) No match but offset
05 [b29cadfb] (00/70) No match
06 [4a3de670] (03/70) No match but offset
07 [7db4ec15] (00/71) No match
08 [e1927661] (03/71) Accurately ripped
09 [cbb10947] (03/69) Accurately ripped
10 [337b444f] (03/72) Accurately ripped
11 [1a2bdfc8] (03/70) Accurately ripped
12 [64f98b8c] (03/69) No match but offset
Offsetted by 648:
01 [0d54e1e0] (08/71) Accurately ripped
02 [b257ec70] (08/71) Accurately ripped
03 [6b680832] (07/70) Accurately ripped
04 [0f4d7802] (08/71) No match but offset
05 [e74dcb8c] (00/70) No match
06 [3d6e1bcf] (07/70) No match but offset
07 [14dae707] (00/71) No match
08 [a4e1aff0] (08/71) Accurately ripped
09 [5767c4f9] (08/69) Accurately ripped
10 [8ffb2da1] (08/72) Accurately ripped
11 [6f0a558a] (08/70) Accurately ripped
12 [b0c7c929] (08/69) No match but offset
Offsetted by 2258:
01 [694faf68] (00/71) No match
02 [f20a948b] (00/71) No match
03 [9afa4e42] (00/70) No match
04 [3acaf740] (00/71) No match
05 [1b74213d] (14/70) No match but offset
06 [df5b3e08] (00/70) No match
07 [34cf77fd] (00/71) No match
08 [691d63d1] (00/71) No match
09 [79fb0ca2] (00/69) No match
10 [8c5d57d4] (00/72) No match
11 [1913beae] (00/70) No match
12 [ba1e10eb] (00/69) No match
Offsetted by 2267:
01 [433a0123] (00/71) No match
02 [a10fe443] (00/71) No match
03 [09f4c5de] (00/70) No match
04 [54d702d9] (00/71) No match
05 [5f2cfe42] (00/70) No match
06 [0c8b474e] (00/70) No match
07 [5900da4b] (14/71) No match but offset
08 [902c1500] (00/71) No match
09 [55a2924d] (00/69) No match
10 [6e645795] (00/72) No match
11 [1760cefa] (00/70) No match
12 [02592993] (00/69) No match
Offsetted by 2271:
01 [e2d918cd] (14/71) Accurately ripped
02 [efe17a33] (14/71) Accurately ripped
03 [5dda2bd2] (14/70) Accurately ripped
04 [73f0acf4] (14/71) No match but offset
05 [b249305a] (00/70) No match
06 [1eb650da] (14/70) No match but offset
07 [47b49963] (00/71) No match
08 [da3fa17d] (14/71) Accurately ripped
09 [33c32755] (15/69) Accurately ripped
10 [b98c9f89] (15/72) Accurately ripped
11 [b81c00b3] (15/70) Accurately ripped
12 [7e9c5cf8] (14/69) No match but offset

Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 100,0 [36B4661F] [DFF95D00]
01 78,2 [B76E8289] [B70ABFF7] CRC32
02 66,7 [F30C3407] [3393B74D] CRC32
03 74,5 [9B2A3E10] [216B0FE6] CRC32
04 90,6 [249D09C3] [70021F03] CRC32
05 94,9 [0543A550] [77F6698A] CRC32
06 63,7 [EDE7124F] [5AB30506] CRC32
07 70,4 [B36CFB8C] [863D9DD0] CRC32
08 84,7 [17241D63] [A2B8F9CB] CRC32
09 100,0 [D5ACBAFD] [3EEC5579] CRC32
10 97,5 [FA6EC6E1] [BE5F611E] CRC32
11 83,5 [9F0C9243] [017C7D13] CRC32
12 94,9 [FF4B3A9A] [274E2BED] CRC32

[CUETools log; Date: 11.11.2011 21:08:34; Version: 2.0.9]
Pregap length 00:00:32.
[CTDB TOCID: jNy3TZAocpnTpMgdRXvDTHLli_c-] disk not present in database.
[AccurateRip ID: 0020cdd1-013521d7-a711ce0c] found.
Track [ CRC ] Status
01 [64d7bf6d] (10/47) Accurately ripped
02 [44767933] (10/47) Accurately ripped
03 [7a7c6dcb] (10/47) Accurately ripped
04 [22fc6c8a] (10/47) Accurately ripped
05 [8f796e97] (10/46) Accurately ripped
06 [a8fb3f80] (10/46) Accurately ripped
07 [fe843673] (09/45) Accurately ripped
08 [4be01bb5] (10/46) Accurately ripped
09 [a062675e] (10/48) Accurately ripped
10 [2a37ed1e] (10/47) Accurately ripped
11 [77f0e4a5] (10/46) Accurately ripped
12 [0e1d2012] (10/46) Accurately ripped
Offsetted by -666:
01 [5dec550e] (17/47) Accurately ripped
02 [f66522be] (17/47) Accurately ripped
03 [6c1f5abb] (17/47) Accurately ripped
04 [17f4fdce] (17/47) Accurately ripped
05 [67e117dc] (17/46) Accurately ripped
06 [d4e80c5b] (17/46) Accurately ripped
07 [f5439306] (17/45) Accurately ripped
08 [c39260cd] (17/46) Accurately ripped
09 [ef0bd04f] (17/48) Accurately ripped
10 [17c7033f] (16/47) Accurately ripped
11 [ddf8b76f] (16/46) Accurately ripped
12 [f90bb835] (16/46) Accurately ripped
Offsetted by 195:
01 [9a2bdfbc] (18/47) Accurately ripped
02 [1bad9951] (18/47) Accurately ripped
03 [3e073ddc] (18/47) Accurately ripped
04 [c1d49312] (18/47) Accurately ripped
05 [2469bdb3] (17/46) Accurately ripped
06 [b0fb15cd] (17/46) Accurately ripped
07 [c04afeea] (17/45) Accurately ripped
08 [3b63204b] (17/46) Accurately ripped
09 [322c1d2e] (19/48) Accurately ripped
10 [bd04b96c] (19/47) Accurately ripped
11 [c9a6ae7d] (18/46) Accurately ripped
12 [29fde931] (16/46) No match but offset

Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 95,7 [A5EF8151] [68DE5889]
01 95,7 [B8F7C017] [1D44EC1D] CRC32
02 77,0 [13EFF8CD] [ECAB4B8E] CRC32
03 92,7 [4678F106] [B7CFEA72] CRC32
04 81,8 [24790F11] [4AC15ED3] CRC32
05 88,2 [336E9565] [20346807] CRC32
06 60,8 [D75C3A0D] [467E8213] CRC32
07 91,1 [F53DD6DE] [EC919158] CRC32
08 92,5 [A3D05558] [4CA01034] CRC32
09 84,9 [EF1A60CF] [E20B17FF] CRC32
10 79,7 [EAA4333E] [8D39DB30] CRC32
11 72,9 [AF4229C4] [EA8EA72C] CRC32
12 87,5 [FD013FE8] [F605D7C2] CRC32