Ansermet’s invigorating and unsentimental way with Haydn has been documented on Eloquence with reissues of the Paris symphonies (ELQ4801942) and the Symphonies Nos. 22 and 90 (ELQ4800378). What Ansermet loved about Haydn above all was his ability to ‘express afresh every time, in so satisfying and charming a way, his moral health and optimism.’ In the course of his analysis, Ansermet also admires a ‘heartfelt simplicity… a richness and a purity that give his work its personal, never-changing character.’ No. 101, the ‘Clock’ finds him in his element, taking a noble and unsentimental approach to the symphony’s introduction before launching its main argument with the kind of rhythmically taut elan that distinguishes his many recordings of Ravel and Stravinsky. Made on 11 July 1949 in the famously sympathetic acoustic of the Victoria Hall in Geneva, the recording was both Ansermet’s first Haydn on record and his last recording on 78rpm.