Each is intensely alive, searching and discovering the wonders of these two monuments of Western music.Welcome to the 78th work in the Slipped Disc/Idagio Beethoven Edition Gardiner’s live readings may have a higher level of electricity, and there is an opulent richness in orchestral sound in both the Pittsburgh/Honeck and Vienna/Kleiber recordings, but these new performances are exceptional. Yet through careful attention to detail, weightier attack, and more varied orchestral color, the performance has a sinewy strength and power that completely convinces (Again, I wish the horns had played out more).Ī distinguishing attribute of both performances is Currentzis’ integration of historically informed playing and colors with a more ‘romantic’ interpretative ideal. Instead, the tempo is roughly 10 clicks below Beethoven’s metronome mark of half note=72. I expected Currentzis’ tempo for the final movement to be quicker, anticipating he might try to outdo ORR/Gardiner or Vienna/Kleiber. The Scherzo is explosive and rhythmically arresting, though more flexibility with the fanfare pronouncements at 3’38” might add greater nobility and emphasis. The harmonic shift at 6’30” is magical, bringing a momentary oasis of calm.
The same care over clarifying polyphonic texture is heard, and the music builds to a powerful climax (6’13”) though for some the clipped phrasing may rob the climax of its cumulative power. Balance between sections is again excellent, and the clarity and weightiness of the timpani throughout this movement is particularly effective. Currentzis and his players find a wistful yearning in Beethoven’s music that is deeply touching. The second movement’s opening is inaudible (Beethoven’s marking is only piano), but the playing is gorgeous and deeply felt. And throughout the performance I wanted the horns to ring out more, as they do so thrillingly in the Pittsburgh/Honeck recording. Again, there are little unexpected moments of emphasis and mild dynamic tweaking (especially around 13’10”) that could prove wearisome on repeated listening. musicAeterna’s unanimous phrasing and articulation continually impress, the music’s buoyancy and momentum eminently danceable. While some of it proves interesting, it often distracts from the main melodic material. In the seventh symphony Currentzis uncovers lots of inner detail in the accompanying string patterns. In the final section of the Coda, Currentzis pushes his players ever faster, their struggle to clearly articulate the music only adding to the music’s exultant exhilaration.
(In fact, the contrabassoon is heard with great clarity throughout the movement.) Currentzis allows himself a greater degree of tempo flexibility than one often hears, most of it entirely convincing, though around the 4-minute mark it may strike some as close to mannerism. The fourth movement’s triumphant C major initial chords have tremendous impact, trombones and contrabassoon clearly heard in the mix. The Scherzo is played with thrilling brio, though some listeners may find the Trio’s quick tempo a tad relentless (though that is exactly what Beethoven’s metronome marking asks for). This is a thoughtful and deeply felt interpretation that unites the best qualities of historically informed performance with the ‘old-fashioned’ sensibilities of romantic interpretation. Currentzis and his players elucidate each strand of Beethoven’s increasingly complex web of polyphony. The Andante is beautifully phrased, rubato sparingly used. But in the recapitulation, he slows down just before the oboe solo, as if it will be the fully-fledged cadenza of a concerto, thereby completely negating Beethoven’s intended disruption. The slight relaxation of tempo (and ferocity) at the beginning of the development is effective. These changes, for the most part, are convincing. In previous recordings Currentzis has added articulations and dynamics not found in the score, a practice he continues here. Currentzis has developed a disciplined ensemble that plays with unanimity and plenty of panache. While the strings count is surprisingly large for a historically informed performance (12/10/8/8/6), balance between the sections is beautifully managed, aided by a recording that is clear, transparent, but warmly resonant. Accents are sharp and the brass have plenty of bite. The fifth symphony’s opening movement is fiercely propulsive.
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