Sir Roger Norrington’s recordings of the Beethoven
symphonies with the London Classical Players (currently on Virgin
Classics 561 943-2) certainly served as a wake-up call in critical
circles and forced reappraisal of one’s long-held assumptions about
this music. Hänssler are in the process of releasing another
traversal spearheaded by this conductor, this time with the Stuttgart
Radio Symphony Orchestra, with natural brass mixed with modern strings,
and taken from live concerts in Stuttgart’s Beethovensaal. All credit
should go to Hänssler’s engineers, for the recording quality
is exemplary.
Norrington’s approach may take some getting used
to. Take the very opening of the Fifth, probably the most famous
opening of anything in all music. Norrington adds a swell to the
second held minim, which momentarily disconcerts (Track 1). The
whole approach to the first movement is fleet, scampering and often
punchy. The problem is that it does not add up to a momentous statement;
the music sounds, if not trivialised, certainly a trifle belittled.
The interventionist feel encroaches into the Andante con moto, which
is relentless and can be rather breathless (certainly the louder
brass statements seem this way). The finale, however, is undeniably
exciting (if course it includes the repeat) (Track 4), although
ironically the adrenalin does not flow as freely as it might in
the coda. When the ‘finishing line’ is reached, there is unfortunately
no way that this performance gives the impression of having taken
one on an heroic and epic journey.
Fast tempos and Roger Norrington go together like
strawberries and cream, so it comes as no surprise to learn that
the first movement is very brisk indeed (leading, again, to a rather
superficial, rushed effect). One has to wait for the third movement
for any real delight. Here all is jollity (TRACK 7), and there is
some lovely, pointed oboe playing. The finale, however, does not
afford much of a sense of relief, it sags in the middle and the
result is that the ending sounds curiously incomplete. An immediate,
and vociferous, call of ‘Bravo’ from a gentleman in the audience
tells me not everyone will agree, however.
Norrington’s thoughts and reappraisals of the core
repertoire always present plenty of fodder to chew on. Expect to
be surprised, moved and, possibly, irritated.
Colin Clarke
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CDTnº1
Symphony
No. 5 in C Minor, Op. 67
Allegro con brio
CDTnº2
Andante
con Moto
CDTnº3
Allegro
CDTnº4
Allegro
CDTnº5
Symphony
No. 6 in F Major, Op. 68
Allegro ma non troppo
CDTnº6
Andante
molto moto
CDTnº7
Allegro
CDTnº8
Allegro
CDTnº9
Allegretto
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