In my June
Reviewer’s Log I mentioned a superb
concert I had attended. It was conducted
by Mariss Jansons. I said that a live
recording of one of the works played
in that concert, Brahms’s Second Symphony,
was on the way and here it is.
The recordings here
were taken from two consecutive concerts.
I don’t know how much editing went on
and to what extent the recording of
each symphony represents a conflation
of the two separate performances. All
I can say is that both sound as if they
were set down in a single "take".
From my own experience I know that Jansons
is more than capable of turning in a
compelling and flawless performance
of the Brahms symphony without any resort
to editing.
The Beethoven is a
"big band" performance but
though it has body and weight it’s by
no means heavy. In the slow introduction
to the first movement every dynamic
and accent is precisely, but never pedantically,
observed. Indeed, this fidelity to the
score is a notable feature of both performances.
The Allegro con brio swirls away
at the start and is very exciting. The
exposition repeat is properly observed
and the entire reading has tremendous
energy, bite and precision.
The slow movement is
taken at a fairly stately pace. The
music is affectionately shaped and the
Concertgebouw winds distinguish themselves.
Once again the dynamic gradations are
scrupulously observed but, though every
point of detail is given its proper
place, everything sounds spontaneous
and relaxed. The scherzo crackles with
energy while the perky finale is given
an exuberant reading, full of joy, and
the playing has pinpoint accuracy.
In summary, this Beethoven
Second is one of the most enjoyable
and refreshing I’ve heard in years.
It’s a truly bracing performance, packed
with verve and good humour. One interesting
point is that so far as I can tell Jansons
divides his violins left and right in
this work whereas in the Brahms he doesn’t
do so. This is a justifiable decision,
I think, since there is less antiphonal
violin writing in the Brahms. Also,
positioning the strings in what has
become the conventional way in the Brahms,
with the celli on his right allows them
to sing out their many crucial lines
more vividly.
If the Beethoven performance
was excellent the Brahms is even better.
The first movement is warmly phrased
but there’s never a hint of romantic
wallowing. Instead the music constantly
has forward momentum. Like a number
of other conductors Jansons omits the
exposition repeat, which I regret. As
the development unfolds the playing
has power and delicacy by turns, according
to the demands of the score. The passages
marked forte and above blaze
forth thrillingly but there is never
even a suggestion that the loud dynamics
are being forced. Instead the RCO’s
tone is at all times rich and full.
The same attention to detail that was
apparent throughout the Beethoven characterises
this performance also. One of my favourite
passages in this work is the horn solo
just after cue M in the score, which
paves the way for the coda. This is
done quite beautifully (track 5, from
12’56"), after which the movement
skips gently to its close.
The glorious reading
of the slow movement is etched in rich
colours of gold and brown at the start.
The passage from cue C (track 6, 4’15")
to just before E is really fervent before
tranquillity is restored. Even when
the music sounds gentle one is conscious
of stronger undercurrents beneath the
surface. Jansons is masterly in this
movement, letting Brahms’s argument
unfold in a seamless flow.
The third movement
begins at an easeful pace but when the
various presto sections occur
the music is wonderfully athletic and
light on its feet thanks to the virtuosity
of the Dutch players. The finale crowns
the whole interpretation, as it should.
Jansons gives it a tumultuous reading
without ever making the music sound
coarse or overdriven. There’s a splendid
energy, even when the music relaxes
into one of the largamente sections.
The whole movement is tremendously exciting
and when the exultant coda is reached
there’s an almost tangible sense of
release. The coda is truly stirring;
the only problem is you don’t want the
performance to end. But end it must
and at the close Jansons and his players
are rewarded with an enthusiastic ovation,
which is richly deserved. Applause is
retained at the end of both works and
I think that’s entirely right and proper,
reminding us that we’ve been hearing
live performances rather than edited
studio recordings.
A few days ago a very
musical friend and I were discussing
the demise of the late and much-lamented
Carlo Maria Giulini. We were both of
the opinion that his passing marked
the end of an era and that there were
very few conductors left whose stature
is comparable. Indeed, we could only
come up with two names. One was Claudio
Abbado; the other was Mariss Jansons.
I suggest that anyone hearing this CD
will agree that Jansons is a truly exceptional
conductor. His feeling for the music,
his thorough preparation, his ability
to inspire his players and his evident
rapport with them combine to make these
performances something very special.
This is one of the
finest orchestral CDs to have come my
way for a very long time. Listening
to it is a thrilling experience and
I commend it with the greatest possible
enthusiasm.
John Quinn
Royal Concertgebouw Orchestra/Mariss Jansons
