2014 is a year rich in anniversaries for Sir John Eliot Gardiner. In
March his Monteverdi Choir marked its fiftieth anniversary with a
performance of Monteverdi’s 1610 Vespers in the Chapel of King’s
College, Cambridge on the exact anniversary of the date when, singing
that work in the self-same venue, the choir appeared in public for the
very first time,. Now, to celebrate the 25
th
anniversary of the foundation of the Orchestre Révolutionnaire et
Romantique in October 1989 SDG issues this pairing of two Beethoven
symphonies. It may be coincidental that Gardiner’s complete Beethoven
symphony cycle for DG Archiv was first released in 1994, twenty years
ago. In passing, I wonder if Gardiner plans to re-record all the
Beethoven symphonies for SDG: we’ve already had a coupling of the Fifth
and Seventh Symphonies, recorded live in Carnegie Hall (
review), not to mention the small matter of an excellent live account of
Missa Solemnis (
review).
I bought Gardiner’s DG Archiv cycle when it first appeared and admired
it very much. There’s also much to admire about this new release,
though I don’t believe the earlier recordings are overshadowed. Looking
back, I see that I described the SDG accounts of the Fifth and Seventh
Symphonies as ‘thrusting, dynamic performances’ and that description
could fairly be applied to the present performances too.
In his lively booklet notes Stephen Johnson tells us that the Second is
probably Sir John’s favourite of all the Beethoven symphonies. I must
admit that I was slightly disconcerted by the opening: the loud chords
that punctuate the start of the introduction sound edgy and almost
fierce. Furthermore, the selected speed isn’t really my idea of
Adagio molto;
it’s pretty swift. A comparison with the earlier DG recording, made in
November 1991 under studio conditions, is instructive. That earlier
performance appears to be slightly more expansive though, in fact, the
introduction takes 2:43 compared with 2:30 for the new recording, which
is not a vast difference. What I think gives the impression of greater
breadth is that the DG engineers, working in the Blackheath Concert
Hall in London, obtained a warmer, richer sound. Also Gardiner makes
those loud chords a bit more spacious and full. I prefer the earlier
reading of the introduction, though there’s no denying that the new
reading is intense and dramatic. In the main
Allegro con brio
both performances are very swift and exciting but to my ears the new
version sounds more driven; indeed, there are occasions when the
playing appears somewhat aggressive. I noted that the double basses
make a fuller sound in the DG recording though Gardiner uses the same
number of instruments – four – in each performance. Overall Gardiner
knocks a minute off his 1991 timing (11:10 in 2013 compared with 12:08
in 1991) and I can’t escape the feeling that the later performance
comes across as a bit too hasty and fierce. It’s an exciting
performance, to be sure, and what Stephen Johnson rightly describes as
the symphony’s “life-affirming energy” is there in abundance but it
also leaves me with the impression of a tense account where a sense of
fun is not immediately apparent.
Beethoven follows this bracing opener with a genial, relaxed
Larghetto.
It’s very well done here, though ideally I think I’d prefer a slightly
more easeful tempo. However, Gardiner brings out lots of detail and
care is taken over phrasing. The performance seems broadly similar to
the 1991 account though the more mellow DG sound is perhaps better
suited to the music. In both recordings the Scherzo is lithe and
dynamic but the 2013 performance, which is really light on its feet, is
a bit more deft. Here the slightly drier SDG recording suits the music
well. Terrific momentum is generated in the finale, which is sparkling
and alert in the 2013 performance – as was the case in 1991. The 2013
performance is exhilarating with Beethoven’s accents and dynamic
contrasts used to maximum effect. The 1991 performance is no less agile
and exuberant though I fancy that the pace is just marginally steadier.
In this movement, too, the slightly leaner SDG sound works well.
In the Eighth Symphony Gardiner obtains a lean, muscular sound in the
2013 performance, which is strongly projected. In the notes Sir John is
quoted as describing the start of the first movement as akin to
‘flinging open a door and finding that there’s a riotous party going on
inside.’ As so often with Gardiner his phraseology in describing music
is colourful and apt. However, I’m not entirely sure that I hear party
sounds in this performance. The music-making is arguably a bit too taut
and vigorous for a party. The momentum never flags and, as in the
Second, the sharp use of accents is consistently exciting. His DG
Archiv studio recording was set down in December 1992 in All Hallows
Church, Gospel Oak and listening to it again I think there’s a bit more
’give’ in that performance. Just out of interest I sampled the
performance in the very fine set conducted by Sir Charles Mackerras (
review).
The performances differ in many ways, not least the use of modern
instruments by the Scottish Chamber Orchestra for Mackerras. However,
the crucial difference, for me, is that Mackerras seems to have a
twinkle in his eye and that’s just what this music needs. For all its
positive virtues, not least the dynamism, I miss that in both Gardiner
readings.
Beethoven’s cheeky little
Allegretto scherzando
gets a perky performance from the Orchestre Révolutionnaire et
Romantique in both recordings. In the quirky Menuetto, which is taken
quite swiftly, I liked the horn sound in the trio. The 2013 performance
of the finale goes like the wind – and it doesn’t seem any less swift
in the 1992 recording. You really have to hang on to your hat while
listening, though even at this lightning speed articulation doesn’t
suffer. Gardiner seems insatiable in impelling the music forward with
white hot energy though he still ensures that there’s plenty of light
and shade in the performance. I turned to Mackerras again but found
that his performance, though intensely musical, seems rather safe by
comparison.
It’s time to sum up. These are excellent
performances, full of energy and interest. For me the rather driven,
unyielding performance of the Second Symphony’s first movement is
something of a disappointment and it’s the chief reason I prefer his
1991 recording. Honours are much more even in the Eighth; both Gardiner
performances have much to commend them though I’m not sure he conveys
Beethoven’s bluff humour. In truth, his isn’t the only way to play
these particular Beethoven symphonies. Other conductors have invested
both scores with rather more charm and wit than I hear in these
performances. But no conductor can ever give us a ‘definitive’
performance of a Beethoven symphony and Gardiner’s eventful, dynamic
2013 performances take their rightful place in the discography of these
two works. One thing is for sure: these performances are anything but
dull.
The documentation is up to the usual high SDG standards. I tend
slightly to prefer the DG Archiv sound in both symphonies but Mike
Hatch, who has recorded these new performances, offers clear, present
recordings. After each performance there is vociferous applause but
otherwise the Cadogan Hall audience is completely unobtrusive.
John Quinn
Masterwork Index:
Symphony
2 ~~
Symphony
8
