There have been many
interpretations of Beethoven's symphonies,
and of them Harnoncourt is celebrated
by me for his originality. Karajan’s
applauded contributions in comparison
concentrate on energy and power. Against
heavy competition how does Norrington
fare? This is not his first Beethoven
cycle: with his London Classical Players
(EMI Classics Reflexe CDS7 49852-2 in
1989) period instruments were used to
some acclaim for their new colour. At
the time his approach was likened to
Toscanini's. But do we need yet another
set of symphonies?
Norrington is no native
of Germany. He is from Oxford, England.
He has been Principal Conductor of the
Stuttgart Orchestra since 1998. During
his tenure, he has given precedence
to German composers, from Viennese Classicism
to general Romanticism. He tries to
combine historically correct performing
practice with the techniques available
to a modern symphony orchestra. This
style critics have often described as
'the Stuttgart Sound'.
What is of interest
is the polish I find Norrington achieves
in this Hänssler series of recordings
made over a fortnight. True, the orchestra
will have played the symphonies many
times to allow rehearsals to be kept
to a minimum. But these recordings were
made of the cycle at live performances,
preceded by short lectures by Norrington.
He explains how he closely keeps to
the metronome markings Beethoven set
in his scores. This statement is just
as well since the pace seems far too
hasty to this listener's ears. One can
argue that Beethoven was revolutionary
in his approach to composition so why
not let a conductor's interpretation
be revolutionary too. The ‘lecturettes’,
in German, are rightly placed on a separate
disc.
These early 19th
Century symphonies are marvels of composition
with multi-layered texture providing
good colour and wide scope for personal
expression. This has allowed different
conductors to modify the focus to different
elements within the score. One memorable
reading that comes to mind is that by
Harnoncourt in Beethoven's 6th.
Likewise, Norrington's overall thumbprint
is recognised by a focus on certain
underlying elements in the score, encouraging
a pulsing rhythm and taking the performances
at a fast and lively pace. This approach
generally works, but not always, particularly
in parts of the majestically powerful
5th Symphony and the tranquil
6th.
In Symphony No.
1 Op. 21 (1800), the orthodox interpretation
is enhanced by accented notes that add
nicely to the strength of the rhythm
in the Adagio molto. The
same effect, however, does not work
so well in the Menuetto Allegro
molto e vivace where, to me,
the accented chords severely interrupt
the flow. A rise and fall of dynamics
by the woodwind is a bonus that adds
colour. The reading of the Finale
is a joy to listen to.
[Sample: CD1 tk.4 1'12"–2'48"]
A particularly prominent
passage in Symphony No. 2 Op.
36 (1801-2) is the reading of the Larghetto
where a surging momentum with ebb and
flow is provided by shifting dynamics.
A light crisp articulation (strings)
is delightful. [Sample: CD1 tk.6 2'04"–3'09"]
The epic Symphony
No. 3 Op. 55 Eroica (1803)
is one of the most frequently recorded
in the cycle; consequently the competition
of choice is considerable. Karajan's
first recording was a disappointment
and the early Toscanini is remembered
as excitingly powerful. Norrington with
his 1987 London Classical Players produced
an excellent recording and uses similar
skills here, so does not disappoint.
The attention is caught immediately
by the swift reading of the first movement,
punctuated with its powerful chords.
Here the orchestra is both alert and
responsive.
An apprehensive beginning
to Symphony No. 4 Op. 60 (1806)
with menacing bass lines in the Adagio
gives the right air of gloom to contrast
nicely with the brighter theme that
follows. A contrast in dynamics is again
realised to the full. [Sample: CD2 tk.5
5'58–7'07"]
The marching rhythm
of the 2nd movement is engaging
under Norrington and is quite stirring
in its appeal, the delicate woodwind
providing a worthwhile contribution.
[Sample: CD2 tk.6 0'33"–1'44"]
Symphony No. 5
Op. 67 (1807-8) exudes the expected
power and majesty, but the brisk reading
of the Allegro con brio
seems ineffective: one isn't allowed
to linger on any held notes. During
the forte passages the timpani has a
metallically harsh attack that is coarse
and untuneful while the warmth of the
following Andante con moto
is refreshingly serene.
For me some parts of
Symphony No. 6 Op. 68 Pastoral
(1808) are a disappointment while others
surpass my expectations. I have to consider
whether my feelings are due to heavy
conditioning by continuous exposure
to other conventional recordings. This
work (when regarded as a descriptive
tone poem) surely should have a dreamy
opening to the Allegro non troppo
that gathers strength in the first half-dozen
bars. An initial fast pace tends to
hit one with a jolt rather than being
given time to soak up the enjoyment
of an accelerating tempo where the same
phrase repeats. Later, other sections
also tend to suffer from Norrington's
hasty beat and Beethoven's colourful
decoration is never savoured. The storm
(Allegro) rises to its
climax unduly soon and the timpani (like
the 5th) is more harsh than
mellow.
The warmth of Ashkenazy's
performance of Symphony No. 7
Op. 92 (1810-11) with its unrushed speeds
is regarded highly. Here Norrington
responds with an equal leisurely approach
with textures clearly defined. A slightly
delayed flute in the Vivace
is highly effective and holds one's
interest while the hammering timpani
again tend to be over-intrusive. Another
pleasant effect is later found where
the cellos stress groups of notes within
a phrase. A strong pulse characterises
this symphony. [Sample: CD4 tk.1 3'29"–4'35"]
In Symphony No.
8 Op. 93 (1812) the powerful climax
to the 1st movement is both stirring
and exciting. A swaying momentum pervades
the Tempo di Menuetto
and catches the vigorous spirit of the
work to good effect. [Sample: CD4 tk.6
0'00"–2'00"] The powerful climax of
the first movement is nicely mirrored
in the finale.
The great choral Symphony
No. 9 Op. 125 (1822-24) has much
competition to battle with and as one
expects conductors usually attempt to
vary their interpretation. To me, Karajan
is still currently revered as the master
where much spiritual intensity is evident.
Norrington chooses a robust approach
with his well rehearsed chorus. The
opening to the first movement is unusually
strong and bounces along with vigour:
it is a successful modern approach and
the orchestra respond well. This is
a strong performance. The 4th
movement has no muddiness about it and
both choir and orchestra are well-defined
throughout, even in the triple forte
passages. The ensemble are more than
adequate, and the choir is of good voice,
the tenors unusually so. (In one place
the sopranos waver on a held note, but
this is not unduly noticeable and does
not mar one's enjoyment.) [Sample: CD4
tk.1 0'00"–1'25"]
The Stuttgart Orchestra
is highly responsive in all sessions
and always alert to the nuances of the
scores. Norrington teases out warm and
vibrant harmonies and makes considerable
use of subtle dynamic changes. One reservation
previously mentioned is the somewhat
heavy fortes on the timpani where a
harsh attack is evident. A more distant
miking with treble cut could have provided
a better-blended mellow tone.
Balance is excellent
throughout the set although occasionally
passages are spoilt by over-close bassoons
and cellos. Luckily there are no background
distractions apart during from a very
quiet passage in Symphony 7 [tk.1 3'30"
in] where a creaking chair and multiple
page turnings affect the tension.
When library boxed
sets are produced, one might expect
a more durable and stronger box. The
one provided is too flimsy and the discs
too tightly fitting to aid regular handling.
Notes are provided in German and English.
With the lecture CD being spoken in
German a written translation should
have been considered. For some extraordinary
reason the track numbers are blacked
out on the inner face of the lecture
disc case.
Raymond J Walker
see also review
by Colin Clarke
Gachinger Kantorei Stuttgart 