The Beethoven Third
represents my second recent exposure
to the Long/Weingartner experience,
the first being an Andante multi-disc
set of historical Beethoven interpretation
(AND1995: http://www.musicweb-international.com/classrev/2004/Jan04/Beethoven_pc_andante.htm
). The first thing to note is that Mark
Obert-Thorn for Naxos has succeeded
in presenting the listener with an altogether
more comfortable experience> The
distortion I mentioned in my review
of the Andante towards the end of the
first movement’s orchestral exposition
has completely disappeared. If anything,
detail in the second movement seems
even clearer; the wind solos against
piano accompanimental figuration - around
3’55 - are more audible even than in
most modern recordings, particularly
the bassoon. Of course, the extra clarity
makes the (unmarked) held string chords
against piano cadenza-like writing in
the finale sound even stranger.
Listening again to
the interpretation, Long seems more
super-sensitive than ever, Weingartner
the attentive accompanist (almost always
- at 3’44 the orchestra enters late,
and again round 5’30 soloist and orchestra
briefly part company). The choice of
the Moscheles cadenza remains a refreshing
one, an insertion that moves from day-dreamy
meanderings to thick-textured virtuosic
storm. For all that, its end is more
traditional than Beethoven is in his
cadenza.
The first movement
begins, under Weingartner, with terrific
depth of intent, a trait continued in
a finale that eschews the windows of
light it is usually granted. Long displays
a supremely even left hand - what are
usually heard as simple accompanying
semiquavers under the rondo theme of
the finale here become objects of interest
in themselves. Notice also how the coda
of the finale moves from the utmost
feather-lightness to gritty determination
and back again within seconds, providing
in microcosm Long and Weingartner’s
ability to shift moods instantaneously.
The Triple Concerto
is discographically significant because
it was the first ever recording of the
piece. It is of much more than passing
interest as a performance as well. Jonathan
Woolf gives introductions to the soloists
in his review of this disc (http://www.musicweb-international.com/classrev/2004/May04/beethoven_long_W.htm
). Now at the helm of the VPO, Weingartner
brings forth an interpretation of great
maturity. The very opening is instructive
as to the sheer scope of this account:
the cellos and basses emerge subterraneously.
Odnoposoff and Auber make for a good
pairing of string soloists; the Mexico-born
Angelica Morales may seem slightly less
happy a choice if one listens to the
disc straight through - she is no Marguerite
Long. Yet she is by no means deficient,
and plays as a real chamber musician.
It is Auber’s singing, deep-toned cello
that the ear keeps returning to, and
it is he that provides the highlights
of this interpretation. Recording-wise,
the violin can sometimes come across
as shrill; a real disadvantage when
sweet cantabile in the upper reaches
is called for, but this remains a superb
transfer. The slow movement emerges
as a lyric outpouring and not an over-Romanticised
one. The transition to the finale acts
as eloquent testimony to the telepathic
link between violinist and cellist,
as the one takes over from the other.
The finale itself,
a ‘Ronda alla polacca’, stretches over
nearly 13 minutes. Certainly the soloists
seem happy to enjoy (being the operative
word) the various more intimate moments
along the way. A pity that Beethoven’s
robust humour is somewhat underplayed,
yet perhaps unsurprising given Weingartner’s
evident reverence for this composer.
Here the recording does obscure detail
on occasion; yet the final minutes reveal
feather-light playing from the string
soloists, faithfully recorded and transferred.
The benchmark recording
of the Triple Concerto was not
to emerge until 1969 (David Oistrakh/Rostropovich/Richter
with the BPO and von Karajan: now on
EMI GROC CDM566 902-2). However this
Weingartner, by no means so technically
perfect, remains essential listening.
Malcolm Walker’s notes
are a model of their kind, informed
and informative.
Colin Clarke
see also review
by Jonathan Woolf
aMarguerite Long, bAngelica
Morales (pianos); bRicardo Odnoposoff
(violin); bStefan Auber (cello);
aParis Conservatoire Orchestra, bVienna
Philharmonic Orchestra/Felix Weingartner.