David
Zinman and his Tonhalle Orchestra have
achieved remarkable things in their
Beethoven recordings for Arte Nova,
and their performances of the Missa
Solemnis review
and the symphonies have made the musical
world pay attention.
This
2CD set of the complete overtures is
a worthy successor in every way, with
excellent sound that allows the vivid
intensity of the interpretations. The
committed qualities of the playing really
stand out. The two discs may not be
full, at forty-two and forty-five minutes
respectively, but the Arte Nova price
remains competitive in a crowded market
place.
At
the top of Zinman’s agenda there lies
the essential nature of Beethoven’s
art, the dramatic intensity of vision
of an artist who always remained loyal
to the Viennese classical style. Therefore
tempi are always well judged and never
sound inappropriate, and rhythms are
suitably taut. There is room for lyricism
too, in which regard the love themes
from the opera Fidelio come through
to great effect in the second and third
Leonore overtures.
In
fact all four of the overtures associated
with Beethoven’s only opera are performed
with vivid drive and insight, each of
them seeming a valid response to the
drama in its own way and on its own
terms. The balancing of the demanding
details that undermine so many recorded
performances is certainly not a problem
here, and the significant sounding of
the offstage trumpet call is heard to
compelling effect in Nos. 2 and 3. The
Fidelio Overture, the fourth and last
of these projects, has rarely if ever
been better done on record, since Zinman
achieves such rhythmic intensity and
such marvellously committed playing
from the orchestra.
Other
highlights include some of the under-rated
but altogether splendid overtures such
as The Ruins of Athens and Namensfeier.
The latter, moreover, comes across as
a real masterpiece, which is a remarkable
tribute to the performance, since performances
in the world’s concert halls are few
and far between.
There
are few moments of disappointment and
no single performance fails. Perhaps
the noble opening phase of The Consecration
of the House is fussily shaped and lacks
the nobility and grandeur that Otto
Klemperer (EMI) and Kurt Masur (Philips)
bring to their interpretations. But
once the tempo steps up Zinman sweeps
any lingering doubts aside with a fugue
of telling dynamism and accuracy.
The
booklet notes by Regula Puskás
are not extensive but they are stimulating,
and it is pleasing to see a full orchestra
list for once. Make no mistake, this
is a most rewarding issue and collectors
should not hesitate. For these are stimulating
performances that are available at a
competitive price.
Terry
Barfoot
Tonhalle Orchestra Zurich/David Zinman 
