performances, these. They were last available on a single disc
a few years ago (see review).
If you failed to heed John Phillips' exhortation not to miss
that issue, you can still acquire these magnificent performances
in one of two ways: in Universal's 5 CD box set of Szell's Decca
and Philips recordings (Decca 4756780), or on this “on demand”
release from Arkiv.
Beethoven remains as fresh and exciting today as it ever was.
His fifth is a well known quantity, mostly from the recording
he made with the Cleveland Orchestra as part of his cycle on
That recording remains a classic, and this one is cut very much
from the same interpretative cloth. There are two main differences
between the two accounts. Firstly, the tonal palate of the Concertgebouw
Orchestra is quite different to that of the Cleveland Orchestra.
There is a silkiness to the Dutch string sound that contrasts
with the glassier tone of the Clevelanders. I prefer the Dutch
winds but favour the Cleveland brass. Secondly, the Philips
recording is cleaner, and less constricted than the Sony (at
least in its Essential Classics guise – SBK 89844). I believe
there is also a live account with Szell conducting the Vienna
Philharmonic kicking around somewhere, but I am yet to hear
is a biting urgency to the first movement – played without exposition
repeat – and an electricity born of Szell's impeccable attention
to detail and sharply etched dynamics. His tempi are superbly
judged and never rushed, allowing him to achieve a perfect balance
between tension and lyricism that you will not find elsewhere.
With his emphasis on the middle and upper registers of the orchestra,
rather than building from the bottom up, Szell keeps textures
light and allows you to hear the beauty of this score, especially
in the inner movements, without sacrificing its revolutionary
spirit or excitement.
be brief, this is one of the great Beethoven fifths and it deserves
its place in your collection. You will certainly have your own
favourite recordings. Yes, Kleiber is more dangerous and dramatic.
Yes, the new Vänska
is beautifully shaped and recorded. But Szell is equally, and
Sibelius performance that follows is also superb. Again, Szell
keeps orchestral textures light and tempi flowing, preserving
the freshness of Sibelius' score. He is not as swift as Ormandy
(Sony) in the opening wash, but he coaxes playful dancing from
his winds, and manages balances like no one else on record.
His pacing is ever apt, his pointing of rhythms and placing
of accents faultless. And once again the Concertgebouw responds
admirably. The brass chorales in the first movement are lovely,
and the string pizzicato passages in the second are spooky.
Szell also makes the most of the build up into the final movement,
leading the ear on and ratcheting up the tension until it explodes
into proud and martial display, virile and without a trace of
I have any complaint, it is that the tone of the principal trumpet
fails to blend consistently with the rest of the orchestra and
is, in the first movement in particular, thin and declamatory.
But the alertness of the orchestra as a whole offers ample compensation.
I will not be discarding my Blomstedt recording any time soon
– his San Francisco Sibelius cycle remains one of the great
ones in my book – but this Szell performance belongs alongside
it. You may find Szell austere at first if you are used to a
more romantically indulgent approach – like that of Sir Colin
Davis on his recent LSO Live disc – but you will find his lean,
muscular and logical approach refreshing.
review copy of this Arkiv CD-R did not include liner notes,
but Arkiv is now including liner notes with all new issues,
and that existing issues – like this one – are being upgraded
to include the notes.
you love these symphonies, you will want to hear Szell's performances,
and frequently. These recordings are surely in line for remastering
and reissue on the Philips Originals imprint, but who knows
how long that will take? Demand from Arkiv now to avoid disappointment.