Ferenc Fricsay’s Fidelio is held by some to rival the great
recordings and even stand above them. That he was a fine Beethovenian
is further evidenced by the present disc of Deutschlandradio Kultur-licensed
performances.
This has to be
one of the leanest ‘Sostenuto’ sections of the first movement
of Beethoven’s Seventh I have ever heard. Discipline is all,
something confirmed by the perfect transition into the Vivace.
This, coupled with the dryness of the recording, put me strangely
in mind of Toscanini. Fricsay does not take the first movement
repeat, something that seems in keeping with the restless, relentless
drive. The Allegretto has a similar relentless tread,
while the true Presto of the third movement reminds us
of what a superb ensemble the RIAS orchestra could be. The finale
is remarkable for the quality and precision of its off-beat
accents. Here, also, the drive of the first three movements
is converted into fire. The sound is more than acceptable –
only some unnatural trumpet highlighting towards the end obtrudes
- the trumpets protrude because of the harsh, treble-based recording
they are accorded.
Comparing Fricsay
with Munch in the Eighth - using Decca LXT3053: Orchestre de
la Société des Concerts du Conservatoire, Kingsway Hall in October
1947 - is fascinating. Munch is direct and punchy. His horns
are vibrato-oriented in the Trio – and here it lends to the
expressive intent. Fricsay is more intent on stressing the element
of dance, especially in the first movement and the recorded
sound on Audite is more easily approachable. Clarity of counterpoint
is stressed, although not totally at the expense of generated
excitement. The finale is heard in extraordinary detail. This
is testimony to Fricsay’s ear rather than the recording per
se.
The Leonore
Overture was recorded three months before this Seventh. The
introduction is astonishing in Fricsay’s painting of the scene
- a dark prison cell. The clarinet, when it enters, is less
a ray of light, more a representation in sound of severe longing.
The main part of the overture sags a little though. By the way,
the three parts of the overture are each given a separate track,
which seems a little keen. Comparison of this version with Fricsay’s
live RSO Berlin 5 February 1961 account on the IMG Artists “Great
Conductors of the 20th Century” series (reviewed
on this site by Terry
Barfoot) finds the later version an immediately more arresting
account. The recording is more “present” and the first, announcing,
chord leaves us in no doubt as to Fricsay’s intent. It is fascinating
to compare Fricsay pre- and post-departure. He left the orchestra
in 1954, initially for Houston but when that failed for the
Bavarian State Opera.
Audite are performing
great archival services recently. The Fricsay collector should
not hesitate.
Colin Clarke
