How times change! If, ten years ago, these artists had recorded
either of these symphonies the recording would probably have
been made under studio conditions and, most likely, would have
been issued by one of the major labels - probably Decca, for
whom Christoph von Dohnányi was an exclusive artist for
many years. Nowadays the once-major labels such as Decca have
seemingly retreated into endless re-cyclings from the back catalogues,
making just a small number of new recordings with a handful of
artists. It is the small, independent labels who are bravely
and successfully issuing the majority of new recordings. Furthermore,
over the last few years, and driven in no small measure by the
need to watch costs, record companies have captured more and
more recordings live under concert conditions, often with very
stimulating results.
Against that background, Signum Classics continue their partnership
with the Philharmonia, which has already produced live recordings
of works by Brahms (
SIGCD132)
and Richard Strauss (
SIGCD148)
under Christoph von Dohnányi’s baton. These Beethoven
recordings were made right at the end of his term as the orchestra’s
Principal Conductor (1997-2008) and they evidence an experienced
partnership. I mean it as a compliment when I report that not
a great deal need be said about these performances. Unless you
have an aversion to Beethoven played on modern instruments then
it seems to me that these performances have a great deal to commend
them.
Apart from anything else Dohnányi obtains excellent playing
from the orchestra. The winds are consistently excellent; the
brass supply just enough power and grandeur without ever dominating
unduly - the horns excel in the trio of the scherzo movement
in the ‘Eroica’; the timpani playing is dynamic and
exciting; and the strings are splendid, with the cellos and basses
supplying a satisfyingly solid foundation to the sound of the
entire orchestra.
The performance of ‘Eroica’ is a conspicuous success.
Dohnányi’s pacing of I - in which he takes the exposition
repeat - is ideal. This is a robust, dramatic reading, propelled
by strongly articulated rhythms. The funeral march is patrician
and dignified but lacks no weight and Dohnányi leads an
energetic account of the finale, which culminates in blazing
triumph. This is an ‘Eroica’ right out of the mainstream
European tradition, led by a highly experienced and sensible
conductor, and it’s one which I enjoyed very much indeed.
I was equally impressed with the reading of the Fifth. The first
movement is full of life and energy and the rhythms are kept
satisfyingly taut throughout. Dohnányi paces the slow
movement intelligently, allowing it to be, for the most part,
a few minutes of welcome repose but ensuring that the music is
kept on the move. The scherzo is suitably bustling at times and
the spectral, quiet bass passages are well articulated but have
a fine sense of atmosphere. The transition to the finale is managed
very well indeed with a suspenseful tension built most convincingly
before the finale blazes forth
con brio. This closing
movement is strong and exultant, bringing a fine account of this
symphony to a very satisfying conclusion.
Both recordings were taken from concerts in the presence of an
audience but even on the occasions that I listened through headphones
I couldn’t detect any distracting audience noise - though
after both symphonies the public are keen to show their appreciation
- and rightly so.
The recorded sound is clear and present and even if the acoustic
of the Festival Hall isn’t the most flattering in the world
I doubt any collectors will find the sound anything less than
fully satisfactory.
These are fine, intelligent and very well played live performances
and both are very welcome additions to the catalogue.
John Quinn
Philharmonia
Orchestra/Christoph von Dohnányi 
