This Blu-Ray disc marks the first installment in a Beethoven
symphony cycle by Christian Thielemann and the Vienna Philharmonic
Orchestra. All nine symphonies were recorded between December,
2008 and April, 2010 and are now being issued on three Blu-Ray
discs and on three 3-disc sets of DVDs. On the evidence here
I can say this will be one of the more interesting Beethoven
cycles in the catalog. I use the word “interesting” advisedly,
for Thielemann’s effort here will provoke some controversy.
His take on these familiar works is highly individual, with
all manner of detail pointed up, tempo adjustments in mid-stream,
dynamics of multiple and subtle gradations, rests that are sometimes
lengthened, and playing of the most exacting standards. Regarding
the last observation, while the Vienna players deliver accurate
and polished performances, they never sound stiff or reined-in,
but rather natural and fully in sympathy with the emotional
flow of the music. Indeed, they are of one mind in following
Thielemann’s often unconventional way with the scores.
In general, Thielemann’s tempos tend to be moderate, but with
an occasional tilt toward either the brisk or deliberate. Compared
with conductors like Claudio Abbado, Roger Norrington, the late
Herbert von Karajan, and so many others, Thielemann wouldn’t
exactly be their polar opposite in tempo choices, but would
stand in noticeable contrast, especially in works like the Fourth
and Sixth Symphonies. Thielemann’s Fifth is actually paced quite
briskly.
One trait strongly in evidence is Thielemann’s tendency to contrast
a second subject or alternate theme with the main theme by italicizing
it in some way. In the Fourth Symphony’s first movement, for
instance, the lively main theme is followed a second subject
whose tempo is slightly held back initially, with momentum gradually
returning. In the first movement of the Fifth, after a vigorous
statement of the opening motto and its attending material, the
second subject is presented conventionally at the outset, but
gradually softens, the music seeming almost to fade away before
returning to a normal level of dynamics.
There are many such passages in these three symphonies — passages
Thielemann has carefully worked out in great detail, as he explains
and discusses with musicologist Joachim Kaiser in the bonus
feature on the disc, Discovering Beethoven. The Sixth,
with its bucolic joy, lyrical beauty, peasant dancing and stormy
character, is given a colorful and meticulous reading. Perhaps
“meticulous” won’t suit some listeners in the way the main theme
to the finale (Shepherd’s Song) is presented: it begins tentatively
and quietly, then blossoms to a beautiful serenity. It’s not
a radical re-thinking of this music, but it is imaginative and
a bit risky.
Overall, it would be difficult to rank which is the most successful
reading here, as all achieve a compelling level within the individual
framework carved out by Thielemann. After a slow Adagio introduction,
the Fourth takes off with vigor and joy, moods that remain throughout
the symphony. The Fifth is muscular and epic, with Thielemann,
curiously, not waiting for the applause to die down before beginning
the performance, as he had done for the other two works here.
I think this was deliberate, as if the conductor were trying
to show “fate” suddenly “knocking at the door.” The Sixth is
very lyrically played, with colorful peasant celebration in
the third movement and a scary, powerful storm in the next.
But in all performances here, some listeners may find Thielemann’s
use of dynamics, tempo shifts, extended pauses and other techniques
a bit bothersome. I didn’t, because nothing is excessive and
Thielemann makes a good case for his interpretation, imparting
a sense of logic and a natural flow to the music. It won’t displace
performances in the cycles of other Beethoven symphony sets
— Abbado/Berlin, Harnoncourt/COE, Szell/Cleveland, Jochum/London
Symphony — but it can stand probably alongside them and well
ahead of many others, including at least the last two of Karajan,
which pour on too much legato for my taste.
As suggested above the Vienna Philharmonic plays well in all
the works. The camera-work and picture quality are superb. The
aforementioned bonus feature offers valuable insights into Thielemann’s
views on Beethoven’s music - the language is German, with multi-language
subtitles.
This disc is probably eminently worth your while, especially
if you want to hear a somewhat different take on these Beethoven
warhorses.
Robert Cummings
Vienna Philharmonic Orchestra/Christian Thielemann 
[Symphonies:
133:00; Documentary: 171:00] 
