Ludwig van BEETHOVEN (1770-1827)
Symphony No. 4 (1806) [37:33]
Symphony No. 5 (1804-08) [34:34]
Symphony No. 6 (1808) [46:15]
Vienna Philharmonic Orchestra/Christian Thielemann
rec. December 2008 – April 2010, Vienna Musikverein; Vienna, Austria
BLU-RAY
CMajor 705004 
[Symphonies:
133:00; Documentary: 171:00] 
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
Eminently worth your while, especially if you want to hear a somewhat different
take on these Beethoven warhorses.