Joseph HAYDN (1732-1809)
Symphony no.55 in E flat Hob.I/55 [21:54]
Ludwig van BEETHOVEN (1770-1827)
Symphony no.7 in A op.92 [37:55]
Symphony no.8 in F op.93 [26:07]
Boston Symphony Orchestra/William Steinberg
rec. 7 October 1969 (Haydn), 6 October 1970 (sy 7), 9 January 1962 (sy 8),
Symphony Hall, Boston (Haydn, sy 7), Sanders Theatre, Harvard University (sy
8)
ICA CLASSICS ICAD DVD 5067 [86:00]
For most record collectors the name of William Steinberg is synonymous with
the Pittsburgh Symphony Orchestra, of which he was musical director from 1952
to 1976 and with which he made a long series of well-considered recordings.
Londoners scarcely recall that he was Boult’s successor as principal conductor
of the London Philharmonic Orchestra in 1958. Ill-health ended what may have
been a promising association in 1960.
Illness also prevented his conductorship of the Boston Symphony Orchestra
(1968-1972) from becoming more than a hiatus. As Richard Dyer’s notes – a
welcome recurring feature of this series – tell us, the period in question
was more notable for the opportunities his cancellations offered to his young
assistant Michael Tilson Thomas.
Steinberg’s appointment to Boston came at a time of low morale for the orchestra.
Leinsdorf’s period had not worked out, for reasons not readily explained by
the video material emerging in this series. Great things had been expected
of Steinberg, who had been assistant to both Klemperer and Toscanini and was
famed as an orchestra builder. It is therefore interesting to have at least
one early colour video of him in action with the orchestra during his tenure,
plus a guest appearance from somewhat earlier, filmed in black and white.
What it doesn’t explain is why anyone should have thought he could do anything
Leinsdorf couldn’t. Both, after all, were eminently straightforward interpreters
with a strong eye for orchestral discipline. Nearly fifty years on it is Leinsdorf
who seems to have had the more enquiring mind and – at least often enough
for it to be worth keeping him on – the ability to create a sense of occasion.
Possibly the contrast between Leinsdorf’s acerbic wit and what Dyer describes
as Steinberg’s “pipe-smoking geniality” carried more weight with good Bostonian
society that the actual performances.
Steinberg’s movements were famously minimalist. However, like many conductors
of an earlier generation, he used a longish baton and presumably expected
the players to follow the tip of it, rather than his arm movements. Looked
at this way his stick is actually both energetic and vital. I was curious
to note that, when beating three-time, his second beat goes to his left, rather
than to the right as is more usual. This can be seen very clearly at the beginning
of the Haydn. No doubts about his clarity, however.
Steinberg’s four performances of Haydn’s Symphony no.55 in 1969 are apparently
the only ones the orchestra has given of this work. Unlike Munch conducting
no.98 in 1960, Steinberg has a harpsichord, particularly active in the slow
movement. This sounds big-band Haydn today but is slimmed-down by the light
of its times. It’s all very neat, buoyant and nicely phrased.
The Beethoven symphonies are resolved with swift tempi, clean textures and
clear phrasing. The effect is again buoyant rather than driven. Many conductors
who take the first movement of no.7 swiftly are unable to maintain proper
articulation of the dotted rhythms right through. The beginning of the development
is a danger point where even Reiner falters. Steinberg is one of the best
I’ve heard from this point of view.
But, having admired the performances for their avoidance of pitfalls, I still
can’t help feeling that the Boston Symphony Orchestra under its music director
ought to have offered something more. There was a greater distinction in the
public view back then between the “big five” American orchestras and all the
others, good as many of them were. Pittsburghers had every reason to be proud
of having such a tip-top bandmaster for over two decades. Impecunious record
collectors in the UK who got to know Beethoven symphonies through Steinberg’s
Pittsburgh recording as issued on Music for Pleasure had cause for gratitude
that they could obtain such an excellent introduction so cheaply. I am sure
that Steinberg’s guest appearances with the “big five” were justly appreciated.
But did he have that something extra you expect from the music director of
one of the “big five”? Go to Leinsdorf’s performance of the “Egmont” overture
in this same series, right at the end of his criticized reign and you’ll hear
that something extra – a Beethoven orchestra in full cry and a conductor inspiring
them, not just directing them.
I’m sure purchasers will enjoy this video, but the real revelations of this
series so far have been the Leinsdorf issues, though I say that without having
heard all the Munch ones, which are pretty numerous.
Useful documentation of a conductor whose time with the orchestra was short.
Christopher Howell
Useful documentation of a conductor whose time with the orchestra was short.