Ludwig van BEETHOVEN (1770-1827)
Parthia Es-Dur Op. 103 (1792-93) [20:28]
Rondo Es-Dur, WoO 25 [7:23]
Symphonie No 7, Op. 92 (1812) [34:01]
Oslo Kammerakademi
rec. 3-6 October 2011, Bragernes Church, Drammen
LAWO CLASSICS LWC1036 SACD [61:55]
I grew up with the distinctive and inimitable sound of the
Netherlands Wind Ensemble in the 1970s, but have been rather neglecting my
wind repertoire of late. The Oslo Kammerakademi in SACD sound with some
favourite Beethoven was such an enticing prospect that I hesitated not in
adding this title to my review list, and the results have exceeded even my
highest of expectations.
The Oslo Kammerakademi has superb character in their playing, the
contrast and layering of colour in their sound apparent the outset with this
disc, from mellow clarinets and bassoons to the nasal rasp of natural horns
in full flight. This is a recording which makes you sit up and take note,
and every time I put it on my spirits are raised.
The Parthia or Octet Op. 103 is one of the young
Beethoven’s most joyous pieces, bouncing in with that opening
Allegro with its arresting cadences, and plaintive winks from the
oboe in the following Andante, all supported by the most exquisitely
voiced and tuned harmonies. The recorded balance and resonance in the
Bragernes Church is perfect for winds, with no loss of detail, plenty or
sonority and depth, the SACD surround mix creating solidity and involvement
which is a dream come true for these middle-aged ears. I’ll come to
comparisons later, but this is a performance and recording which inspires
and has certainly revived my affinity and affection for well-played wind
ensemble music. The sense of irrepressible fun in the Finale of
Op. 103 is an infectious display of marvellous technique and
musicianship which I can imagine restoring the spirits of even the most
jaded of souls. The Rondo Andante fits nicely as a divider between
the Octet and the Symphony, intended as it was as a movement
attached to the Octet but finally replaced by that final
Presto. This is by no means a filler track. The horn duet in the
Rondo sounds hauntingly gorgeous in this performance, the notes
squeezed out of those valve-less natural horns with as much elegance as the
players can muster, though I always have the feeling of something animal in
the sound from these instruments.
Beethoven’s Symphony No. 7 was arranged for winds along
with other transcriptions when published in 1816, though the original
edition was full of printing errors and this recording has been made with
the Oslo Kammerakademi’s own corrections using the 2007
Bärenreiter Urtext. One of the first things you will notice is an
unashamed use of timpani, and to my ears this makes all the difference to
this version against others I have heard. It makes you realise how important
these drums are to the effect of the symphony in its full orchestral form,
and though the absence of strings is a compromise of sorts it is amazing to
hear with how much clarity the music is communicated in this form. The
funereal tread of the second movement Allegretto is ably filled by
bassoons and double bass, the gathering strength of the music with its
counter-melodies and organically rising dynamics, and the little formal
gardens of counterpoint later on are all extremely effective.
The most serious movement negotiated, the effectiveness of the
dancing rhythms of the penultimate Presto are guaranteed, the rasp of
the horns adding to the percussive notes of the timpani and the sheer sense
of drive and contrast almost making you happy to drop all your orchestral
versions off at the nearest charity shop. The same is almost true of the
final Allegro con brio, though you do miss the texture of the strings
sustaining those extended chords in the tutti passages. This is all still
very exciting and effective however, and the sound of only 10 players is
remarkable enough, Beethoven’s powerful statements in very safe hands
indeed.
There are quite a few recordings of the Octet Op. 103, but even the
lively
vibrancy of the Melos ensemble on their classic recording for EMI is a fair
few
notches lower on the energy and excitement stakes than with the Oslo
Kammerakademi.
The Melos Ensemble can be found on an EMI Gemini 2 CD set and also appears
in
a mammoth Beethoven Box (see review).
Chandos duplicates both the Octet Op. 103 and the Symphony No.
7
in their Netherlands Wind Ensemble recording CHAN9470. These recordings are
set
in a large acoustic and have a more fluid feel, but the symphony is less
convincing,
a lack of timpani weight in the first movement resulting in loss of impact
at
crucial moments though this instrument does make a more rousing appearance
in
the final Allegro con brio. The Sabine Meyer Wind Ensemble has both
the
Seventh and Eight symphonies on EMI 50930852 if you can find
it,
and these are very fine performances though a little clarinet-heavy in the
recorded
mix. Once again one laments the lack of drum thwacks after experiencing the
Oslo
Kammerakademi version.
This Beethoven programme from the Oslo Kammerakademi is praiseworthy
on all levels. If you have yet to test your musical taste-buds on the wind
ensemble sound this is a tremendous place to start, and if your Beethoven
collection needs filling out there is no better option for extending your
experience.
Dominy Clements
Stylish, surprising, and sensational.
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