Purists will love this. One concert, one take, get it right first
time.
Brüggen gets a bright, majestic sound from the woodwind and brass, nicely
contrasted with silky violins’ descents in the introduction to the first
movement of
Symphony 39. In this introduction he achieves a
sense of expectation, poise and tension, though the emphatic
two-demisemiquavers + crotchet punctuation in the timpani just before the
lead-in to the Allegro is a bit stiff. The first theme (CD1 tr. 1, 2:29) is
relaxed, the following
tutti rather formal. The second theme (4:16)
is also relaxed before Brüggen effects a more triumphant and pressing
exposition close. He brings a fair swing to the development (7:28) too. This
is very much a classical account with clean, clear, expressive contrasts in
an acoustic which somewhat favours the wind, but not generally overmuch.
I compared the 2001 recording by Anima Eterna Brugge/Jos van Immerseel
(Zig-Zag Territoires ZZT 030501.2). This takes 9:36 for this movement
against Brüggen’s 11:13. Immerseel’s introduction has a more purposive
thrust and readily discernible shape, if less drama, than Brüggen’s. His
first theme is more sunny and nonchalant, his
tuttis more jubilant
with magnificent bounce and momentum. His second theme is delicately
instilled before sterling affirmation to end the exposition. His
development, however, seems a touch perfunctory in comparison with
Brüggen’s. Immerseel’s closer miked recording has more immediacy.
Brüggen’s slow movement (tr. 2) is stylish. Smoothly and warmly phrased,
it’s like a display of neat pirouetting. There are countless little
variations of melody and instrumentation clarified and enjoyed, like the
quiet insistence of the violas’ heartbeat in the second strain from 0:44, a
sudden clouded phase (1:20) soon dispelled (1:29). The marking is
Andante con moto and, at 6:45 against Brüggen’s 8:24, Immerseel has
more of the latter. This makes the movement merrier but less substantial.
The details seem fussy rather than, with Brüggen, adding subtle touches to
the whole.
Brüggen’s Minuet goes with a real swing and percussive heft yet still
maintains regality and elegance. His Trio bubbles along contentedly with the
first strain repeat quieter, the second strain quiet before a louder repeat,
judicious embellishment in the repeats by the clarinet and the pause at the
end made a feature, as if the Trio is suddenly cut adrift. Immerseel takes
3:23 for the movement against Brüggen’s 3:42. Jollity abounds but you
appreciate the Minuet more as an exercise in athleticism than elegance,
though the dynamic contrasts are good. Immerseel’s clarinet isn’t quite as
poised as Brüggen’s and he doesn’t make a feature of the pause ending the
Trio.
The finale is attractively bubbling with light, shimmering violins and
buoyant
tutti with flute especially so, preparing us for the second
theme (tr. 4, 0:36). This begins as a comically tripping variation of the
first, in which the flute assists, before transforming into airy musing from
the first violins. The effervescence becomes more animated from the
development (3:07). Immerseel’s violins glint but are not as feathery as
Brüggen’s. His
tutti are more festively boisterous and his
development purposeful but, unlike Brüggen, he does not repeat the second
half of the movement.
Brüggen conveys the Molto Allegro of the first movement of
Symphony 40 exactly right. It's not a matter of pace
so much as urgency and seamlessness of incident presented as an ineluctable
sweep. So, in turn in the exposition, come the keening flute cries in the
first tutti, the manically consolatory quality of the second part of the
opening theme (0:27), the calmer yet also careworn, even weary, nature of
the second theme (0:44) and the soulful sighs in the codetta (1:14). The
development (3:21) sees a vigorous counter-theme alongside the first theme
while the quiet recapitulation emphasizes that the first theme is one of
eternal disquiet. Although Immerseel adopts virtually the same tempo, his
account has less tension than Brüggen’s because his articulation is less
insistent. His opening is sinisterly shadowy, his second theme at first
inconsequential before later bursting into passion, his codetta less
expressive. His development is firm but what impresses is structural more
than emotive clarity. His horns’ contributions are notably prominent.
Brüggen’s
Andante second movement, and therefore not particularly
slow, is warm and flowing. His counter-theme (tr. 2, 0:28) to the opening is
sweetly refined, the later demisemiquaver figurations lightly petite but not
flippant. Thus the whole becomes an idyllic interlude, the second theme
(2:00) sweetly distilled, the exposition’s closing
tutti
understated. The development (2:54) is darker, the demisemiquaver
figurations becoming more grim when exchanged between strings and wind. This
mood soon subsides with the recapitulation. Only marginally slower,
Immerseel is more dreamy, his counter-theme more mystical, his
demisemiquaver figurations more exquisite. His second theme is equally
refined with exposition’s closing
tutti tending towards sobriety
yet still fairly warm. His firmer development makes its exchange of
demisemiquaver figurations a touch stiffer. Brüggen omits both the
exposition and second half repeats; Immerseel gives us the first of
these.
Brüggen’s Minuet is disciplined and purposeful. The fine balance he
achieves with woodwind clarity gives a chattering intensity to the
syncopations. His Trio, a mite slower, returns us to the idyllic mood of the
second movement, made airier by the wind contributions, especially Mozart’s
spotlighting of the horns in the latter part of the second strain. Only a
touch faster, 3:23 against Brüggen’s 3:48, Immerseel’s commendable clarity
makes the Minuet speak as just an efficient exercise in counterpoint. The
faster Trio works OK because its sparer texture keeps it airy.
Brüggen’s finale is firm and disciplined, the first violins' soft
first phrase immediately answered by a loud tutti. The second theme (tr. 8,
1:03) is calm on sinuous first violins, then clarinet. The codetta (1:32) is
mettlesome, more animated, before the gruff development opening (1:53) and
stern fugato (2:14). All is tempered with classical restraint and for me it
could be a touch more fiery. The recapitulation of the second theme in the
minor is wan and the coda (4:16) offers an emphatically tragic close, albeit
in light articulation. Immerseel's articulation and dynamic contrast
have less character than those of Brüggen, so his emphasis is on the
hurtling quality which does give the strings' running quavers more
fire. Immerseel brings more of a contrasted grace to the second theme, a
look back to happier times, which gives it an amorphous, displaced quality
when it returns in the recapitulation in the minor. As in the second
movement Immerseel repeats only the exposition while Brüggen offers no
repeats. You may feel a bit short-changed.
Brüggen’s
Symphony 41 begins with punch in the
tuttis and suaveness to the strings’ response. The second theme
(CD2 tr. 1, 1:30) has disarmingly pleading first violins, immediately
sympathetically acknowledged by the lower strings. The third theme (2:42) is
all light tripping. The development (6:28) is firm yet cheerful with flute
and oboe contributions prominent. There’s a sly smoothness to the fake
recapitulation (7:31), a neat contrast which paves the way for others, the
enhanced verve to the second part of the development and majesty to the
genuine reprise. Immerseel's emphasis is more on pace, taking
10:34 against Brüggen's 11:42. This makes the tuttis more brusque,
the strings' contrasts less graceful, though Immerseel's
second theme is petite and refined and his third theme also has an
attractive exiguous nature. Greater pace also makes the development cheerier
yet Immerseel's fake recapitulation is pleasingly relaxed before the
second part of the development sweeps forward.
Brüggen’s second movement begins in lovely dreamy mode, the strings being
muted. The arresting loud chord at the end of the first phrase is for me too
emphatic
. The effect is neater when repeated by just the lower
strings (tr. 2, 0:44). Similarly, when the strings cut across the second
theme (1:08) introduced by oboes and bassoons the
sforzando is a
little overcooked, though the acoustic might be a factor. It should be
disquieting and with the third theme (1:48) Brüggen provides a warmer,
consoling response, giving way to delicious musing by the first violins
echoed by the flutes. Brüggen’s fairly expansive tempo allows the music to
breathe and reflect. The development (6:11) is troubled and insistent but
calmed by the conjuring trick of chains of arabesques in the woodwind and
soothed by the return to the opening. The strings ruminate in running
demisemiquavers and the reappearance of the third theme in the violins is
exquisitely delicate. Immerseel adopts a more orthodox
Andante,
timing at 8:27 against Brüggen’s 10:27. This rather weakens the
cantabile which is also Mozart’s marking. The arresting loud chord
is too brusque. Two period instrument performances which do for me get it
right are Hogwood (L’Oiseau-Lyre) and Minkowski (Archiv). With Immerseel the
violins’ early demisemiquavers are insufficiently restful, his second theme
sforzando even more insistent than Brüggen’s. Much the same applies
to the drama of his development which, however, lacks the inner tension
imparted by Brüggen. He achieves more of a gossamer quality for the
demisemiquaver strings and a sweet, shadowy reappearance of the third
theme.
In the Minuet Brüggen makes an ideal contrast between stylish first
violins’ proposition and boisterous
tutti response, between
indolently falling lines and spruce rising ones. The same contrast is then
made clear in the Trio’s first strain with a yawning opening descent, then
chattering woodwind descents, but whose second strain is all rising
tutti thrust. Brüggen adds a closing nod to the genteel aspects by
softening the final three notes of the Minuet repeat. Immerseel’s Minuet and
Trio is more homely, less sophisticated and substantial, but clearly
contrasted and sunny and merry. He gives you less to admire but perhaps more
to enjoy.
Brüggen begins the finale with introspectively musing strings soon brought
fully down to earth by a hearty
tutti. Both elements are presented
with supreme confidence, rhythmic incisiveness and stunning pace. The
‘second’ theme (conventionally) (tr. 4, 1:05) has a momentarily more relaxed
start before blossoming into a florid display from the violins. The more
forceful nature of the woodwind is a feature of the development (4:35) just
as the variation and expansion of the themes enriches the recapitulation.
The coda (10:33), in which the movement’s five motifs are displayed
together, has a beginning in the strings with a sense of the mystical before
a headily joyous splendour of affirmation in which the wind, brass and
timpani all make their presence felt. Amazingly Immerseel takes the movement
at 11:20 compared with Brüggen‘s 11:39 to give a breathtaking display. The
advantage is greater structural clarity; the disadvantage more emphasis on
virtuosity than Brüggen’s on celebration. There’s less heft in the
tuttis and interiority in the softer passages than Brüggen
reveals.
To sum up, Brüggen brings deeply thought through and satisfying readings
with a wealth of contrast, spontaneity and capacity to surprise. Much of
this is the advantage of one live recording. The disadvantage is that you
are placed a few rows back from the action, the flute in upper register can
be very piercing, the bassoon sometimes very soft indeed. These are,
however, only minor flaws.
Michael Greenhalgh
Masterwork Index:
Symphony 39 ~~
Symphony 40 ~~
Symphony 41
