A successful musician in the early 19th century, Giovanni Simone Mayr composed the opera Medea in Corinto in 1813, the same year it premiered at the San Carlo theatre in Naples. The two act tragedy with libretto by Felice Romani was Mayr’s most popular theatrical work. The story is that of the Greek myth of Medea. “Michael Spyres, in the role of Jason, confirms to be one of the finest belcanto performers of the moment, endowed with a nimble voice and pure and solid high notes.” (Dynamic)

Picture Format: NTSC, 16:9
Sound Formats: Dolby Digital 5.1, PCM 2.0
Subtitles: Italian, English, French, German, Korean
Region Code: 0 (All)
Running Time: 167 mins

IDOMENEO

Includes work(s) by Joseph Martin Kraus. Soloists: Walter Schwede, Jacques Després, John Friesen.

Known as a piano teacher and possibly also as a pupil of Beethoven, Carl Czerny (1791-1857) enjoys practically no fame as a composer today. The composing maniac (round about 800 published works) acquired great reputation (and wealth) from piano teaching and educational writing for the piano and compositions the market expected from him. His string quartets have only been passed down as manuscripts from Czerny’s estate. Czerny composed in the tradition of Haydn and Beethoven. Echoes of Mendelssohn can be discerned as well as a romantic style full of drama and profundity of expression.

The first of two CDs of the complete piano sonatas – 88 sonatas in total – by Domenico Cimarosa played by Italian pianist Dario Candela. A first complete recording.

Issued in cooperation with the Bayreuth Radio and part of Hänssler’s ongoing Profil series devoted to Wand, these performances—recorded at the 1982 Nuremberg Mozart Festival—are at once tasteful and stylish. The heaviness that sometimes infected the approach of such one-time admired Mozartians as Beecham and Walter is absent: tempos are well judged, mannerism avoided, the music simply set forth without affectation. I have always found this huge eight-movement serenade somewhat uneven, but it certainly has more than a few magnificent Mozart moments. And the great (extraordinarily demanding) concert aria, K 528, is projected by Wiens with virtuosity and temperament. Aside from a slight edginess in the strings, the sound is fine. In short, for those interested in the artists or the repertoire, this release is worth having.

Mortimer H. Frank , FANFARE

Classical Music

WEBER: Euryanthe

BEETHOVEN Piano Trios: No. 1 in E?; No. 2 in G; Allegretto in B? • Xyrion Tr • NAXOS 8.557724 (64:26)


Pianist Nina Tichman, violinist Ida Bieler, and cellist Maria Kliegel joined forces in 2001 to form the Xyrion Trio. This release, their second in their complete Beethoven piano trio series for Naxos, presents the first two of the three op. 1 trios, along with the much later B? Allegretto. Judging both from their individual talents and the cohesive ensemble of their partnership, Xyrion is equal to the stiff competition in this already widely recorded repertoire. Their readings have great energy and polish, a sure sense of style and, most compelling, refreshing spontaneity and unmistakable ardor.


The shapeliness and contour of the opening thematic material of the E? Trio immediately signals these musicians’ capacities for vivid dynamic contrasts and boldly articulated rhetoric, characteristics beloved by Beethoven. When Tichman spins out the second movement’s delicious cantabile, Bieler and Kliegel answer her with solicitude and sympathy, creating the impression of a most civilized, heart-felt conversation among the best of friends. Their rustic treatment of the Scherzo, cited by Czerny as “the first scherzo in very quick time, a species of music of which Beethoven was the original inventor,” with its evocations of folk bagpipes, is simply irresistible.


The aura of animated dialogue is maintained throughout the G-Major Trio. Savor for instance the grumpy interjections of the piano’s left hand in the development of the Allegro vivace. The finale of this trio, like its predecessor’s, is a fleet presto, here tossed off with a Mendelssohnian sprightliness.


Whereas Beethoven’s op. 1 was published in 1795, the B? Allegretto, dating from 1812, did not appear in print until three years after the composer’s death. It was written for Maximiliane Brentano, the 10-year-old daughter of Antonie and Franz Brentano. Maynard Solomon has plausibly suggested that the mother, Antonie, could have been the intended recipient of Beethoven’s famous letter addressed to the “Immortal Beloved.” This charming piece is perfectly suited for a child, though clearly one who must have been an extremely talented young pianist. Xyrion’s performance is appropriately straightforward and playful.


My sole reservation, and a minor one, is that the quality of the recording makes the musicians sound a little distant. Fortunately they don’t sound muffled, and the abundance of nuance with which these sparkling performances fairly burst is not sacrificead. Even if you already own one or more recordings of these trios—and the Beaux Arts (Philips 468411) immediately comes to mind as one of the best—I think you’ll find a great deal that is interesting and fresh in this Xyrion disc. If you don’t, I can’t think of a better introduction to these charming works with which the young Beethoven made his public debut. Heartily recommended.


FANFARE: Patrick Rucker

TARTINI, G.: Violin Concertos, Vol. 1 (L'Arte dell'Arco) -

This collection completes the 27 sonatas by Padre Antonio Soler which make up his contribution to the Fitzwilliam manuscript. Nos 1–15 are available on Naxos 8.572515. These bipartite sonatas contain prime examples of Soler’s theories of modulation, from elegant “slow” passing between notes to “agitated” extremes of contrast. The result is constant surprise, both in spectacular technique and expressive depth. Award-winning pianist Vestard Shimkus has been described as “a phenomenon” (conductor Paavo Järvi), “superb” (American Record Guide) and “inspired” (BBC.co.uk website).

In all likelihood Haydn's 18th symphony actually was his Third, but he was 27 when he wrote it, and these early pieces are by no means immature if that means lacking in polish, contrast, or quality. Indeed, all four works offer something distinctive. For example, none has exactly the same form. No. 18 has three movements: slow, fast, minuet (with a minor-key "Hungarian" trio section). No. 19 also has three movements, but in the traditional style of an Italian sinfonia: fast, slow, fast. No. 20, which includes trumpets and timpani, adopts the standard four-movement pattern with the minuet third, while the particularly lovely No. 21 opens with a beautiful adagio featuring characterful solos for oboes and horns.

There isn't a dull bar anywhere, and this is just as true of the performances by Kevin Mallon and the Toronto Chamber Orchestra. Tempos are lively, the string section phrases with excellent rhythm, and the wind players are top-notch, so much so in fact that I wish they were a bit more forwardly placed in the balance. One quibble: Mallon uses a harpsichord continuo, not terrible in itself, but he permits far too much doodling in the opening Adagio of Symphony No. 21, to the point of creating a spurious, independent part. It's a surprising lapse of taste in what are in all other respects exemplary performances that I can otherwise recommend to Haydn aficionados without hesitation. These symphonies are seldom recorded, and the good here far outweighs any minor reservations.

--David Hurwitz, ClassicsToday.com

Even at this early stage in his career (he was in his late 20s to early 30s, don't forget), Haydn's music was about 10 times more inventive than any of the competition. All four of these symphonies have many delightful moments, from the syncopated rhythms in the finale of No. 14, to the lovely and affecting use of counterpoint that opens No. 16 (a personal favorite), to the gorgeous slow introduction of No. 15 for horns with pizzicato strings. Kevin Mallon and the Toronto Camerata clearly understand and enjoy the idiom, offering stylish and elegant renditions that make this one of the best releases in Naxos' enterprising but variable complete symphony edition. The horn players are excellent, textures are transparent, and Mallon knows how to judge tempos to provide maximum contrast (especially in the minuets) and vitality. The continuo is well balanced and discretely played, as it should be, so as not to create artificial rhythms that fight against Haydn's energetic bass lines. In short, these are first-rate modern-instrument versions of works that you should waste no time in getting to know. Very good sound too. [5/16/2006]--David Hurwitz, ClassicsToday.com

Classical Music

GALUPPI: Concerto a 4, Nos. 1-7

Classical Music

Classical Music

The early 1780s saw the passion for Haydn across Europe reach it's first peak. Ten years later, the composer was considered the most important of his day. In places noted for their music, his latest works sold like hot cakes. And even out in the country, far from fashionable towns and cities, there was an insatiable demand for whatever he had just written. The small North Swabian principality of Oettingen-Wallerstein was no exception. Prince Kraft Ernst, who extravagantly maintained a court ensemble then regarded as one of the best in the German nation, was unstinting in his admiration of the composer and compiled an extensive collection of his works. At the beginning of 1788, Kraft Ernst commissioned his agent in Vienna, von M�ller, to ascertain from Haydn himself his price for three new symphonies of which the Prince was to be the sole owner: "as Joseph Haydn is demonstrably the greatest of Symphonists and I am thoroughly well disposed towards his Music, I should like to obtain three new Symphonies from him, which however nobody save myself should possess. My Court Agent shall tender this my Request to Joseph Haydn and advise me concerning what he will charge and when I shall receive these Symphonies." The composer accepted the commission but explained that he could not deliver at once on account of other obligations. More than a year and a half were to pass before Haydn delivered the commissioned symphonies. The Bavarian Chamber Orchestra (BKO) based in the idyllic spa resort of Bad Br�ckenau has made a name for itself with innovative projects since it's foundation in 1979. The orchestra consists of first-rate professional musicians from the nations of central Europe, who regularly come together as chamber orchestras or in various chamber ensembles.

Period instrument keyboard performers, like organists, are severely constrained by the tone of their instruments. Too often we are asked to accept thin, ugly, inexpressive sonorities simply because they allegedly represent historical “truth.” The reality, of course, is that there are good-sounding old instruments and bad-sounding ones. I have had the opportunity to inspect (and play) dozens of them over the years, and having done that I can state categorically that there is simply no excuse for listeners being forced to endure sub-standard instrumental tone whatever the instrument happens to be, especially on recordings.

For this program, Christine Schornsheim has selected an absolutely magnificent tangent piano housed in Schloß Bad Korzingen, one which, along with her scintillating playing, really brings this music to life. Not only does it allow her to sweep up and down the keyboard in those glittering arpeggios with which Bach adorns his Fantasias (try Wq 58/6), but the instrument turns on a dime. It can sustain a tone, or cut it off with amazing abruptness, giving an extra punch to those sudden modulations and changes of timbre and texture that make this music so exciting.

The program is also an unusually interesting one–a selection of Rondos and Fantasias from Bach’s Kenner and Liebhaber series of late keyboard works. The Rondos are supposed to be CPE’s concession to the popular taste, but they are anything but “easy” in the sense that they are often just as virtuosic as anything else that he wrote, and they are not rondos in the classical sense at all. Formally, they are more like variation sets with brief interludes coming between each varied restatement of theme, which may not return in its entirety.

Another noteworthy aspect of this program is that Schornsheim only includes three pieces in minor keys out of a total of thirteen (Wq 59/4, 56/5, and 61/4). So many programs stress the Sturm und Drang aspects of Bach’s music, but this program proves that he could be just as inventive, and unpredictable, writing in a cheerier mood. There are some very substantial works here, packed with colorful contrasts, including the C Major Fantasia Wq 59/6. and the wonderful E Major Rondo Wq 57/1, and Schornsheim plays them all with unaffected mastery and an impish delight in their “what comes next” abruptness. The engineering of her splendid instrument is also drop-dead gorgeous. This is a great recital from start to finish, an aural and expressive delight.

-- David Hurwitz, ClassicsToday.com

In the post-war gramophone record era, the great conductor Arturo Toscanini was the first to record the work on February 19, 1950. Carlo Maria Giulini followed him only two years later and conducted Cherubini's Requiem in C Minor in his first studio recording. It is that which is presented on CD here for the first time.

Classical Music

Classical Music

Doing my usual bit of online research for re-released recordings, I found these CDs in their former incarnation as credited to the ‘Orchestra of the Old Fairfield Academy’. This band was founded in 1985 by Thomas Crawford, and changed its name to the American Classical Orchestra in 1999. Formed from leading period instrument performers in the New York metropolitan area this is a highly regarded orchestra, and positive commentary on these concerto recordings reflects the excellent quality which you can expect throughout this usefully packaged set. All but one of the wind soloists are members of the orchestra, and very good they are too.

This is a period instrument orchestra, so the sound is accordingly fairly gentle, though by no means hair-shirt. The upper strings are perhaps a little thinner than with a conventional modern orchestra, but with what sounds like gut strings and a minimal use of vibrato this is to be expected. In fact the sound is nicely rounded, almost sumptuous at times, and by no means cold. All of the orchestral instruments are listed at the back of the booklet, with makers’ names both modern and ancient, the modern instruments being replicas of early examples.

Eric Hoeprich is the only soloist not listed as an orchestral member, and indeed, I see him often enough wandering around the Royal Conservatoire in The Hague in his capacity as teacher, so this is no surprise. Far from saving the best until last, CD 1 of this set has some of the finest performances here, and the warm tones of Hoeprich’s basset horn or basset clarinet make for a lovely opening. The Clarinet Concerto in A major, K622 is one of Mozart’s late masterpieces – indeed his last major work, and is given a supremely sensitive if un-extrovert performance on this recording. The choice for using a basset horn is based on the instrument owned by the work’s dedicatee, Anton Stadler. This instrument has a lower range than a conventional clarinet, and the version here uses fairly recently discovered historical references to create as accurate as possible a reproduction of Stadler’s solo, right down to the creation of a new instrument replicating that shown in an engraving from a concert programme from 1794. The extra low sonorities do indeed make for an extra layer of sonority and richness which can be quite unexpected. Either way, it is a recording to cherish as well as one to put alongside old favourites for comparison.

From last to first, the Bassoon Concerto in B flat major K191 was Mozart’s first wind concerto, and despite inhabiting the gallant style of composers senior to Mozart the work is ambitious and technically demanding to soloists even today. Denis Godburn’s instrument has a soft and rounded tone whose warmth is both attractive and distinctive, and the recording is mercifully free of key rattle. Oboe soloist Marc Schachman wrote the booklet notes for this first disc, and he goes into some detail on the origins of the Oboe Concerto in C major K314, which we also hear on disc 2 in a version for flute. Historical mystery and obscurity aside, this is yet another excellent performance, with perhaps only an over-long cadenza to momentarily knock the some of the pace and energy from the first movement. The period oboe has a slightly broader, less sinewy resonance than the modern instrument, and this milder tone again makes for an attractive listen.

CD 2 is given over entirely to the flute concertos, of which the Flute Concerto in G major, K313 is arguably the finest. Sandra Miller plays a traverso flute from the period, which has a tone more akin to a recorder than the modern power-flutes we hear in orchestras these days. Unlike a recorder however, the horizontal blowing hole allows for greater flexibility of dynamics, colour and tuning, and Miller’s nicely centred tone rings out over the orchestra with fine projection and excellent intonation, making one wonder why Mozart had such an apparent loathing for the things. The Adagio non troppo central movement is a particular treat, the solo line topping the string texture while also being enveloped in it in a friendly meeting of musical lines and textures. As previously mentioned, the Flute Concerto in D major K314 is a fairly straight transposition of the Oboe Concerto in C major, if anything being given even more lightness and bounce in the flute version of the opening Allegro aperto. Indeed, the flute version shaves nearly two minutes from the oboe version, though this is partly down to cadenzas, all written or improvised by the soloists on these recordings. The Concerto for Flute and Harp K299 is justly popular, though I am sure this has as much to do with the wonderful sonorities created by this combination of instruments as with the actual musical material. Once again the soloists are beautifully balanced in the recording, and well matched even though there are no surviving usable pedal harps from Mozart’s time. The instrument used here must come close to what he would have expected to hear, with a marvellous transparency and gentle articulation and resonance played with fine musicality by Victoria Drake.

CD 3 covers pretty much all of Mozart’s surviving work for horn and orchestra. As far as absolute completeness goes we only appear to be missing the fragment left of a Horn Concerto K494a, and for that matter the Andante for flute and orchestra K315, but this is of little importance. What we do have are some useful notes by Robert D. Levin, which explains which works were written for whom, and how the score of K370b came to be re-united with itself after having been cut into pieces by Mozart’s son Carl. These performances on a natural horn do not bear comparison with the famous recordings made by the more beefy tones of legendary valve instrument players such as Dennis Brain or Alan Civil. The best period recordings I know are those of Anthony Halstead with Christopher Hogwood on Decca, which are admittedly more lively and characterful than these. R.J. Kelly’s tone is nicely rounded, and as to be expected from a well behaved classical natural horn, fairly restrained. The recording seems to emphasise the ‘damped’ nature of the instrument however, and there isn’t a great deal of contrast in the tone from one phrase or movement to the next. The famous quartet of concertos is K412, K417, K447 and K495, in addition to which we are given a version of a Horn Concerto in E flat major K370b/371 completed by Robert D. Levin in 1993. This was in the process of re-arrangement after Mozart had discovered that his soloist, Joseph Leutgeb, was unable to play the lowest notes at the grand age of 59 due to his loss of teeth. Levin has sorted out the confusion brought about by work done on the piece by Franz Xaver Süssmayr after Mozart’s death, and in any case restored the Mozart’s original intentions, “today’s hornist [not being] bound by Leutgeb’s lack of teeth.” The final track on the CD is the original conception of the Rondo K412, with the addition of faux-operatic vocalisations by Eric Dillner, expounding Mozart’s ‘sardonic dialogue’ as directed at Leutgeb, annotated throughout the score. This bit of fun is of little more than novelty value, and thank goodness the text is given with translation in the booklet. That Mozart, he was a naughty boy...

With technical assuredness and musical sensitivity from a fine set of period music specialist soloists this has to be pretty much the top of the heap when it comes to an authentic/historically informed collection of Mozart’s complete wind concertos. I’ve done a trawl for significant competition, but none of the ‘complete’ sets available seem to be on original instruments. Individual CDs can be found which do provide more impact from the music, and for those willing to spend a little more and do some searching around the Decca/L’Oiseau Lyre Academy of Ancient Music directed by Christopher Hogwood do ultimately provide more satisfaction and depth of quality in general, though these American competitors do come very close indeed. There are one or two moments of very minor orchestral scrappiness in some of the accompaniments with the American Chamber Orchestra, but nothing which will offend even professionally tuned ears too much. The horn concertos are perhaps the least inspiring of the set and more serviceable than magical, but with plenty of scholarly work invested in the preparation of all of these performances there is always plenty of fascination in hearing what must be close to what Mozart’s audiences should have heard at the time.

-- Dominy Clements, MusicWeb International

Galuppi is an original and Napoli's performance makes this a good choice for connoisseurs of 18th century keyboard music.

Galuppi is an original and Napoli's performance makes this a good choice for connoisseurs of 18th century keyboard music.

Though Baldassare Galuppi is rightly famed for his huge contribution to opera buffa, he was also a prolific and popular composer of keyboard music, particularly sonatas. When British pianist Peter Seivewright released on the Divine Art label a programme of Galuppi's keyboard sonatas in 1999 it was the first volume in a projected complete set running to ten discs and 90 sonatas. So far, and possibly because of ill health (see footnote), Seivewright appears to have got no further than volume 3 but in the last decade more sonatas have been unearthed, and there are now known to be over 130. This is the first Naxos CD devoted to Galuppi's music, and volume 1 of his keyboard sonatas. Volume 2 has not yet been released on CD, but is available as a download.

One immediate question about this recording - major or minor, depending on individual sensitivities - is the choice of a modern pianoforte (Steinway D). There will doubtless be many who feel that Galuppi's sonatas belong on a period instrument - whether harpsichord or fortepiano. The sonorities, slender textures and delicate ornamentations of his alternately late-Baroque and forward-looking pre-Galant music are sometimes partially lost in the lush, deep sound of Napoli's piano. Nevertheless, within these self-imposed limitations, Napoli's performance here is creditable - plenty of sensitivity, no misplaced showmanship.

There is no question, however, about Galuppi's masterly, mellifluous musicianship. Sonata after sonata is packed with beautiful melody and fluent invention, and it comes as no surprise that it was not only his opera music that was in great demand. But though Galuppi was himself a keyboard virtuoso, this is idiomatic music written with an eye on, or an ear to, the amateur player - it is varied, beautiful and rewarding, without being technically overwhelming.

Often the music is quite reminiscent of Domenico Scarlatti - the outer movements of the superbly imaginative Sonata in D, for example (incidentally incorrectly catalogued by Hedda Illy in E), or the ebullient two-and-a-half minute, one-movement Sonata in C, Illy 98. There are also reverberations of C.P.E. Bach, as in the refined Sonata in F and the thoughtful Sonata in F minor, and even of J.S. Bach, as in the Sonata in G.

But Galuppi is an original, without doubt, and Napoli's performance makes this altogether a good choice for connoisseurs of 18th century keyboard music, particularly those for whom the idiosyncratic colour of the harpsichord or fortepiano holds little attraction.

Sound quality is generally high, although the Sonata in C, Illy 57 does have a couple of minor imperfections that sound suspiciously like edit joins.

-- Byzantion, MusicWeb International Footnote The reviewer refers to Peter Seivewright’s ongoing series having halted at volume 3 ‘possibly due to ill health’. I want to point out for the benefit of potential customers (and the music industry) that Peter is very well indeed – he did in fact undergo surgery not too long ago but is doing very well; his projects (which include several CDs of Bach, a Reger disc and a series of American Piano Sonatas, have also been held up due to his work commitments – he moved from Scotland to help set up and manage the new Department of Music at the University of Trinidad and Tobago. His fourth volume of Galuppi has been recorded and will appear in due course, hopefully with the other projected volumes to follow a little more quickly than heretofore. Stephen Sutton (Divine Art)

Wilhelm Backhaus realized the significance of the gramophone record early on, making his first solo recording in 1908 and going on to record many more, each tantamount to a live performance. These recordings, offered up here, represent the earliest ever recordings of works by composers like Mozart, Strauss, Chopin, Brahms, and Liszt.

Includes symphony(-ies) by Johann Baptist Vanhal. Ensemble: Toronto Camerata. Conductor: Kevin Mallon.

A multiple prize-winner at several international competitions, the young Chinese pianist Yun-yi Qin here presents a wide-ranging recital of major works and delightful miniatures that showcases her remarkable ability.

Classical Music

At what point does a recording become ‘historic’? Anyone remembering some of the very earliest and sometimes highly dodgy period instrument recordings with young Harnoncourt and others in the 1960s and 1970s might approach this kind of early authentic instrument project with some trepidation. The 1980s was a boom period for period performance recordings, and the symphonies of Beethoven were and still are something of a pinnacle for any orchestra. The Hanover Band was one of if not the earliest to record a complete cycle on authentic instruments, alongside Roger Norrington’s Beethoven cycle with the London Classical Players originally on EMI Classics Reflexe from 1987-1989 and now available on Virgin Classics (see review). Also from the 1980s comes Christopher Hogwood with The Academy of Ancient Music on Decca’s L’Oiseau Lyre label. In fact, the experience with these and Roy Goodman’s Hanover Band is by no means the hair-shirt one you might expect. We’ve come a long way since 1983, but this pioneering bunch of musicians can still speak to us even from all those years back in the 20^th century.
 
Criticism has been levelled at these recordings in the past for their excess of resonance, and indeed the church acoustic used is a major feature in each. The Nimbus label used ‘ambisonic’ recording techniques, and these CDs are labelled as being UHJ encoded. I’ve become something of a fan of SACD of late, but have seldom heard any of the Nimbus releases actually de-coded and presumably heard as they were originally intended. The stereo effect is always good enough, and I must admit to having a soft spot for the old Nimbus releases with their single ‘soundfield’ microphone technique. These Beethoven symphonies are quite a rich listening experience, but the first disc with Symphonies 1 and 2 suffers most from acoustic ‘smoke’ around the sound, and the timpani are also rather boomy compared to the rest of the recordings, which were made in All Saints Tooting rather than St. Giles, Cripplegate. What you do notice almost immediately is the relative softness of the winds against the strings. True, period winds are softer than modern instruments where string instruments are still almost exactly the same, metal as opposed to gut strings aside. The beginning of the Symphony No. 1 does immediately show up this contrast though, the needle sharp daring of Beethoven’s pizzicato opening in the strings accompanied by a mellow band of woodwinds and horns who are somewhere ‘way over there’.
 
The quirky qualities in the recording are something you can get used to, and one has to accept that you just won’t hear absolutely everything. Having tried to get used to John Eliot Gardiner’s Archiv recording from the 1990s with the Orchestre Révolutionaire et Romantique I can also report that being able to hear absolutely everything is not necessarily always the Holy Grail when it comes to Beethoven symphonies. Gardiner is pretty much the reference in these works when it comes to period instrument recordings, but these can also be something of a rough ride as well – rather uncompromising in some ways, to the extent that I’ve not played them much, and certainly haven’t trawled them out when referencing modern instrument recordings. Goodman’s Hanover Band is a little softer edged, not so much in the performances but certainly in recordings which you can listen to for longer periods without feeling you are constantly having to feel ‘impressed’. I’m afraid the first two symphonies are a bit too ‘far out’ as recordings to be regarded as truly successful, Listen to those upward scales in the winds in the final section of the last movement of the Symphony No. 1 and you have to strain sometimes to make out what’s going on. The opening of the Symphony No. 2 also reveals some strain in intonation in some wind sections, and the strings can be shown to be a bit scrappy when exposed. There is a great deal of verve and excitement in the performances and I can find much to enjoy in them, but in isolation they wouldn’t receive much of a recommendation.
 
A few years later, a different location, and everything snaps into crisper focus with the Symphony No. 3. The drums are played with harder sticks and are much better in proportion, the winds and brass are still backed up a bit, but cut through the strings more effectively and have a better definition. This is the kind of recording which brought the value of period instruments to the fore, with lither textures, a more chamber-music footprint on the score when compared to the likes of the Berlin Philharmonic, and a set of timbres which revealed the music in unexpected and refreshing ways. Not everything is perfect, but the sense of expectancy and discovery outweigh occasional weaknesses and the mild foibles of the recording. There are delights everywhere, from the weight of the Marcia funebre to the squirty natural horns in the Scherzo and massive tumult mixed with big holes of Haydnesque strangeness of the Finale, you can imagine something of what the crowds must made of it all the first time it was played. An attack of newness had indeed broken out, and the Symphony No. 3 is magnificent and extraordinary in this recording. The Symphony No. 4 is more neo-classical and optimistic in its outlook, but this performances scholarly examination of dynamics, tempo and articulation makes it another bracing listen. The Adagio in particular is something of a trot with a long-legged steed than a real slow movement, but I like it, and the musical narrative of all of these movements is a path to savour. Some slightly sour violin moments on occasion take a little away from good wind solos, but again the sum is greater than the parts, and this is a performance which would hopefully still grab wild applause even today.
 
The Symphony No. 5 is always going to be a crucial work, and I’m not entirely convinced by the opening here in this, another one of the earliest recorded in the set. Sustained notes in the strings are undecided whether to vibrato or not, and the lead violin is distractingly up-front. If you can stand back from this a bit, there are good horn moments and the pace and drama are all there, but that string mix is troubling throughout. The extreme contrast between really quite close and fairly distant instruments also makes ensemble coherence that much more difficult. There is still plenty of good playing here and some remarkable moments, such as the hushed and surreal opening to the final Allegro, but real enjoyment is something of an uphill struggle in this case. The Symphony No. 6 is a good deal more entertaining though the generalised sound and large acoustic fights against the detail and chamber-music aspect of the playing in the tuttis. This is a strange set of contradictions, but what I mean is that it sounds more symphonic and grander than it needs to or perhaps even should be. This is however not a small-scale performance, and the dynamic shading is as well observed and constructed as one could hope for, with the antiphonally placed violins a nice touch which adds to the sense of openness in the music, if making headphone listening a tad disorientating at times. The muted strings in the Szene am Bach are lovely, and those exquisite harmonic changes later on are very nicely turned. Lyrical expressiveness turns out to be a strong feature of the Hanover Band as well as their punchy rhythmic drive as the peasant’s merrymaking moves into a fearsomely potent Sturm. The joyful song is gorgeous, though the accompanying figures in the strings are sometimes a bit over-present. In all, this is a Pastoral which can be relished.
 
The last three symphonies are all from 1988, the last phase of recording, and less prone to the troublesome sense of danger which inhabits some of the earliest. The lyrical against dramatic qualities in this symphony work very well in this case, with the wind sonorities having sufficient impact to steer the harmonic pace. That funeral-march Allegretto moves forward with a satisfying momentum, and builds towards some tremendous sonorities. The swiftly urgent Presto crackles with energy, and has to be topped by the Allegro con brio and is, though the greater extremes of volume result in some less usual acoustic effects, some of the wind notes being heard more through their reflection than from the original attack. The Symphony No. 8 is also very good, with plenty of theatricality through its lighter textures. Roy Goodman manages some nice moments of ritardando as well, heightening certain expressive corners to great effect. This is sunny but also seriously weighty music making, creating an eighth which is imposing as well as generously warm hearted and boisterous.
 
If I appear to skim a little over these last symphonies it is only because they are less problematic in terms of performance and recording quality than some of the others. Not without their usual minor momentary problems, I’m still happy to endorse them without going into minute detail. The monster Symphony No. 9 does however demand greater attention. Ambitious music demands scale and stature, and the recording here does rise to the challenge, providing decent enough balance and filling the acoustic better than in some cases. There does appear to be some spot miking now, so for instance the horns pop up in your left ear more closely than previous experience would lead you to expect. The bass section is less powerful in the balance which is a shame, as a firm bottom is something you really need to carry this work properly. The first movement is good enough, though its vast canvas sometimes lacks clear direction – perhaps as much an artefact of Beethoven’s deafness as Goodman’s leadership. The Molto vivace second movement extends a vaguely unsettling feeling that we’re hearing a product of encroaching madness as well as genius. The music is driven on with a consistency of pace and within fairly narrow expressive parameters, giving the mind little chance to hook itself onto moments which are normally pointed out with greater expressive contrast. I remember one of my lecturers at the RAM pointing out what a ‘bad’ piece of music the 9^th Symphony was, and I think hearing this version makes me realise what he meant for the first time. It’s truly eccentric and not less than crazy, but all done so gloriously and with such daring panache that we’re all left agape with a kind of awe of disbelief – we can’t really ‘get’ it, so it must be wonderful.
 
Well, there are wonderful things about Beethoven’s Symphony No. 9, but this is one of those recordings which challenges preconceptions and forces a re-evaluation. The final Presto-Allegro assai throws down the gauntlet one last time, making the low strings ‘sing’ that recitatief before the vocal entry, and this is done with great declamatory style here. With a relatively hectic pace established, the first quiet entry of that famous tune takes us more by surprise. It pops out like a sketchy doodle. We all know what it’s going to grow into, but in this case it has a good deal of work needed before achieving adulthood – an effect I admire. As for the singers, Michael George is a bit jowly in tone colour in the solo but is a fine bass, and the members of the quartet blend well enough together. The choir is very fine, but perhaps a little recessed in the sound. More recent research has the Allegro assai vivace a good deal swifter than we get it here, and it sounds bizarre now to go back to that now discredited tempo of one beat per half bar rather than one beat per bar – twice as fast in effect. Being used to John Eliot Gardiner’s generally faster tempi makes the first choral Freude, schöner, Götterfunken sound a bit clunky by comparison, and the rhythmic emphases enhance the vertical rather than the horizontal, although there are some remarkable moments. The brass in general tends to sound a bit isolated, and doesn’t mould too well into the general orchestral picture, but this is still a performance which leaves an exhaustingly intense and powerful impression.
 
This is indeed a ‘historical’ recording, in the sense of its being a milestone – or at the very least part of a significant moment in recording history, when the period instrument movement came of age and proved itself capable of challenging the old order of symphonic orchestras. There is much to be enjoyed in this cycle, and much which frustrates. I don’t think by any standard it can make a claim to be anyone’s first choice for a set of Beethoven’s symphonies, but that’s no longer the point with this recording and probably never was. This is a version which can live next to your box sets by Karajan or anyone else, and be brought out when you feel the need for a change of sonority and a different angle on familiar music. To be frank, I hadn’t expected it to have stood the test of time as well as it has. We have indeed moved on, and performance techniques, instruments and aspects of interpretation have all been refined and adjusted as the years have progressed. Just as with modern instrument recordings, there is no one option with period instrument versions of these symphonies. Roy Goodman/Monica Huggett and The Hanover Band can however still make a splash.
 
-- Dominy Clements, MusicWeb International [11/2011]

Classical Music