The German Gramophone Company’s salute to the centenary
of Beethoven’s death, which fell in 1927, was a more problematic affair
than their rival English Columbia’s edition. Not completed until 1933
the symphonies were apportioned to Pfitzner, Fried, Richard Strauss
and Erich Kleiber. Pfitzner’s performance of the Fourth was with the
Staatskapelle and recorded in 1928 and as with his other symphonies
in the cycle he exhibits, even in this genial reading, strong credentials
in the best subjective-romantic tradition. Immediately apparent is the
strong weight in the basses; that said when it comes to the Sixth and
Eighth Symphonies, in both cases with Pfitzner conducting the Berlin
Philharmonic, their neighbours in the State Opera Orchestra yield in
matters of internal balance and technical surety. Rather more than his
discmate colleague, the younger Erich Kleiber, Pfitzner – as in the
Pastoral recording – indulges in some expansive portamanti, within
the broad outlines of a genial and affectionate reading. Rob Cowan’s
detailed notes trace Pfitzner’s way with the Fourth, as he does with
Kleiber’s Second. This was recorded in 1929, once more with the Staatskapelle
but Kleiber insists on a more streamlined orchestral sound – portamenti
are drastically reduced, the bass line is lightened and a sense of decisive
amplitude is engendered. This is a clean-limbed, well-sprung performance
in the then modern manner, alert to dynamic variance, canny over tempo
relationships, but still broadly a generously spirited reading. It contrasts
well with the more gruff and obviously romanticised Pfitzner.
The notes by Rob Cowan, as I suggested, are specific
about performance practice as exemplified in these two mutually reflective
recordings. The transfers in this issue have been carried out by David
Lennick and do justice to the originals.
Jonathan Woolf
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Berlin Staatskapelle
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