With
this release Naxos complete their series of the complete Beethoven
symphonies under Felix Weingartner. After I had finished drafting
this review I came across the review by my colleague, Jonathan
Woolf of the penultimate release, which couples the Fifth and
Sixth symphonies. He employs a most felicitous phrase, speaking
of Weingartner’s "patrician imperturbability". A little
later in the same review he describes Weingartner’s Beethoven
as "weighty but not weighed down." Talk about phrases
you wish you’d thought of first! These descriptions fitted to
the proverbial tee my own response to this present account of
the Ninth and, indeed, to the other volumes in the series which
I have heard (ironically it is only that coupling of the Fifth
and Sixth that has eluded me to date – but it’s on the shopping
list!)
This
Ninth was Weingartner’s second recording of the work. He had set
down an earlier version in 1926. It was actually the fourth recording
in what evolved into a complete cycle, having been preceded by
the Sixth symphony in 1927, the Fifth in 1932 and the Fourth in
1933. I must confess I was nervous that the larger forces required
for the ‘Choral’ might have defeated the engineers of the day.
In the end those fears were not really justified. As producer
Mark Obert-Thorn points out in a note, a completely different
recorded balance was achieved for the choral section of the work
(the final four sides of 78s) and we find the singers placed quite
forward in the sound spectrum, especially the soloists, at the
expense of the orchestra. However, I found that my ears adjusted
fairly swiftly and I doubt any modern listeners will object too
strongly at this artifice, especially since it’s the quality of
the performance that counts.
Ian
Julier, who has written the notes for all these Weingartner releases,
and who is evidently (and understandably) an enthusiast writes
thus of the present performance. ."Its special qualities
offer a vivid experience in terms of interpretative values, the
performing style of the time, and the art of comprehensively communicating
the very essence of a masterpiece with a spontaneous sense of
renewal and discovery." I’d draw particular attention to
that last phrase for my listening experience here convinces me
that Julier is spot on in praising Weingartner’s communicative
skill. It is his achievement to lay before us Beethoven’s great
work without interposing himself between music and listener. This
is, above all, a performance of integrity. It is also a performance
of fidelity. I don’t necessarily mean by that that there are no
deviations from the printed score. There are a number of tempo
modifications (the first one as early as 3’50" into the first
movement and lasting for about a dozen bars.) As Julier points
out, there are also one or two occasions where, to coin a phrase,
Weingartner "sexes up" the instrumentation. No, what
I mean by "fidelity" is fidelity to the composer’s intentions
and in this respect I believe that the conductor scores 10 out
of 10. This reading strikes me as experienced, thoughtful and
logical. It is a reading to live with and no doubt that explains
its longevity in the catalogue while many other recordings have
come and gone.
The
recorded sound in the first movement was the least pleasing, I
found. This is, I think, because there are so many passages where
the violins and/or the high winds play loudly and, as reproduced
on my equipment at least, they often have a harsh shrillness.
That said, I found that I adjusted to this and it did not spoil
my enjoyment too much. On the other hand, the bass line is satisfyingly
firm without ever being boomy. From the outset Weingartner displays
a firm control of the symphonic argument and he manages a palpable
sense of suspense. There is drive and purpose (though the music
doesn’t sound hard driven) and I admire his ability, seemingly
instinctive, to know when to screw up the tension. Similarly he
knows when and where in the score to hold energy in reserve and
when to release it to best effect.
The
scherzo is fleet and lithe and is crisply played. The timpani,
which are played with very hard sticks, register tellingly (thank
goodness) and the horns and woodwind, the bassoons in particular,
come over well, particularly when the dynamics are softer.
The
sublime adagio starts off at a very broad and noble pace though
later on the speeds become more flowing. The performance is deeply
felt but never is there a hint of indulgence. The Vienna violins
sing beautifully and there are also some fine wind solos. This
reading is a long way removed from Furtwängler’s subjectivity
and for once I think timings are instructive. Weingartner takes
14’47" whereas Furtwängler requires 19’36" for
his celebrated live Bayreuth Festival account (EMI, 1951) and
three years later in a live Lucerne performance (Tahra) his timing
is almost identical. (Interestingly, two other comparisons taken
from the shelves at random find Toscanini taking 14’21" in
his 1952 BMG studio reading while Klemperer live in 1957 (Testament)
is closest of all to Weingartner at 14’44"). Personally,
I find I can live with either approach though perhaps the very
personal Furtwängler view is more for special occasions!
As far as this present performance is concerned I find that Weingartner
conveys a simple dignity though this is not to say for a moment
that the reading is not searching. The pitching in the little
horn solo at 8’25" is a little "democratic" but
this is a small blemish.
The
finale, which, by the way, is sensibly split into seven tracks,
gets off to a spirited start with the orchestral recits played
quite quickly and with not too much rhetoric. They are true recits
in Weingartner’s hands but the phrases are given sufficient room
to breathe. I don’t have perfect pitch but I thought that when
the trumpets enter to crown the statement of the big tune (track
5, 4’32") they sounded somewhat sharp but the tuning settles
down fairly soon.
The
first entry of bass Richard Mayr is splendid. He has a big voice
but his projection is very forward, which I like. His words are
crystal clear and he hits every note in the centre (except when
indulging in a little portamento.) As I said earlier, he is recorded
well to the fore, as are all the soloists. In fact this is an
excellent quartet in which Georg Maikl provides lusty ringing
tone for his martial solo. The only point with which I would take
issue is where, in pairs, they sing "Freude, Tochter aus
Elysium" (track 10). Here, in their desire for an expressive
legato they pull the tempo back quite markedly, the men especially.
However, throughout their singing is dedicated and committed.
The choral contribution is sterling though I did feel that sometimes
the soprano line wilted a bit under the enormous demands placed
on them by Beethoven. This was most noticeable in some of the
long, loud notes up in the stratosphere.
Inevitably
in such a big and well-known work listeners will find points of
disagreement. However, I submit that this is a splendid, elevated
achievement, a performance of inspiration that transcends occasional
lapses of orchestral technique just as it transcends the inevitable
sonic limitations. Indeed, it seems to me that Mark Obert-Thorn
has done a first class job in making this sixty eight year old
recording come to life again. Ian Julier’s notes are very good
and the disc is filled out with a good account of the Consecration
of the House overture, though I must say I feel this is one
of Beethoven’s more workaday pieces.
I
warmly welcome this release. Naxos have done a fine service in
making this series of stimulating and enduring performances available
to a wide audience. I have certainly found getting to know the
Beethoven performances of Felix Weingartner an enriching experience.
see
also review by Jonathan
Woolf
John
Quinn
Luise Helletsgruber (soprano);
Rosette Anday (contralto);