With one or two exceptions,
most of these symphonies of Beethoven
were written about ten years earlier
than the equivalent set written by his
near contemporary, Schubert. Only the
two ninths are roughly contemporaneous.
What a different sound-world these two
sets inhabit. It has been very instructive
to hear both of these sets close together
for apart from the general level of
inventiveness of the composers, there
are certain similarities between Apex’s
two complete sets played by the Sinfonia
Varsovia, conducted by Yehudi Menuhin.
The Schubert are studio
recordings, whereas the Beethoven set
derives from a live cycle given in Strasbourg
in June 1994. To be honest, unlike with
some ensembles, there is not much difference
in the quality of playing and recording
between the studio and live performances.
There is perhaps a slight improvement
in spontaneity at the expense of exact
ensemble, but the extent of this is
very slight.
I cannot understand
the Apex decision to include applause
before the start of some of the symphonies,
particularly when it dies away before
the works start; this is taking live
recording too far. There is also evidence
of the engineers bringing up the level
of ambience before the applause starts
– more to prove what a good performance
we are in for! This is taking knob twiddling
too far.
Once the cycle is underway,
things get decidedly better. Menuhin
obviously feels this music deeply. This
is clear from the performances themselves
which have vitality and thrust which
is very infectious. First movement repeats
are the norm and it is refreshing to
hear these intact and played with such
gusto. There is a set of very good notes
with each disc, partly written by Menuhin
himself, giving us his approach to these
masterpieces. He looks upon them as
a journey of discovery, which he obviously
wants to share with the listener. Unlike
many other conductors, he does not see
the first two symphonies as a development
of the symphony of Haydn and Mozart,
but a clear statement from the composer
starting out on a journey. He even alludes
to Indian music as a guide, although
how Beethoven would have come under
the influence of this music is beyond
me. Perhaps Menuhin accompanied Beethoven
to Bombay (Mumbai) at some time (in
his mind of course).
No. 1 is somewhat dour
in its outlook. I suppose that if it
is not a successor to Haydn, but at
the start of an inspired journey, then
some allowances need to be made. Things
pick up by the time the scherzo arrives,
and the finale really fizzes along.
The articulation of the strings is outstanding,
and their ability to follow their beloved
conductor is clearly evident. Applause
is at both the start and finish of this
symphony, the end applause lasting almost
a minute.
The Eroica,
likewise starts off in sombre mood,
and again picks up as the movement progresses.
The funeral march is deeply felt and
makes a subdued follow up to the solid
first movement. Light breaks out on
the arrival of the scherzo, with suitably
rustic-sounding horns really enjoying
themselves and ably assisted by some
forwardly placed timpani. The finale,
taken at a fast tempo, ends the proceedings
in great style. Applause at the end.
The second disc in
the set starts with applause, followed
by a somewhat untidy chord beginning
the second symphony, but fear not, things
improve considerably. By the time we
reach the finale, Beethoven’s landscape
is passing by at a relatively fast tempo
– the strings of the Sinfonia Varsovia
really excelling themselves, followed
by another 30 seconds or so of applause.
We then move on to
a lovely performance of the Pastoral,
which includes the first movement repeat.
An exciting rendition of the peasant’s
dance and the storm is convincingly
violent. The last movement is fairly
rapid, but not without a very touching
tenderness right at the end of the work,
not from the audience I am afraid.
Disc three includes
the Overture "Coriolan" with
the 4th and 8th
Symphonies. No applause at the start
this time – a refreshing departure from
what has been the norm up until now;
even better, no applause on this disc
at all! Coriolan starts fairly sedately,
but soon picks up speed. This is Hungarian
playing at its best, with articulation
at speed being first class.
The Fourth Symphony
is characterised by extremely beautiful
string playing throughout, with the
whole orchestra giving of its best.
The introduction to the first movement
at a suitably sedate rate is exemplary,
with the allegro starting off very neatly
and the whole orchestra phrasing delicately.
The progress of the music is ably supported
by some impressive though suitably restrained
timpani.
After a beautiful slow
movement, the scherzo explodes onto
the scene. This is taken at a fast tempo
but the playing is also touchingly delicate.
After this the finale is similarly fast
and furious, although not without the
woodwind being allowed to make some
interesting contributions which with
other conductors are often submerged
in the mêlée which sometimes
occurs in this movement.
Symphonies 5 and 7
are what you would expect after what
has gone before. Regrettably however
there is none of the accurate and bitingly
direct phrasing one gets with Carlos
Kleiber and the Vienna Philharmonic,
nor is the recording as good. However,
as part of a cycle, this is good material,
and you only need to revert to Kleiber
if you are buying these discs separately.
It is, by the way, worth every penny
of the extra.
The cycle is crowned
by a very interesting Choral with
relatively unknown soloists and choir,
although they acquit themselves very
creditably. The notes by Menuhin have
him bubbling over in excitement over
an instrument used in the E Flat 6/8
variation, presto passage of the finale
which is usually played by cymbals and
drums. This new instrument is called
a Schellenbaum, cinelli, or Jingling
Johnny. One of these was found, belonging
to the British Army, and evidently played
by a British Officer during the actual
performance in Strasbourg. In spite
of all the fuss, to my ears it doesn’t
sound much different from cymbals and
drums, so although we are historically
correct, I can’t see what all the fuss
is about.
The soloists and chorus
are both respectable, without being
world class and their contributions
to the proceedings are far from negligible,
apart from a few wobbles here and there.
So to sum up – this
Apex set is one of the better budget
cycles available today. It does not
eclipse the Zinman Arte Nova set, but
then it is not trying to compete on
a head to head basis. If you are keen
on lovely string playing by an enthusiastic
band lead by a well respected musician
in repertoire which he obviously adores,
and not too much put off by completely
superfluous applause, then I do urge
you to hear this set. At the price it
is an absolute snip.
John Phillips
see also
review by Gwyn Parry-Jones
Jean Glennon (soprano), Dalia Schaechter,
(alto) Algirdas Janutas, (tenor) and Benno Schollum
(bass)