This is the final instalment in Christian Thielemann’s
Beethoven Symphony cycle. Much the same interpretive style is
in evidence here as in the first
and second
volumes: Thielemann tends to use a fairly liberal amount of
rubato throughout these scores, including protracted rests,
while incorporating a wide range of dynamics, often with sound
levels dropping quickly and then swelling gradually back to
mezzo-forte or forte. He also takes a more Romantic view of
these symphonies than most other conductors. In addition, he
manages to attain the highest performance standards from the
orchestra, as attacks are potent and crisp, intonation seemingly
perfect and playing ever so accurate. Some claim the Vienna
Philharmonic is the greatest orchestra in the world, and while
I won’t endorse or dispute that assertion, I will say
that this Beethoven cycle would be strong evidence to support
the contention.
The first movement of the Seventh is given a muscular performance,
but with plenty of bounce to the rhythms. The Poco sostenuto
introduction is paced somewhat briskly, as has been common since
the 1980s, and the main Vivace section opens with fine work
from the flautist. The strings and horns impart a glorious sense
to the joyous main theme and the whole movement is utterly electric.
The ensuing Allegretto has a stately character in its unhurried
tempo, emerging from ominous mystery at the outset and building
toward a dignified beauty, all in brilliant playing.
The Scherzo abounds in vigour, but there is an undertow of weightiness
that eventually comes from the percussion and double-basses
to offer contrast. The Trio offers rather staid music and it
rings out with epic character. Thielemann conducts the finale
at what would be described as a moderate tempo today, as opposed
to the more breathless accounts by Abbado/Berlin and others.
The approach works well here, the music coming across with plenty
of energy and wit, and with a final sense of triumph. This is
one of the finest accounts of the Seventh on record.
The joyous Eighth Symphony is a delight here. While this is
quite a light work, there is, once again, a certain weightiness
of approach. But it works: with minute tempo manipulations and
deftly controlled dynamics, Thielemann shows that happy music
can have muscle and big climactic moments that smile all the
more. The finale is a gem: fleet, invigorating and with some
of the most perfect orchestral playing you’re likely to
encounter in this work.
The Ninth is a prime vehicle for Thielemann’s generally
epic approach to Beethoven. The orchestral playing exhibits
the usual perfection and commitment from the VPO in all movements,
and the vocal quartet in the finale, despite their lack of star
power, are generally quite convincing. Annette Dasch was especially
outstanding. The chorus is fine too. To back up a moment …
The Scherzo has a relatively leisurely tempo, but plenty of
weightiness. Still, some may find this movement lacking a bit
in drive. The third movement is also very broadly paced, but
here Thielemann imparts a richer sense of Romanticism, which
he is attempting to restore in Beethoven. On the whole, this
Ninth is a splendid performance, possibly ranking with the best.
Overall, consensus will have it that this cycle of the Beethoven
nine symphonies will stand among the finest ever, I predict.
The sound in this set is so vivid throughout, so lifelike that
you can hear the minutest detail: a couple of minutes or so
into the first movement of the Ninth Symphony (track 14 - 118:30)
the principal clarinettist in an idle moment blows against his
instrument twice to clear it, and if you listen attentively,
you can hear these breathy swishes quite distinctly amid the
other considerable orchestral activity. That might be better
than being there in a front row seat for the concert. Bravo,
engineers! I’m glad no members of the orchestra were experiencing
indigestion that night! The camera work is also excellent, always
offering pertinent shots of soloists, instrumentalists or sections.
The bonus feature on this disc, Discovering Beethoven,
contains almost three hours of commentary on the three symphonies
by Thielemann and musicologist Joachim Kaiser. It is a considerable
add-on, well worth your while.
If I had to select the best Beethoven cycles available today,
I would pick, different as they all are, Abbado (DG), Harnoncourt
(Teldec), Jochum (EMI), Szell (Sony), perhaps Toscanini (RCA)
and this new one. In fact, this would probably be my top choice,
not least because of the superior sound and obvious advantages
of video. In sum, this is the third and final leg in an historic
musical event.
Robert Cummings
Wiener Singverein/Johannes Prinz 
[Orchestral Works: 137:58; Documentary: 168.58] 
