Classical Editor: Rob Barnett


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Reviews from previous months
BEETHOVEN: Symphonies: Nos. 1, 5 & 8. Overtures: Egmont, Leonora No. 3. Piano Concerto No. 5; 'Emperor'    Mindru Katz: Piano. Halle' Orchestra Sir John Barbirolli Dutton Laboratories Barbirolli Society Edition CDJSB 1013 147m ADD.

 


Crotchet



 

These are Beethoven readings of another age, with some downright farcical extremes of tempi and lavish orchestral sounds that tend to make the music sound sluggish at times. However there is also no denying Sir John's obvious affection for the music especially in his muscular reading of the 'Egmont' Overture which has been superbly restored by Michael Dutton. The Hallé Pye recordings are obviously much richer and rounded in tone, although one can also see why they did not make all that success in the late 50's. When compared to the greatness of Klemperer, Furtwangler or Karajan, these records pale into insignificance.

The First symphony suffers from some indifferent playing and squeaky string tone although the marvellous opening Adagio is beautifully sustained. Still I yearned for Cluytens classic contemporaneous BPO account or the studious wonderment that infects Karajan's 1953 studio recording with the Philharmonia. Pye's engineering is also curiously artificial with just a little bit too much 'top' on those feeble Halle' strings. Sometimes I wonder what the fuss was all about! The same dreary spirit pervades this Eighth which definitely does not bounce in the way the 1963 Karajan does. Barbirolli chooses to adopt leisurely tempi, and though the greater clarity and detail are welcomed, the spirit is definitely weaker.

Once again, the collector is referred to Karajan's model accounts of this symphony, indeed I feel that the 1946 VPO (EMI) recording is the best for spiritual nostalgia and classical feeling. Barbirolli's interpretations of 'Leonora No. 3' and 'Egmont' also suffer from stultifying mannerisms with the former taking a mammoth fifteen minutes! Matters improve considerably in the classic 'Emperor' recording with the underrated Mindru Katz as soloist. A faithful balance between soloist and orchestra allows for rapt poetic exchanges between both and the thrilling momentum of the music is perfectly brought out.

Poetry is the order of the day in this sublime music and I would say that Barbirolli and Katz match the fervor of Wilhelm Kempff's classic BPO recordings with Ferdinand Leitner at some degrees. A heavy-handed Beethoven Fifth recorded in 1947 completes the set. This version tells us nothing new about triumph and the collector would better stick to his Klemperers, Karajans or Kleibers to get to the heart of the matter. Maddeningly variable then, but still JB fans will not hesitate. Others must tread with caution.

Reviewer

Gerald Fenech

  Performance:

Sound:

Reviewer

Gerald Fenech

  Performance:

Sound:

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