Search - Ludwig van Beethoven, Christian Thielemann, Philharmonia Orchestra of London :: Beethoven: Symphonies Nos. 5 & 7

Solid version of these two symphonies

Steven A. Peterson | Hershey, PA (Born in Kewanee, IL) | 10/26/2008

(4 out of 5 stars)

"One of my Amazon Friends wrote a nice review of Christian Thielemann's version of Beethoven's Symphonies Number Five and Seven, featuring the Philharmonia Orchestra. I have since ordered this work and have just enjoyed listening to it. I am not a music critic and am hardly an expert. However, I'll begin by noting different traditions with Beethoven's symphonies. Thielemann appears to be more aligned with conductors such as Otto Klemperer (who, appropriately enough, also conducted the Philharmonia Orchestra), Wilhelm Furtwangler (although anyone who has heard his live Berlin performance of Beethoven's 9th in Berlin in either 1944 or 1945 [I no longer have the vinyl LP] might think differently), and Bruno Walter, rather than with Sir Georg Solti, Herbert von Karajan, and Arturo Toscanini. The former set tended to favor more contemplative versions, whereas the latter set conducted more animated interpretations.



A few comments about these two symphonies.



Symphony # 5:



Movement 1: The famous four notes start this. The strings pick up the theme; the horns come in and play nicely at the outset. There are rather contemplative tempos at times, but not uniformly so. There are interesting contrasts in the dynamics of this movement.



Movement 2: This begins with a slow tempo. Since this is the "slow movement" of the Fifth, this is not surprising. Other conductors, though, have a more energetic approach. This version is a bit more contemplative that what I would prefer; nonetheless, it is solidly done.



Movement 3: The scherzo begins slowly and then builds. The horns and strings enter. However, this doesn't have the same spirit as other versions. This piece is noted as "Allegro," but it does not always feel as if played "Allegro."



Movement 4: This is, again, supposed to be "Allegro," but it does not sound so to me, although the pace does pick up. Again, if you like a Klemperer like take on Beethoven, this will be satisfying. However, I played von Karajan's version, with the Berlin Philharmonic, and the dynamics made more sense to me.



This ends up a matter of taste. This version is surely played well. My preference, though, is for another approach.



Symphony # 7. Here, I end up feeling similarly to my views on Thielemann's version of the Fifth Symphony.



Movement 1: This starts slowly, as makes sense. The "Vivace," though is not taken at the pace that I prefer. Nonetheless, a good version of this splendid movement.



Let's skip to Movement 4. This is "Allegro con brio." This starts out with some "brio" indeed--a spirited beginning. But, as before, the pace/tempo slows. The finale builds to a satisfactory crescendo. However, I also listened to the 4th movement from Toscanini's NBC Symphony Orchestra recording and von Karajan's Berlin Philharmonic take. Both were more spirited, seemed to capture the spirit better.



So, what to conclude? This is a fine version of these two symphonies. If you like versions by conductors such as Klemperer, this will be very satisfying indeed. If you prefer a different tradition, this is still nice work, but will not be as satisfying.

"

Very retro romantic Beethoven, if you are in that mood

Santa Fe Listener | Santa Fe, NM USA | 02/24/2008

(4 out of 5 stars)

"To judge by the range from one star to five among Amazon reviewers, Thielemann is a divider and not a uniter -- but I think that's intentional. Clearly he kept his ear glued to Beethoven recordings of the old school, from Furtwangler, Schuricht, Knappertsbusch, and Klemperer. In reviving their approach, he can be dismissed as a magpie or welcomed as the heir to a great tradition. It's an odd choice, because Carlos Kleiber (and before him his father Erich) ofered a strong non-traditional way that was jsut as valid but which took Toscanini nto account.



Thielemann doesn't -- he gives Beethoven weight and depth, with rounded phrasing and contemplative shaping of every phrase. Thus the Andante con moto of the Fifth slows to the pace of an Adagio, as does the mysterious opening of the Scherzo. As for the finale, the composer says Allegro con brio, but Thielemann's forebears give him validity in being Allegro maestoso. Does this retro view work? It does for me, although one does sniff a certain mannered nostaliga.



The Seventh shows the same inclinations, but by the time you get this far (or don't), you will know if retro-romanticism appeals to you. For the most part my attention was held, and I was happy to hear a conductor who has ideas about this thrice-familiar music that aren't simply carbon copies of the period instrument gang."