Search - Deutsche Kammerphilharmie Bremen :: Beethoven: Symphonies Nos. 3 & 8 [Hybrid SACD]

Too aggressive

DHJ | 06/19/2009

(3 out of 5 stars)

"I know people will vote not helpful on my review, but this is how I feel.

This is the frist 3rd and 8th I bought because classistoday gave it 10/10 recommendation. And indeed, everything is as wonderful as the other reviewers said so I am not going to repeat it. However Mr. Jarvi missed something that's most important in my view -- warmth. No.3 is ok, but for the 8th I'd rather go for Giulini's sleepy one. Mr. Jarvi sounds like a commander who's always pushing. It sounds aggressive to me and I think being aggresive is not the only way to show strengths."

Reference HIP Performances

Prescott Cunningham Moore | 08/17/2009

(5 out of 5 stars)

"This is such an exciting time for Beethoven. Since the publication of the new Barenreiter editions, edited by Jonathan Del Mar, we've seen cycles from the likes of Claudio Abbado (twice), Bernard Haitink, Simon Rattle, David Zinman, and Jos van Immerseel. But the most stellar cycle came from a rather unexpected source; Osmo Vanska with the Minnesota Orchestra for the Swedish label BIS. Vanska's now-complete cycle has received raved reviews, and rightfully so. Vanska and his band have proved that "big band" Beethoven is still viable in the wake of the Period Movement and when Historically Informed Performance practices are en vogue. So it is into this glutted market that Paavo Jarvi and the Deutsche Kammerphilharmonie Bremen launch their cycle, beginning with the standard paring of the Eroica and the Eighth. So the question to be asked and answered is whether Jarvi has produced performances that can stand up to the competition?



The answer is a resounding, enthusiastic yes. This is, bar none, exceptional top-tier Beethoven. Right from the opening chords of the Eroica, you know these performances are going to be winners. First, and foremost, Jarvi brings an idiomatic and individualist interpretation that highlights interesting aspects of the score while maintaining a strong sense of architecture and form. Add to this brisk, but never rushed, tempos that imbue the music with a new sense of urgency. Finally, add to this winning mix one of the greatest chamber orchestras at work today, stereophonically placed violins, hard mallets for the timpani, pert woodwinds, and big-bodied brass, you have Beethoven for the ages.



There are too many fantastic moments in the Eroica to highlight individually, but there are some that deserve special mention. Listen to the brilliant ensemble work of the winds (especially the bassoon) at the beginning of the development. Or after the magnificent developmental climax (as it ever sounded so revolutionary, so dissonant, but so texturally clear?), listen to how Jarvi maintains tension by having the strings really dig into the transition into the E minor theme. The coda is a textbook of orchestral clarity, Jarvi building tension through the terraced orchestration, while Beethoven's original instrumentation has never sounded so convincing. These characteristics carry through into a haunting, yet characteristic funeral march. Jarvi balances the minor and major episodes as well as any. The scherzo is absolutely stunning, both rustic but sophisticated, highlighting the humor of Beethoven's music. Listen to how Jarvi adds that extra dose of energy by crecendoiing at the first tutti outburst. The ruckus horns are astounding in the trio while the coda is as quirky and funny as I've ever heard. The finale is equally fine, not the none-event that so many other recordings can be. The Prometheus theme unfolds wonderfully, added greatly by Jarvi's fun detailing with the score. The lower strings really dig into their parts in the minor variations, the oboe solo is divine, and the coda is both energetic and musically satisfying.



If anything, the Eighth is even better. Jarvi has a very distinct point of view, and his idiomatic approach is totally in line with the character of the Eighth. The allegro of Beethoven's Eighth is one of the most brilliant symphonic movements in Western music. Beethoven's ability to juxtapose serenity with violence, mix up rhythm, all while making one of the most succinct arguments in sonata form. Jarvi highlights all of this. His quick tempos really accentuate the off-kilter rhythms and Jarvi plays up the violence of the contrasts. The development is simply indescribable, Jarvi's hyperkineticism infects his players leading into a magnificent recapitulatory climax, maintaining tension throughout. The coda features wonderful wind work, bringing the movement to a comic close. Comedy pervades the two central movements with some stunning clarinet work throughout. And the finale makes you understand why Beethoven said his Eighth was much better than the Seventh. That the Bremen strings can maintain clean articulation at such quick tempos is extraordinary and a testament to the level of virtuosity of this great ensemble.



All in all, this is a fantastic release. Not only should Jarvi and his Bremen players be commended, but also it is also wonderful to see RCA producing quality recordings again. After a disastrous period in the `90s and `00s, RCA finally seems to be in a better position, producing quality releases in crystal clear sound. The prospect of this cycle not seeing the light of day is too awful to even comprehend; snatch it up while it is still in print."

Absolutely Essential Beethoven

Scott E. Peterman | Oneida, NY USA | 02/02/2009

(5 out of 5 stars)

"I have now heard and own the three discs that are currently available in the Paavo Jarvi/Bremen German Chamber Philharmonic cycle of Beethoven symphonies, and I must say that this cycle is, in my mind, the best recorded, best performed, and most enjoyable cycle ever. These are performances of real stature that, while you have never heard Beethoven like this, come across as completely valid interpretations of Beethoven's masterpieces; the performances in no way stray from the character and intent of the music's creator. They grab hold of you from the very first note until the very last note, and they do not let go. The sound quality on multi channel SACD equipment is astounding. The more I listen to these performances, the more I like them. I give them my highest recommendation, and consider them to be absolutely essential recordings. Beethoven must be looking down smiling and saying "yes, that's what I meant."

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