Beethoven : Intégrale des symphonies

hr-Sinfonieorchester, Hugh Wolff
hrmj 039-07
*****

Le meilleur moyen de se plonger dans l’œuvre d’un compositeur et de pouvoir suivre son cheminement reste l’écoute d’une bonne intégrale. Dans le cas de Beethoven, probablement le compositeur le plus influent de l’histoire de la musique, une intégrale de ses neuf symphonies s’avère absolument indispensable; c’est le genre (avec les sonates pour piano) dans lequel son langage musical et expressif s’est le plus développé. Dans ses premières symphonies, on entend clairement l’influence des grands maîtres classiques, Haydn et Mozart, mais on peut déjà sentir une énergie colossale qui gronde et qui ne demande qu’à exploser. Alors Beethoven explore, élargit la forme, enrichit sa palette expressive de sonorités robustes et dissonantes. Dès sa troisième symphonie, et à chacune des suivantes, Beethoven réinvente le genre : introductions plus élaborées, remplacement du menuet traditionnel par des scherzos impétueux, musique à programme, utilisation de la voix; toutes des innovations apportées par Beethoven et qui contribuèrent à l’émergence du romantisme. Les symphonies de Beethoven eurent une influence énorme sur ses successeurs, notamment Schubert et Brahms.

La présente intégrale est digne d’intérêt et saura faire sa place parmi les grandes de la discographie (Philharmonique de Berlin/Karajan, Orchestre Révolutionnaire et Romantique/Gardiner, entre autres). Le chef américain Hugh Wolff a mis au service de la musique ses connaissances acquises en interprétation d’époque : on retrouve avec joie cors et trompettes naturels, petites timbales et cordes jouant avec un vibrato minimal. Ceci, sans rien enlever à l’expressivité de cette musique, en rehausse les timbres; voici certainement ce que Beethoven avait en tête lorsqu’il composait ses chefs d’œuvre. Les cuivres ont beau être éclatants (quels effets de bouché aux cors !), ils ne sont jamais écrasants. Ceci permet aux bois de jouer à l’aise sans crainte d’être perdus dans la masse sonore. Wolff fait ressortir le caractère si personnel de chacune des symphonies et tire de son orchestre une énergie impressionnante. Dans la 9^e symphonie (Hymne à la Joie), la seule à être captée devant public, les voix sont solides et justes; on ne perd rien du chœur.

Le livret inclus dans le coffret constitue une belle surprise. On y trouve quantité d’images d’archives, de portraits du compositeur et de textes informatifs : chaque symphonie est décortiquée et son contexte éclairci. On comprend donc mieux le cheminement de Beethoven. Seul regret : le texte n’est qu’en anglais et en allemand.

-Louis-Pierre Bergeron

Beethoven Symphonies Nos. 4 & 7

Deutsche Kammerphilharmonie Bremen; Paavo Järvi, dir.
Sony/BMG 88697129332 Hybrid SACD (69 min 23 s)
*** $$$

"Järvi the Younger" kicked off his Beethoven symphony cycle with vivid, high impact recordings of Nos. 3 and 8 (RCA Red Seal 88697-13066-2). Therein, he nailed his colours to the mast: swift, sure, deft articulation and a special bag of tricks for the kettledrums (Järvi is a percussionist by trade). Grandeur and rugged good humour in the tradition of Furtwängler and Klemperer are not on board for the voyage. The present issue is cast in the same mold and brings a palpable hit and a near miss. Volume 1 earned high praise in some quarters for the originality of the interpretations. After exhaustive comparisons it can be reported that Järvi is not doing anything that Carl Schuricht and Hermann Scherchen (among others) weren’t doing fifty years ago. What Järvi has going for him is a first class chamber orchestra and a state-of-the-art Direct Stream Digital recording.

The Fourth Symphony fits the conductor’s concept hand-in-glove. It is a very convincing reading and an exciting listening experience. The Seventh is another matter. After the fireworks generated in his account of the Eroica, it really seems underplayed. The lack of grip may be due to patching from recording sessions two years apart and wholesale changes in orchestra personnel during the interval. In terms of other recent recordings, Paavo Järvi is outclassed by Stanislaw Skrowaczewski (Oehms), Sir Charles Mackerras (Hyperion) and Mikhail Pletnev (DG). One disc will neither make nor break a Beethoven symphony cycle but a weak Seventh is a serious obstacle to success. If SACD surround sound is an absolute necessity, a safer recommendation would be the continuing cycle from Osmo Vänskä and the Minnesota Orchestra (BIS).

FROM THE BEETHOVEN ARCHIVES:

Carl Schuricht and Hermann Scherchen defied the stereotype of the old-fashioned German conductor by infusing their performances with freshness and flexibility. Their recorded Beethoven traversals from the 1950s exemplify musical qualities normally associated with developments of recent decades. The CDs (5 disc boxes - mono):

-Schuricht: EMI CZS 7 62 910 2 - Orchestre de la Société des Concerts du Conservatoire. The conductor really gets his Paris orchestra "punching above its weight" in this stirring set. It may be hard to find but still keeps its place in EMI European catalogues at bargain price.

-Scherchen: Archipel ARPCD 0201 - Vienna State Opera Orchestra/Royal Philharmonic Orchestra. Archipel re-issued the set in 2005 in a 24-bit re-mastering and virtually no documentation. Terrific performances at a modest price.

-Stephen Habington

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Ludwig van Beethoven: Piano Concertos 1-5

Staatskapelle Berlin/Daniel Barenboim
EuroArts 2056778 (2 DVDs - 298 min)
Produced by Paul Smaczny
Directed by Michael Beyer
***** $$$

Most conventional maestros will tell you that it is extremely hazardous to attempt to conduct a symphony orchestra while operating heavy equipment (like a piano). Evidence to the contrary already exists showing that Daniel Barenboim can both direct and play to superb effect. His 1995 performances of Beethoven’s Triple Concerto (with the BPO, Ma and Perlman) and Choral Fantasia are available on an EMI DVD (4 91473-9). If that occasion was a triumph, the present issue is the crowning glory of Barenboim’s Beethoven. This is something really worth seeing, a rare example of imagery reinforcing the power of the music. This soloist/conductor seems to have the scores embedded in his soul. And it is quite obvious that the Staatskapelle-Barenboim partnership is an all-round mutual admiration society. He leads the orchestra with a minimum of gesture, fleeting expressions and, as the piano keys become more slippery, something akin to group telepathy. The last means of communication is probably necessary because no matter how well rehearsed the works might be, spontaneity from the keyboard is as common here as it was in Barenboim’s first recordings of the concertos with Klemperer and the Philharmonia forty years ago for EMI.

These thrilling concerts were filmed at the Klavier-Festival Ruhr over three days in May 2007. The venue was the Jahrhunderthalle in Bochum, which looks like a converted industrial space. Any acoustic challenges were overcome by EuroArts sound engineers. Sonically, in surround mode, it really seems as if you are perched on the piano bench right next to Barenboim. Director Michael Beyer manages his eight cameras with great dexterity to provide a satisfying viewing experience.

Catch Daniel Elsewhere: EuroArts offers three other Barenboim concert events on DVD:

- Europa-Kozert 2004: Barenboim, Berlin Philharmonic Orchestra/Rattle (2053658). An outdoor concert at the Odeon of Herodes Atticus in conjunction with the Olympic Games in Athens, Barenboim performs the Brahms Piano Concerto No 1. The BPO also play the same composer’s Piano Quartet No 1 in its orchestration by Arnold Schoenberg.

- Israel Philharmonic Orchestra 70^th Anniversary Concert 2006: Zukerman, Barenboim, Israel Philharmonic Orchestra/Mehta (2055878). Pinchas, Daniel and Zubin: something of a three amigos reunion. Zukerman performs the Bruch First Violin Concerto and Barenboim offers Brahms No 1…again. Ravel’s La Valse is also on the programme.

- Concert at the Palacio de Carlos V, Alhambra, Granada, 2006: West-Eastern Divan Orchestra/ Barenboim (2055538). Any appearance of Barenboim’s youthful Arab-Israeli orchestra is a special event and they do not disappoint in this spectacular, open-to-the-stars venue. The programme begins with a rousing account of Beethoven’s Leonore Overture No 3. A charming Bottesini Fantasia arranged for cello and double bass and orchestra follows. Last, a blazing performance of Brahms’ Symphony No 1.

-Stephen Habington

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