How tragic that more than 75% of last year’s planned Beethoven 250 celebrations were all cancelled by the lockdowners. In anticipation of the festivities, innumerable artists and orchestras had recorded an immense amount of Beethoven. One predictably confident, majestic concert recording that inadvertently foreshadowed the glut of live albums that would be dumped on the web less than a year after it was released is the London Philharmonic Orchestra’s versions of two of the composer’s greatest hits, the Eroica Symphony and Symphony No. 5, streaming at Spotify. Kurt Masur leads the ensemble in these lustrous performances. This is a view from the back of the hall, individual voices distinct over a backdrop that’s often rather muted and wafts in, with production values approximating the comfortable integral quality of a vinyl record.
Even if you know these works by heart, it’s always fun to revisit them to see what surprises a particular conductor or orchestra can throw at you. This recording is particularly romantic, and Romantic as well. The first movement of the Eroica is as sleek as it is gusty, with pillowy exchanges between woodwinds over hushed ambience, but also precise, almost pointillistically leaping strings.
Eager, budding suspense and a graceful courtship ensue in movement two: this is a particularly suave interpretation. Movement three seems a little fast, yet it’s also remarkably plush. And those horns are announcing a fox hunt, aren’t they!
Masur brings the lush/stormy dichotomy into even clearer focus in the concluding movement, although he doesn’t let the conversations between winds and strings go to waste. As far as gearshifting for The Fifth Symphony, there isn’t much, even though emotionally it’s often 180 degrees the opposite. Masur obviously decided to opt for elegance this time out as well, in lieu of rampaging intensity or fullscale goth gloom in the opening movement.
This blog’s favorite version is a field recording made at the Naumburg Bandshell in Central Park in June of 2011, where the Knights played the symphony with uninhibited passion against a background of tree frogs and passing airplanes while bats divebombed the crowd. Still, Masur’s attention to detail in this one is welcome – the presence of the bass section in the first movement is especially rewarding.
Masur works top-to-bottom dynamics here even more than in the Eroica, particularly in the starry moments of the second movement and ominous portents of the third. The matter-of-fact bittersweetness in both really shines through as well. The finale brings the whole album full circle, the brightness and delicacy of the high strings just enough to bob up over the waves before a remarkably methodical, even restrained coda.