Search - Ludwig van Beethoven, Paavo Järvi, Bremen German Chamber Philharmonic :: Beethoven: Symphonies Nos. 1 & 5 [Hybrid SACD]

Reference Fifth

Prescott Cunningham Moore | 08/16/2009

(5 out of 5 stars)

"I'm in Beethoven heaven. Having enjoyed the recent boon of Beethoven symphony recordings, due in no small part to the new Barenreiter editions expertly edited by Jonathan Del Mar, from Zinman to Vanska's hyperkinetic cycle, along comes yet another recording of the most basic of basic repertoire mainstays that proves that a conductor with an idiomatic point of view and a committed orchestra can make this music sound new, fresh, and exciting. Enter Paavo Jarvi and the Deutsche Kammerphilharmonie of Bremen.



This is really an extraordinary Fifth, from start to finish, on par with Carlos Kleiber's legendary account with the Vienna Philharmonic. If I had any reservations about this performance at all, it would be that first movement coda lacks that last ounce of frenetic energy that Kleiber brought to this music and that the trumpets in the finale could ring out a tad more in some of their fanfares. On all other accounts, this performance simply disarms criticism of any kind. Right from the opening bars, Jarvi and his players make clear that the chamber proportions (the Bremen players number about forty) in no way detract from the music's overall power. On the other hand, smaller forces means more textural clarity, and nowhere is this more welcome than in the first movement of the fifth, where the "fate" rhythm is constantly tossed about. It's rare to hear this all-too-familiar music sound so fresh, so gripping, and so engaging,



For me, at about eight and one half minutes, Jarvi's adagio is perfectly paced, briskly flowing but never sounding rushed. Jarvi's shapes the variations magnificently, imbuing the main theme with confidence tempered with caution, shaping powerful, but never overbearing fanfares, and bringing the music to an appropriately gentle close.



The scherzo is ideal, even if Jarvi fails to (correctly) repeat the scherzo proper before leading into the famous transition. The horns sound ominous without becoming vulgar, while the orchestra tip toes the murky orchestral waters with balletic grace. And has the trio ever sounded so exciting? The smaller forces bring textual clarity, but there is no lack of weight. The lower strings literally dig into their part with amazing ferocity, all the while Jarvi unearths textural details, like the all-to-often ignored "fate" motif in the brass.



The finale comes off best of all. There are too many fantastic moments to bring up in detail, but one in particular is worth mentioning. During the build-up to the developmental climax, which leads into the ghost of the scherzo, the winds and brass alternate playing the "fate" motif, all while the strings steadily build tension through their terraced climb to G major. So often, this section comes off a muddied mess, but here, the top to bottom textual clarity, not to mention the fierce articulation and razor like orchestral precision, is really incomparable. The G major cadence will give even the most jaded listener goose bumps and will leave you breathless.



The same quality pervade the performance of the First, from the added drama Jarvi creates by accenting the first theme of the allegro or the little comic retardando Jarvi takes right before that same movements recapitulation. The flowing tempo of the allegretto allows the movement to take shape, all the while Jarvi again finding new and interesting details along the way. If listeners find Jarvi's minuetto lacks the extra pomp and circumstance of Gunter Wand's fantastic approach, they certain will appreciate the bouncy trio, brilliantly played by the orchestra. And the finale is as good as Vanska's fabulous recording, but has grander proclamations from the brass and some thunderous timpani playing.



Jarvi's Beethoven has all the ensemble precision of Szell or Vanska and the excitement of Wand or Toscanini. If to some listeners his approach sounds vulgar or "too big," most will appreciate that Jarvi's approach - small players, stereophonically placed violins, hard mallets for the timpani, and quick tempos - are exactly what Beethoven's music requires. I once heard a critic remark that Beethoven's music was "too big" for his orchestrations, that the bigness of the Eroica or the Fifth cannot be matched by any orchestra. I am reminded of that when listening to Jarvi's Beethoven. His energy, his passion, not to mention his innate musicality, create performances that sound ready to burst at the seems with untamed musical fervor. And while the finale of the Fifth, with its heavy bass line supported by an ever-present contrabassoon, three trombones, and wild string writing may be "too big" for any orchestra to really play perfectly, Jarvi has struck an ideal balance. I cannot recommend this release more highly."

Best I've heard

L. Harris | Winter Haven, FL USA | 01/05/2010

(5 out of 5 stars)

"Okay, admittedly I haven't heard a lot of recordings of the Beethoven symphonies, but I've heard a few and this is hands down my favorite. The pace, the performances, the recording are all as good as I could ask. If you want a sense of the artistic aspects of this recording, listen to the samples. Interestingly, even my best friend, who likes classic music but isn't a fan of Beethoven symphonies, likes these.



I've only listened to the 5.0 SACD mix, but it's fabulous. The orchestra feels the right distance away, close, but not in my lap. The surrounds add just the right amount of ambience. All in all, no complaints, and at a great price! Five stars without reservation.



Since this part of a full cycle, I'll add that all of my comments apply to the other releases in the cycle, other than the 9th. I haven't bought that yet since it's almost three times the price of the others. ;-)"