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International Record Review

This should be an enticing prospect. A conductor of legendary reputation, leading one of London’s finest orchestras in a refurbished Royal Festival Hall, in two main stays of the nineteenth-century repertoire, especially as the occasion was captured for posterity in a brace of concerts which were recorded at London’s Southbank centre in April and October of last year.

Christoph von Dohnanyi and the Philharmonia Orchestra are old sparring partners, well accustomed to each other’s playing works that are so familiar they could perform them in their sleep, never mind committing the interpretations to disc in an already crowded field, so it is to be hoped that they will set down something memorable. Will the recordings fare better in the re-designed ambience of the rejuvenated concert-hall, or will there still be the dryness and rather dehydrated sound of former days?

Happily Mischa Donat and his colleagues have done them proud, producing a sound that balances each section in a sympathetic acoustic and a substantial improvement on many previous recordings made in this hall. The opening Allegro of Symphony No. 3 is characterized by warm string sound, von Dohnanyi directing with purposeful and driving tempos, even outdoing Solti, and his Chicagoans for visceral excitement, allowing a maximum of expression but eschewing vulgarity, with textures remaining opulent and flexible when necessary.

The Marcia funebre is appropriately grave, solemn and dark-hued, perhaps not as stark as with von Karajan and the Berlin Philharmonic on DG. This is a reading that does not lack for grandeur and stately portent, but the impression remains that the landscape of von Dohnanyi’s imaginings does not quite succeed in wringing the last drop of despair from the printed score. The Scherzo is a tour de force, the horns rising to the occasion with never a split note between them, which serves to set the scene for the finale. This is distinguished by interweaving strings and crisp woodwind articulation, with time or an astringent aside. The closing pages provide exhilaration of a king rarely heard on disc an the overall impression is of listening to a family work, almost as if for the first time.

The popularity of Beethoven’s Fifth Symphony remains undimmed and there are many towering performances on disc, Carlos Kleiber’s with the Vienna Philharmonic and Otto Klemperer’s 1956 recording with the New Philharmonia, to name just two. It is no small tribute to say that all such thoughts vanish with the opening motif, with the orchestra sounding fresh and responsive although perhaps the overall string sound does not have quite the depth of its Viennese counterparts. von Dohnanyi captures the restlessness and foreboding of the movement, driving proceedings with crisp clear rhythms. Every textual detail is realized within the overall scheme of things and there is colour and excitement in liberal measure.

The second movement con moto is certainly taken at face value but the cello theme is given room to sings and is suitably soulful. The sense of the inevitable is palpable, the several ominous undercurrents being well characterized by the conductor and his players. The moments of grandeur are revealed with full pomp and sonority as the brass blazes forth magnificently, so that the impression is one of splendour and magnificence. The Scherzo opens in a suitably hushed atmosphere, spun with breathtaking control, making a vivid contrast with the subsequent entry of the horns and von Dohnanyi maintaining a decsive drive throughout the closng Allegro. The musical argument is pursued with unflagging vigour combined with a high degree of orchestral virtuosity - the excitement remains intense in this hugely satisfying account.

It is, perhaps, brave of Signum to record these familiar orchestral stalwarts, but this is more than a routine traversal of the standard repertoire. Whether it will supersede the likes of Kleiber and Klemperer in the affections of Beethoven connoisseurs is another question entirely.

Richard Evans

Musicweb-International, September 2009

How times change! If, ten years ago, these artists had recorded either of these symphonies the recording would probably have been made under studio conditions and, most likely, would have been issued by one of the major labels - probably Decca, for whom Christoph von Dohnányi was an exclusive artist for many years. Nowadays the once-major labels such as Decca have seemingly retreated into endless re-cyclings from the back catalogues, making just a small number of new recordings with a handful of artists. It is the small, independent labels who are bravely and successfully issuing the majority of new recordings. Furthermore, over the last few years, and driven in no small measure by the need to watch costs, record companies have captured more and more recordings live under concert conditions, often with very stimulating results.

Against that background, Signum Classics continue their partnership with the Philharmonia, which has already produced live recordings of works by Brahms (SIGCD132) and Richard Strauss (SIGCD148) under Christoph von Dohnányi’s baton. These Beethoven recordings were made right at the end of his term as the orchestra’s Principal Conductor (1997-2008) and they evidence an experienced partnership. I mean it as a compliment when I report that not a great deal need be said about these performances. Unless you have an aversion to Beethoven played on modern instruments then it seems to me that these performances have a great deal to commend them.

Apart from anything else Dohnányi obtains excellent playing from the orchestra. The winds are consistently excellent; the brass supply just enough power and grandeur without ever dominating unduly - the horns excel in the trio of the scherzo movement in the ‘Eroica’; the timpani playing is dynamic and exciting; and the strings are splendid, with the cellos and basses supplying a satisfyingly solid foundation to the sound of the entire orchestra.

The performance of ‘Eroica’ is a conspicuous success. Dohnányi’s pacing of I - in which he takes the exposition repeat - is ideal. This is a robust, dramatic reading, propelled by strongly articulated rhythms. The funeral march is patrician and dignified but lacks no weight and Dohnányi leads an energetic account of the finale, which culminates in blazing triumph. This is an ‘Eroica’ right out of the mainstream European tradition, led by a highly experienced and sensible conductor, and it’s one which I enjoyed very much indeed.

I was equally impressed with the reading of the Fifth. The first movement is full of life and energy and the rhythms are kept satisfyingly taut throughout. Dohnányi paces the slow movement intelligently, allowing it to be, for the most part, a few minutes of welcome repose but ensuring that the music is kept on the move. The scherzo is suitably bustling at times and the spectral, quiet bass passages are well articulated but have a fine sense of atmosphere. The transition to the finale is managed very well indeed with a suspenseful tension built most convincingly before the finale blazes forth con brio. This closing movement is strong and exultant, bringing a fine account of this symphony to a very satisfying conclusion.

Both recordings were taken from concerts in the presence of an audience but even on the occasions that I listened through headphones I couldn’t detect any distracting audience noise - though after both symphonies the public are keen to show their appreciation - and rightly so.

The recorded sound is clear and present and even if the acoustic of the Festival Hall isn’t the most flattering in the world I doubt any collectors will find the sound anything less than fully satisfactory.

These are fine, intelligent and very well played live performances and both are very welcome additions to the catalogue.

John Quinn