Customer Reviews

Beethoven: Leonore Overture No. 3; Symphony No. 2; Symphony No. 5

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The great Leibowitz leads the best interpretation of Beethoven's 5th symphony I have ever heard. Ensemble is sometimes scrappy and not as impeccable as Kleiber/VPO, Reiner/CSO and such, but the passion, tension and drama are something to marvel. Leibowitz pretty much believed in Beethoven's metronome markings, and adheres fairly close to them for the most part. The first movement has an overt sense of drama and is overbearingly tragic just as I think LvB meant it. Too many conductors pretty it up and make it sound glorious, spacious, etc. (Karajan, Furtwangler are quite guilty of this) That is to completely miss the whole point of the movement. This movement is about Beethoven releasing his frustration, his internal tourment and despair from his hearing loss. It's as if LvB's hearing loss is taking over his mental and physical sanity to point of almost total rage, and he releasing that frustration and rage through the first movement. Leibowitz understands this perfectly, and sets up the "struggle ending in triumpth" theme just right. RL doesn't bring out the polyphony as much as Kleiber and others in the second movement, but even at the fast tempo, it grand and expressive. The scherzo is fast and the horns overtly menacing...the trio is thrilling and really zipps with excitement. The tension of the build up to to the fourth movement is hair raising, and that final C major is overwhelming in it's power. Not quite is "grand" as some others but none the less compelling. The rest of the movement sings on gloriously, trombones and brass singing triumphantly. The final minute is total exilaration. This one of the great Beethoven recordings, and until everyone is familiar with Rene Leibowitz, he will remain one of the most underrated maestros of the century...

I agree with all the other reviewer has written in praise of this Rene Leibowitz/RPO.

I'd like to add that the performances of the Second Symphony and Leonore Overture Number 3 share the merits of the Fifth's performance. There is energy, zest, and a marvelous flow and pacing to the music.

There has been a temptation to turn Beethoven's symphonies into monuments to struggle and to be as grand as possible. During World War II, the Allies used Beethoven's Fifth Symphony as a symbol of Victory. Fate Knocking at the Door is another favorite approach. Conductors have wanted to get a feeling of triumph, victory, and gloating over dividing the spoils into the musical performance.

Leibowitz captures much of that feeling, of course, but his flow keeps one from hearing this is as celebration after the event, and various touches keep the audience aware of the costs of success. One example occurs toward the end of the third movement of the Fifth. Other conductors have the strings droning with a muffled drumbeat in the background. Leibowitz has the drums beating prominently, with the droning strings starting quietly and raising their volume rapidly only toward the end, entering into the fourth movement. It's really very effective, imaginative conducting

Not to be missed!