Customer Reviews

Beethoven: Symphonies Nos. 3 & 8 [Hybrid SACD]

5 star:		(8)
4 star:		(1)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

I know people will vote not helpful on my review, but this is how I feel.
This is the frist 3rd and 8th I bought because classistoday gave it 10/10 recommendation. And indeed, everything is as wonderful as the other reviewers said so I am not going to repeat it. However Mr. Jarvi missed something that's most important in my view -- warmth. No.3 is ok, but for the 8th I'd rather go for Giulini's sleepy one. Mr. Jarvi sounds like a commander who's always pushing. It sounds aggressive to me and I think being aggresive is not the only way to show strengths.

This is such an exciting time for Beethoven. Since the publication of the new Barenreiter editions, edited by Jonathan Del Mar, we've seen cycles from the likes of Claudio Abbado (twice), Bernard Haitink, Simon Rattle, David Zinman, and Jos van Immerseel. But the most stellar cycle came from a rather unexpected source; Osmo Vanska with the Minnesota Orchestra for the Swedish label BIS. Vanska's now-complete cycle has received raved reviews, and rightfully so. Vanska and his band have proved that "big band" Beethoven is still viable in the wake of the Period Movement and when Historically Informed Performance practices are en vogue. So it is into this glutted market that Paavo Jarvi and the Deutsche Kammerphilharmonie Bremen launch their cycle, beginning with the standard paring of the Eroica and the Eighth. So the question to be asked and answered is whether Jarvi has produced performances that can stand up to the competition?

The answer is a resounding, enthusiastic yes. This is, bar none, exceptional top-tier Beethoven. Right from the opening chords of the Eroica, you know these performances are going to be winners. First, and foremost, Jarvi brings an idiomatic and individualist interpretation that highlights interesting aspects of the score while maintaining a strong sense of architecture and form. Add to this brisk, but never rushed, tempos that imbue the music with a new sense of urgency. Finally, add to this winning mix one of the greatest chamber orchestras at work today, stereophonically placed violins, hard mallets for the timpani, pert woodwinds, and big-bodied brass, you have Beethoven for the ages.

There are too many fantastic moments in the Eroica to highlight individually, but there are some that deserve special mention. Listen to the brilliant ensemble work of the winds (especially the bassoon) at the beginning of the development. Or after the magnificent developmental climax (as it ever sounded so revolutionary, so dissonant, but so texturally clear?), listen to how Jarvi maintains tension by having the strings really dig into the transition into the E minor theme. The coda is a textbook of orchestral clarity, Jarvi building tension through the terraced orchestration, while Beethoven's original instrumentation has never sounded so convincing. These characteristics carry through into a haunting, yet characteristic funeral march. Jarvi balances the minor and major episodes as well as any. The scherzo is absolutely stunning, both rustic but sophisticated, highlighting the humor of Beethoven's music. Listen to how Jarvi adds that extra dose of energy by crecendoiing at the first tutti outburst. The ruckus horns are astounding in the trio while the coda is as quirky and funny as I've ever heard. The finale is equally fine, not the none-event that so many other recordings can be. The Prometheus theme unfolds wonderfully, added greatly by Jarvi's fun detailing with the score. The lower strings really dig into their parts in the minor variations, the oboe solo is divine, and the coda is both energetic and musically satisfying.

If anything, the Eighth is even better. Jarvi has a very distinct point of view, and his idiomatic approach is totally in line with the character of the Eighth. The allegro of Beethoven's Eighth is one of the most brilliant symphonic movements in Western music. Beethoven's ability to juxtapose serenity with violence, mix up rhythm, all while making one of the most succinct arguments in sonata form. Jarvi highlights all of this. His quick tempos really accentuate the off-kilter rhythms and Jarvi plays up the violence of the contrasts. The development is simply indescribable, Jarvi's hyperkineticism infects his players leading into a magnificent recapitulatory climax, maintaining tension throughout. The coda features wonderful wind work, bringing the movement to a comic close. Comedy pervades the two central movements with some stunning clarinet work throughout. And the finale makes you understand why Beethoven said his Eighth was much better than the Seventh. That the Bremen strings can maintain clean articulation at such quick tempos is extraordinary and a testament to the level of virtuosity of this great ensemble.

All in all, this is a fantastic release. Not only should Jarvi and his Bremen players be commended, but also it is also wonderful to see RCA producing quality recordings again. After a disastrous period in the `90s and `00s, RCA finally seems to be in a better position, producing quality releases in crystal clear sound. The prospect of this cycle not seeing the light of day is too awful to even comprehend; snatch it up while it is still in print.

I have now heard and own the three discs that are currently available in the Paavo Jarvi/Bremen German Chamber Philharmonic cycle of Beethoven symphonies, and I must say that this cycle is, in my mind, the best recorded, best performed, and most enjoyable cycle ever. These are performances of real stature that, while you have never heard Beethoven like this, come across as completely valid interpretations of Beethoven's masterpieces; the performances in no way stray from the character and intent of the music's creator. They grab hold of you from the very first note until the very last note, and they do not let go. The sound quality on multi channel SACD equipment is astounding. The more I listen to these performances, the more I like them. I give them my highest recommendation, and consider them to be absolutely essential recordings. Beethoven must be looking down smiling and saying "yes, that's what I meant."

Crisp, big sound, and assertive approaches in both. I prefer the Eroica's first movement in single rather than triple rhythm, giving it more of a lilt but maintaining its drive. The three-beat emphasis maintains the energy but loses a bit, I think. But that's only personal preference and should not detract from the superb performance and creative drive behind both works. Jarvi, as he often does, finds interesting new emphases for the principal lines, blending one into another, for a fresh experience. Clarity is probably better because of the smaller orchestra, but the richness of the sound doesn't suffer. I believe that Ludwig can withstand a variety of interpretations, even surviving some old-school big band ponderous performances. This performance adds to one's ability to hear these symphonies with new ears.

The predominance of five-star reviews here and glowing praise elsewhere, indicates that the changing of the guard is over,, and has been for a while. This recording of the once mighty and now streamlined "Eroica" gives a snapshot of where period performance has gone since it grabbed the spotlight twenty years ago with the startling appearance of HIP Beethoven from Roger Norrington and John Eliot Gardiner. Some things in Paavo Jarvi's Beethoven are now accepted practice among many current conductors: no vibrato in the strings, quick tempos (often trying to keep up with Beethoven's metronome markings, which for generations were considered untrustworthy of even impossible to follow), very light textures, and a stylistic glance over the shoulder to the classical manners of Haydn. these are such hallmarks, in fact, that Jarvi would have to offer something new to set himself apart from the pack.

First he offers a small orchestra, far closer to chamber size than the full symphony orchestras used by Harnoncourt and Norrington (I'm thinking of the latter's recent Beethoven from Stuttgart rather than his pioneering set with the smaller London Classical Players). As a result, the winds are frequently more prominent than the strings -- in the slow movement a solo oboe counts almost as much as all the violins. Next, Jarvi veers away form the Baroque style of scaled dynamics and hairpin crescendo-diminuendo, so he sounds much less like Bach than the early music groups of yore. Like Harnoncourt's Chamber Orch. of Europe, Jarvi's Bremen musicians play on modern instruments (although I hear gut strings and valveless horns, if I'm not mistaken).

But the main difference between this "Eroica" and the old school HIP recordings is that the phrasing is flexible rather than mechanistic. Bringing even this touch of emotion back into Beethoven took a long time, and some HIP purists would label any loosening of the stays a concession to dreaded romanticism. I've gone into some detail because except for this difference in phrasing, Jarvi leads a completely typical HIP reading. I hear no stamp of personality and certainly no passion. Each movement moves briskly along accomplishing its primary task, which is to reach the end as quickly as possible. At just over 13 min., the Funeral March is miles away from Furtwangler or Karajan at 17+ min. It may not seem that four minutes can make the difference between nobility and a walk in the park, but all the other aspects of HIP style add to the diminishment.

The Scherzo zips by so fast that I doubted whehter the horns could handle their difficult fanfare in the Trio, but they do, with hardly a noticeable slowing down. Jarvi's Bremen musicians are up to the mark throughout, in fact, and BMG's recorded sound is up to the minute. By the time one reaches the end, the briskness no longer seems crazy fast, yet that's not high praise. Sym. #8, being a lighter work, has tended to fare better in period readings. Jarvi's speeds aren't enjoyable to me, but he adds enough punch and variety that one must admit that his performance isn't simply a race to reach the finish line-- musical tings happen along the way.

It is curious, as I watch the parade pass by double quick, that at some point a majority of listeners could consider this normal Beethoven -- already there's a sizable quotient who find it laudable.

# 8 launched so fast I had to switch to another piece. Maybe it's just me but I found the tempo disturbing.

Fully concur that this is the most riveting Beethoven symphony CD I have heard in years, and the CD with the 4th and 7th is just as good. Also try to find these same forces backing Japanese pianist Ikuyo Nakishima for Beethoven concertos 3 and 5 on a Japanese RCA CD (can get it through Japan CD or HMV Japan). Just fabulous playing and top notch sound. Bravo!!

This review will apply to the 8th symphony only. I haven't gotten around to listen to Eroica yet, have heard it many times before, but probably my critique of the 8th will hold for the 3rd as well.

I should have looked up what 'kammer' means in German; had I done so I most likely would have found it translates to 'chamber', for that is what we have here, a chamber orchestra taking on the job of the full-sized symphony array with which these works are usually performed. Nothing wrong with the performance, Paavo Jarvi aquitted himself of the score just fine, but the lack of a complete complement of instrumentation was evident most of the time; this was a rather thin rendition. Serves me right for not paying enough attention to what I am buying I guess.

Seriously, the conducting and musicianship were more than adequate. The SACD sound was up to snuff, hard to fault the sonics. Now if those guys in Bremen can make enough from this effort to hire a another 40 or so musicians I expect to hear much better from them.

Paavo Jarvi could well be recording a Beethoven cycle for the ages! Sure it's the first recording of which there are now two. The second disc features the 4th and 7th and is equally magnificent as these readings here. This chamber ensemble plays with a degree of visceral emotion, energy and conviction that I have yet to hear committed to disc. This is not grandiose, ostentatious, aloof readings of LVB's symphonic work. This is LVB straight from the gut. I think this is the beginning of a cycle that will shake the tree so to speak.

I'm writing this same review for the first four discs in this B9 collection by Jarvi (Symphonies one through eight). I have other comments for the nineth.

These performances are as breathtaking and beautiful as I can imagine. The clarity, the discipline, the passion are unmatched. As for the quality of the recordings, if you have good equipment, it literally puts you in the best seat in the house. The crispness, the balance, the dynamic range are all as good as it gets. There are instruments played that I actually never heard before in any other recording of "the nine". No Beethoven lover should be without these recordings!