Customer Reviews

Symphonies / Missa Solemnis / Overtures

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

 

 

A lot of critical attention has been drawn to the resonant acoustic in which these performances were recorded. The original Gramophone reviewer for example commended the 'natural' balance and perspective, while the Amazon's reviewer David Hurwitz (an anti-authentic critic if there ever was one!) referred to both sound and performance as 'utterly grotesque'! I personally favour the former evaluation; while the reverberance may not be to everybody's taste, it does mean that the brass can let rip without overwhelming the rest of the orchestra, and gives the string tone a warmth and bloom not found on other period cycles. While the woodwind may at times appear 'disembodied' this is a very minor cavil and again this is a subjective issue. As for the performances themselves, I personally find them far preferable to such rivals as Hogwood and Gardiner; the directorship of Goodman allows more freedom of expression than the former, while avoiding the at times wilful excesses of Gardiner. Overall these are played with zing and character, two qualities Beethoven would have surely admired.

The Nine Symphonies part of this set was one of the first "period instrument" sets to come out on the market. Today Nimbus reissues it joined by a disc of Overtures and a single disc version (one of the first "period instrument" recordings here too, of the "Missa Solemnis in D" This set of symphony recordings was one of the first to use some of Johnathan Del Mar's performing edtions of the symphonies, The Hanover Band under both Monica Hugget and Roy Goodman present some good to very good performances of these works. I should also mention that these performances also competed with the Hogwood, AAM recordings on L'Oiseau- Lyre (Decca) at the time and I think stood up well then, and stand up well to the competition today. My personal favorites from the set are the symphonies 6,7,8 although all the pieces receive good performances. Though I still think that the Gardiner recording of the "Missa" is still a better one than the one in this set. This can either be a very good first set for the beginning collector, or a good second set for someone who may own a traditional recording of the symphonies.

This is a thoroghly delightful set performed on period instruments and tempo. Well worth the price - I have repeatedly listened to the performances and they wear well. There is also a bonus - the recordings are encoded in Ambiasonic sound and will decode nicely on a home theater surround system. One caveat - the recordings were done in an accoustically live environment and if your system tends to the bright side, the recording will seem a tad on the bright side. If you have a complete set of the Beethoven symphonies with a contemporary interpretation, this set is a worthwile acquisition as a reference.

This Beethoven set features the Hanover Band playing on period instruments with less musicians than the average orchestra. These were recorded in a spacious, atmospheric acoustic approximating were Beethoven would have premiered them. The result is thoroughly enjoyable and still sound and feel great after repeated listening.

I also find them far preferable to Hogwood, Norington and Gardiner. Though the Bruggen set on the Phillips label are also pretty good as well. But these seem to have a magical quality about them that is hard to beat.

It's interesting to read about what are the "best" performances, as far as I can tell there are no weak spots to be found. One person wrote - the first was the only letdown - and yet, I found the first to be something quite special. I personally thought the 8th was the only slight drawback to the set, and yet someone else wrote it was their favorite. So who really knows?

This also makes a good second set if you already have a modern interpretation.

This Nimbus Beethoven set features the Hanover Band - playing on period instruments with fewer players than the average `symphony orchestra' - recorded in a spacious, atmospheric acoustic. The result is seductive, velvety and thoroughly enjoyable!

The performances are directed by Roy Goodman and Monica Huggett. It's not easy to tell them apart and I dare say the seasoned players of the Hanover Band would do almost as well without anyone `directing' them in these honest, workman-like performances. Nothing `revelatory' or earth-shattering. No fuses blow, no lightening strikes. But on the other hand we're not wearied by pointless idiosyncrasies that after hearing once only annoy. Quite the opposite in fact - the Hanover Band performances wear well after repeated listening, although the complacent, vacuous presentation of the slow movements of the 3rd and 9th symphonies can't be said to improve with re-hearing. But don't be put off - there's much here that's enjoyable. And it must be worth something for once not to have to endure a conductor who insists on impressing you with his `insights'!

Do period instruments always make for a more authentic performance? Some would accept that as an axiom, but listening to this set shows that this is not always the case. Remember that Beethoven did not always write his visionary music with the instruments of his time in mind; for him, the limitations of those instruments were something to be overcome, not worked around. Accordingly, the Hanover Band sometimes struggles with this powerful and revolutionary music, producing recordings of varied quality.

For a group whose strengths lie in the music of the early Classical period, it is surprising that perhaps their weakest performance comes in the most Haydnesque of all the symphonies, the First. Monica Huggett takes the music at too measured a pace, and the result is a performance that plods along, in contrast to (for example) Karajan's peppy version of the First. The other more "conservative" symphonies (Second, Fourth, and Eighth), however, are excellent. The Sixth is the best of the set, with Roy Goodman and the Hanover Band managing to capture all the nuances of what is Beethoven's most textural symphony with the possible exception of the Ninth.

It is in the more powerful symphonies (Third, Fifth, and Ninth) where the Hanover Band struggles. It is easy to see the vision and striving of Beethoven in these performances, but they lack the excitement and verve of the greatest recordings, and in the end, they can sound hopelessly old-fashioned (in the Ninth wasting an outstanding effort by the soloists).

The biggest argument in favor of this set is, like all of Nimbus's sets, the bargain price, made even more tempting by the inclusion of a sampling of Overtures, and a fine Missa Solemnis (though it, too, is not without its shortcomings).

If you swear by period instruments, then this set is about as good as any. It is also good as a second set if you already have a modern interpretation. But ultimately, I believe, the best recording is one that comes closest to recreating the music that the composer heard in his head, rather than the music that he heard in the concert hall.