Yannick Nezet-Seguin and the Chamber Orchestra of Europe’s Beethoven Cycle: Spinning New Tales, or Just Wheels?
Conductor Yannick Nezet-Seguin and the Chamber Orchestra of Europe have had a relatively intimate Beethoven symphonic cycle set out for awhile now and streaming at Spotify. How does it compare with the gold standard, Jordi Savall and Le Concert Des Nations’ revelatory recording of the first five symphonies?
This is like a missing puzzle piece. It literally fills in the gaps. Savall’s careening yet meticulously detailed (and often rowdy and hilarious) recordings of the core Third, Fourth and Fifth symphonies will have you literally hearing things in otherwise familiar old scores that you have never heard before. The rudimentary, boisterous percussion section in the Fifth is worth the price of the whole collection.
But where Savall goes for rustic – and sometimes the jugular – Nezet-Seguin excels especially with the later symphonies. Reducing them to more manageable proportions pays whopping dividends in terms of clarity and punch. Granted, listeners who think they’re getting any realistic approximation of what Beethoven’s audiences experienced are missing the point because those few who enjoyed that privilege did so as part of a concert audience, not on their own time with earbuds in. But as orchestral sprawl has grown over the last two centuries, details get subsumed in the ether and this cycle is a welcome antidote,
You might think that Beethoven Three, Four and Five would be Nezet-Seguin’s most central focus here, but strangely that isn’t the case. The temporal liberties he takes with Five are a head-scratcher: you simply don’t mess with the most iconic classical riff of alltime. Three and Four are perfectly enjoyable and have plenty of detail to recommend them, but none with the fire that Savall brings.
Instead, it’s Six through Nine where Nezet-Seguin and the orchestra provide a most welcome antidote to the contention that Beethoven was on autopilot by the time he wrote these, and that they’re mere plush entertainment for the era’s mercantile and financier classes. In the Sixth, Nezet-Seguin’s clarity and balance emphasizes a robust foundation of strings, keeping the high winds from floating away on a bubble. The carefree and unhurried courtly dance of a second movement gets a little airy angst to keep the focus sharp. The big shivery rainstorm toward the end of the third is a sudden and rewardingly jarring interlude in contrast to the warm sunset scenery on the way out.
A seriousness comes out in the striding opening movement in Seven, conspicuously absent from most other recordings of the symphony. To Nezet-Seguin’s infinite credit, he sticks with intensity that throughout a wary but insistent second movement. Conversationality typically comes into clearer focus in smaller-scale recordings like this, notably in the fourth movement, which echoes the vigor of the Savall recordings most strongly.
The version of the Eighth Symphony here harks back to the first two, emphasis on frequent individual voices popping up amid the comfortable, Haydnesque nocturnal lustre, with punchy winds in the second movement and momentary stormy shivers in the third as entertaining diversions.
The premise of a chamber orchestra version of Beethoven Nine may be a bit of a stretch: it’s hard to imagine the composer objecting to any attempt to further enrich the layers of this sonic mille-feuille. But Nezet-Seguin and the orchestra validate their choice with a particularly lithe, dynamically understated first movement, richly bracing baroque cadences in the second and vividly fond lyrical balladry in the third before the fireworks kick in.
Obviously, in nine symphonies worth of material from an acclaimed conductor and chamber orchestra, there are other levels of detail too innumerable to fit into a single digestible review. All this is meant to point you in the direction of the most noteworthy pieces of the puzzle, but there are so many more, and most of them are worth seeking out.
The Knights Make History With Beethoven and Janacek at the Naumburg Bandshell
Last night at the Naumburg Bandshell in Central Park was a welcome return for one of New York’s most enduring cosmopolitan traditions. This was a particularly clever installment. It’s been done before: pairing Beethoven’s Kreutzer Sonata with Janacek’s String Quartet No. 1, “Kreutzer Sonata.” A Naumburg Concert favorite, chamber orchestra the Knights worked several levels of meta with new symphonic arrangements of both: the former a chart by violinist Colin Jacobsen, the latter a collaboration between his brother Eric and Knights horn player Mike Atkinson.
Orchestral scores for both works go back as far as Tschaikovsky, who did it with Beethoven. Likewise, there have been plenty of programs pairing both of the original pieces. But yesterday evening’s concert might have been the first time two orchestral versions of both have been played on the same bill. It turned out to be as colorful as expected, considering the ensemble’s penchant for surprise.
They opened with a Colin Jacobsen piece, playfully titled Kreutzings, rising from dizzyingly dissociative layers through jaunty microtonal glissandos from around the ensemble, to a coyly contrapuntal waltz. Flickers of each of the night’s main composers bubbled to the surface occasionally as the strings joined in precise, steady eighth notes while winding their way out.
Jacobsen, celebrating his birthday, served as soloist in the Beethoven. Crisp, elegant cheer interchanged with a little suspense and a bustling freshness that veered toward the raw side in the opening movement, confirming how well this material lends itself to orchestral sweep and majesty. Jacobsen quickly went for silkiness and ran with it amid anxious Vivaldiesque counterpoint. The restless thicket of low strings toward the end was a particularly juicy moment for the orchestra to sink their teeth into.
As if by design, a passing airplane introduced the andante second movement, bubbly woodwinds picking up the pace considerably before Jacobsen took over with a fine-toothed staccato. The bristling energy never dissipated, through lushness and a coyly pulsing bounce beneath the violinist’s spirals, flurries and animated pizzicato. Interestingly, the finale was on the spare and restrained side, despite the velocity: an urbane party that earned a contrastingly raucous standing ovation.
After the intermission, the ensemble tackled Anna Clyne’s Stride. Echoing the concert’s opening number, fleeting hints of Beethoven percolated amid tense close harmonies and microtones over a striding tempo flecked with rather suspenseful lulls and a long trajectory up to an anthemic, Dvorakian coda. Clyne doesn’t usually go for fullscale High Romantic: turns out she excels at it. This was a revelation.
Janacek’s first quartet follows the drama and familial mischegas of the Tolstoy tale, giving us an extra level of meta. Furtive Balkan chromatics quickly receded for an aching lushness and unexpected pageantry in the opening movement, only to reappear in a tensely gripping, Bernard Herrmann vein. Giving the anxious conversation in the third movement to the woodwinds paid magnificently poignant dividends on the way to an equally memorable stampede out. The ensemble encored with flutist Alex Sopp leading the group through a lickety-split, buoyant arrangement of a Taraf de Haidoucks Romany dance tune.
For those who missed the concert, the Knights managed to record the Beethoven and Janacek in February 2020, just under the wire before the fateful events that would crush the world a few weeks later. The next Naumburg Bandshell concert is on June 28 at 7:30 PM with the Handel and Haydn Society, led by violinist Aisslinn Nosky, playing works by Corelli, Vivaldi, Geminiani, Handel and Charles Avison.
Saluting a Great Orchestra From a Country Under Siege
The Vienna Philharmonic have been revered as one of the world’s finest orchestras for over a century. One of their more recent traditions has been an outdoor Summer Night Concert. They’ve released their 2021 performance, with Daniel Harding on the podium and pianist Igor Levit, streaming at Spotify. The ensemble are obviously jumping out of their shoes with the joy of being allowed to play again. At this point in history, there’s no doubt that this magnificent concert represents the people of Austria far more than the sinister apartheid state being erected with echoes of another historical development just over the German border a little more than ninety years ago.
They open with a spacious, unhurried, utterly suspenseful performance of the Overture from Verdi’s Les Vêpres Siciliennes. The brass/string harmonies are lusciously lustrous; the sudden leap into a gallop as the music picks up with a start is unselfconsciously breathtaking.
The piece de resistance should be Rachmaninoff’s Rhapsody on a Theme of Paganini, and the balance of energy and pillowy Romanticism that Harding draws out of it is visceral. It’s on the fast side, especially in the beginning, but who can argue with the shivers of the fleeting eighth movement, or the furtive bustle of the ninth, especially in context? And Levit builds expectant triumph into the famous andante cantabile love theme. What’s annoying is that like many other recent recordings of the suite, these intervals – many of them under a minute long – are broken up into individual tracks. You have to build your own playlist to fully enjoy this without having to constantly click on the next one.
Levit gets the stage to himself for a spare, somber take of Beethoven’s Fur Elise: as he sees it, what a sad, serious girl she must have been! Next on the bill are four of Leonard Bernstein’s Dances from West Side Story. The group launch into a dynamically swinging Prologue, complete with fingersnaps, then an aptly starry, summery Somewhere, a lilting Scherzo and a positively feral Mambo.
There’s not a lot an orchestra can do with Elgar’s schmaltzy Salut D’amour, but the Intermezzo from Sibelius’ Karelia Suite gives Harding and the ensemble a chance to bring up the lights slowly and memorably, with meticulously swirling strings and understated brass: this is a peace march, not a warlord’s pageant.
Plaintive woodwinds and a hypnotic lushness permeate Debussy’s Prélude à l’après-midi d’un faune, arguably the most vivid piece on the bill. The orchestra wind up the concert on a jaunty, bubbly note with Jupiter, from Holst’s The Planets. Who knew how fast all this optimism and good cheer would evaporate in the months after this concert. The challenge will be to get it back: it only takes one generation for a totalitarian regime to annihilate the memory of any beautiful past.
Liya Petrova Brings Familiar Beethoven and Mozart Favorites Into the Here and Now
“Beethoven…had integrated the ideals of liberty and emancipation born of the French Revolution. ‘There are and always will be thousands of princes; but there is only one Beethoven,’ he is supposed to have said. What an irony to celebrate his 250th birthday in a year when Europe has had to renounce its freedom to move around, to meet other people, to play together when you’re a musician!”
Insightful words from an insightful violinist. Liya Petrova recorded Beethoven’s Violin Concerto in D, op. 61 with the Sinfonia Varsovia, under Jean-Jacques Kantorow – streaming at Spotify – in the fall of last year. Interestingly, both she and the orchestra seem to dig in a little harder than most ensembles do in the lushly nocturnal first movement. Sign of the times, maybe? And yet, the marching, distantly bellicose steadiness seems somewhat muted in the face of Petrova’s recurrently wistful, silken approach, at least outside of the most intricate, balletesque passages. It’s an effective game plan.
Movement two is languid and feels a little slow, which dovetails with the mood, Petrova a graceful comet making her way across a sky dotted with clouds in places. The sheer liveliness of the conclusion and occasional folksy phrasing validates her vision of this piece as a celebration of hope (or maybe Viennese beer gardens brimming with patrons on a weekend night).
In her liner notes, Petrova mentions the question of provenance of Mozart’s Violin Concerto in D major, K271a/K271i. From this perspective, the quirky cheer, matter-of-fact counterpoint and sudden major-to-minor changes sure sound like the genuine item. What’s ingenious about this recording is that Petrova engaged composer Jean-Frédéric Neuburger to write cadenzas since Mozart (or his nameless, imaginative protege) didn’t include them in the original score. Whether stately or impetuous, they’re idiomatically spot-on: Mozart would no doubt approve.
Movement one has violinist and conductor playing up a jaunty internal swing, an unexpected and welcome touch. The pulse continues almost suspensefully behind Petrova’s sinuous legato and puckish pizzicato in the second movement. The pouncing flurries and playful interweave between soloist and orchestra in the third provide a pleasant payoff. Much as the Beethoven here is every-hour-on-the-hour on what’s left of classical radio these days, the Mozart isn’t, and pairing the two was a rewarding choice.
Yo-Yo Ma and Emanuel Ax’s New Beethoven Album: A Party in a Box
If classical music is party music for you, Yo-Yo Ma and Emanuel Ax‘s new all-Beethoven album Hope Amid Tears – streaming at Spotify – is a party in a box. It’s two old friends playing familiar material in a very defamiliarized way. You think you know Beethoven’s music for cello and piano? If you’ve listened to Beethoven for any length of time, you probably know at least the first couple of sonatas; the three sets of variations for cello and piano have not withstood the test of time so well. Throughout this collection, the fun these guys are having is irresistible, finding all sorts of hidden gems, and jokes, and poignancy. What’s more, they play the sonatas chronologically, so you can follow Beethoven’s development as a composer, cautiously emerging from Haydn’s shadow to become the crazed genius he was by the end.
This is a long record, a real feast: to fully appreciate it, you probably will not want to try to digest it all in a single setting. The highlights are too numerous to chronicle. The recording levels vary somewhat in places: Ma is serendipitously high in the mix, especially in Sonata No. 1 where he doesn’t get a lot of time in the spotlight, so that’s a big plus.
There’s a lot of space in this disarmingly intimate music. Moments that others might play as straight-faced pageantry are sly or just plain goofy here. Likewise, Ma and Ax linger here in calmer interludes that less seasoned musicians might gloss over, emotional context is everything. If you thought this was comfortable, routine wine-hour music for the World Economic Forum types of the early 19th century (not that such a thing existed – oligarchs back then hadn’t figured out how to conspire), these two prove definitively otherwise.
If you’re not a classical music fan but might be curious enough to check this out, start with Sonata No. 3. By that point in his career, Beethoven had moved on from endless sequences of clever chord changes to writing with more reckless abandon. And at this point, the cello has become much more than a mere support instrument for flash from the piano. That hymnal theme in the first movement is far more restrained and rustic than is the custom, and that absolutely gorgeous initial tradeoff between cello and piano really sings. The pogo-sticking introduction to movement two – essentially a country dance – is just plain ridiculous. And the third movement, where Ma soars free of the cello’s midrange for the first time, is packed with dynamic subtleties.
By the time we get to Sonata No. 4, Beethoven has grown into himself (and his obsession with false endings, some more devious than others). Nocturnal lustre interchanges with dark heroics, and Ma gets to sink his fingers and bow into more regal, symphonic parts. You could make a strong case that No. 5, saturnine triumph bookending an elegy, is the album’s title track.
The first two sonatas are more predictable but hardly without moments of joy or solemn discovery. The sheer matter-of-factness of No. 1, the crescendos far from florid, the dips far from languid, makes for steady fun. Ax’s decision to let the upper-register ornaments in No. 2 flit away, while using their counterparts in the lows as integral to upward cascades or arpeggios pays off strongly. Ma opting to hang just a bit behind the beat in the beginning of No. 2, before the two join in a memorably commingled rumble, is another insightful touch.
The three sets of variations are the closest thing to wine-hour sonic wallpaper for oligarchs here, although the sudden change to minor-key plaintiveness in the first is unselfconsciously striking, as is the subtler shift toward a similar atmosphere in the variations on a rather prayerful Handel theme in the second.
A Fascinating Collection of New Piano Music and the Beethoven and Ravel That Inspired It
Pianist Inna Faliks excels particularly at innovative and interesting programming, whether live or on album. On her latest release, Reimagine – streaming at youtube – she’s commissioned a fascinating mix of contemporary composers to write their own relatively short pieces inspired by, and interspersed among, Beethoven’s Bagatelles, Op. 126. She also includes a handful of new works drawing on Ravel’s Gaspard de la Nuit. It’s a big success on both a curatorial and interpretive level.
With the Beethoven, Faliks is typically understated, yet finds interesting places for flash. In the first Bagatelle, she employs very subtle rubato and a jaunty outro. She gives the etude-like No. 2 a light-fingered staccato, then brings the brings ornamentation front and center in No. 3, a counterintuitive move. In No. 4, she shows off a calm precision and nimble command of how artfully phrases are handed off – along with the jokes in the lefthand.
No. 5 is very cantabile, yet almost furtive in places. And Faliks approaches No. 6 with coy staccato but a remarkably steadfast, refusenik sensibility against any kind of beery exuberance.
In the first of the new pieces, Peter Golub‘s response to Bagatelle No. 1, ragtime tinges give way to acidic, atonal cascades and a bit of a coy tiptoeing theme. Tamir Hendelman‘s variation on No. 2 has Faliks scampering slowly, coalescing out of a rather enigmatic melody through a bit of darkness to a triumphant coda.
Richard Danielpour‘s Childhood Nightmare, after No. 3 is the album’s piece de resistance and the closest thing here to the original, steadily and carefully shifting into more menacing tonalties. Ian Krouse’s Etude 2A, inspired by No. 4 is also a standout, with spare, moody modal resonance and a racewalking staccato alternating with scurrying passages.
Arguably the most lyrical of the new pieces here, Mark Carlson‘s Sweet Nothings is a slowly crescendoing, fond but ultimately bittersweet nocturne built around steady lefthand arpeggios. In David Lefkowitz‘s take on No. 6, after an intro that seems practically a parody, Faliks works a subdued, swaying 12/8 rhythm amid murky resonances.
Next up are the Ravel-inspired works. Paola Prestini’s neoromantically-tinged triptych Ondine: Variations on a Spell begins with the broodingly impressionistic low-midrange Water Sprite, followed by the Bell Tolls, with a long upward drive from nebulosity to an anthemic, glistening payoff. The finale, Golden Bees follows a series of anthemic, flickering cascades
The album’s longest work is Timo Andres‘ Old Ground, an attempt to give subjectivity to the unfortunate victim of the hanging in the gibbet scene via distantly ominous, Philip Glass-ine clustering phrases and eventually a fugal interlude with echoes of both gospel and Rodgers and Hammerstein. Faliks winds up the record with Billy Childs‘ Pursuit, using the Scarbo interlude as a stepping-off point for an allusively grim narrative where a black man is being chased: possibly by the Klan, or a slaver, or the cops. A steady, lickety-split theme contrasts with still, spare wariness and a stern chordal sequence straight out of late Rachmaninoff.
Revisiting a Couple of Familiar Beethoven Favorites
How tragic that more than 75% of last year’s planned Beethoven 250 celebrations were all cancelled by the lockdowners. In anticipation of the festivities, innumerable artists and orchestras had recorded an immense amount of Beethoven. One predictably confident, majestic concert recording that inadvertently foreshadowed the glut of live albums that would be dumped on the web less than a year after it was released is the London Philharmonic Orchestra’s versions of two of the composer’s greatest hits, the Eroica Symphony and Symphony No. 5, streaming at Spotify. Kurt Masur leads the ensemble in these lustrous performances. This is a view from the back of the hall, individual voices distinct over a backdrop that’s often rather muted and wafts in, with production values approximating the comfortable integral quality of a vinyl record.
Even if you know these works by heart, it’s always fun to revisit them to see what surprises a particular conductor or orchestra can throw at you. This recording is particularly romantic, and Romantic as well. The first movement of the Eroica is as sleek as it is gusty, with pillowy exchanges between woodwinds over hushed ambience, but also precise, almost pointillistically leaping strings.
Eager, budding suspense and a graceful courtship ensue in movement two: this is a particularly suave interpretation. Movement three seems a little fast, yet it’s also remarkably plush. And those horns are announcing a fox hunt, aren’t they!
Masur brings the lush/stormy dichotomy into even clearer focus in the concluding movement, although he doesn’t let the conversations between winds and strings go to waste. As far as gearshifting for The Fifth Symphony, there isn’t much, even though emotionally it’s often 180 degrees the opposite. Masur obviously decided to opt for elegance this time out as well, in lieu of rampaging intensity or fullscale goth gloom in the opening movement.
This blog’s favorite version is a field recording made at the Naumburg Bandshell in Central Park in June of 2011, where the Knights played the symphony with uninhibited passion against a background of tree frogs and passing airplanes while bats divebombed the crowd. Still, Masur’s attention to detail in this one is welcome – the presence of the bass section in the first movement is especially rewarding.
Masur works top-to-bottom dynamics here even more than in the Eroica, particularly in the starry moments of the second movement and ominous portents of the third. The matter-of-fact bittersweetness in both really shines through as well. The finale brings the whole album full circle, the brightness and delicacy of the high strings just enough to bob up over the waves before a remarkably methodical, even restrained coda.
Jordi Savall Unearths a Vault of Secret Beethoven
As both a musician and conductor, Jordi Savall has made a career of rediscovering lost treasures from the Americas to the Middle East. When he finally turned his attention to recording works by the best-known composer in the history of the western world, the treasures he found were hidden in plain sight. If you think you know Beethoven, the level of detail in Savall’s latest recording with the orchestra Le Concert Des Nations will take your breath away. It’ll make you laugh, and give you chills.
Savall’s modus operandi for the massive six-disc set Beethoven Revolution: Symphonies 1 a 5 – streaming at Spotify – was to play the composer’s first five symphonies as they would have been performed contemporaneously, with period instruments and a considerably smaller ensemble compared to today’s orchestras, just sixty players. Yet the music is no less vigorous, and there are elements that will jump out at you for the first time because unless you’ve played this music with a chamber orchestra this closely attuned to the score, you simply haven’t heard them before. Even in concert, more often than not they get subsumed in the bluster. This is not Beethoven as relaxing wine-hour music, or innocuous background for multitasking. This is headphone music.
A lot of the hidden details that Savall brings to the foreground are jokes. Other than the violinists who play it, who noticed how frequently Beethoven uses glissandos as a punchline, especially in Symphonies 4 and 5? Or, for that matter, in Symphony No. 1? All that leaps out, not to mention the jagged flurries in the fourth movement of No. 1 – or, for that matter, how that movement foreshadows the introduction to No. 2? We now know that Beethoven wrote No. 2 before he wrote No. 1 – and obviously liked that gusty riffage to the point where he thought it was worth recycling. After all, only those who’d seen the scores at the time, or played them, could have picked up on that.
Call-and-response is another device that Beethoven loved to have fun with, and nobody has fun with it like this crew. The fugal moments between strings and winds, or strings and brass, are in particularly high definition throughout the entire set of symphonies, notably in the opening movement of No. 2 and the third movement of No. 4. And when’s the last time you heard an orchestra working contrasting loud/soft conversational dynamics in No. 4? Beethoven was writing the so-called Razumovsky string quartets around the same time and was obviously having a jolly good time with that trope.
In lieu of timpani, there’s a single bass drum played with sticks rather than mallets. Who knew how prominent, or how deviously funny, the percussion in No. 5 actually is? This crew does.
And the details bristle as much as they tickle. Fleeting words of warning that go rubato and then hint at a complete stop in the first movement of No. 3; the starkness of the cellos introducing that iconic descending progression in the second movement of No. 4; and the sheer beefiness of the second movement of No. 5, which most orchestras play as a straightforwardly courtly dance. All this is just the tip of the iceberg. Listening to all of this in a single setting is overwhelming: stream these one a night for a week and your perspective on other recordings will be changed for life.