Beethoven - The 9 Symphonies (Abbado)

  • 16.06.2016, 10:40,
  • Music
This is Claudio Abbado«s first Beethoven symphony round, and it has come in for some astonishingly voiding analysis over the years. Most of that analysis seems to weigh the round a incompetent because it doesn»t bid new insights into what Beethoven«s symphonies are about. But I can»t approve of, probably because I don't subscribe to a «progressive» grave beliefs that insists on innovativeness as a provision for artistic doing (& recording). And maybe even Abbado has come around to that tolerant of ideologized intelligent: his second round (also on DGG, but with the Berlin Philharmonic) is based on the new Jonathan Del Mar (Barenreiter) number of the scores and reflects Beethoven doing form(s) pioneered by the likes of Roger Norrington, Nikolaus Harnoncourt and others.

I don«t have anything against unorthodox intelligent when it comes to performing Beethoven, nor do I honour at the altar of usage. In accomplishment, I»m pleased by Harnoncourt«s recordings, and think that Simon Rattle»s EMI set, which also uses the Del Mar/Barenreiter scores, has been woefully under-appreciated. (And I think Rattle«s round is far and away more convincing than Abbado»s second, Berlin set.) But there«s always going to be range for traditionalist (old scores, big orchestras, up to date instruments) performances of Beethoven, particularly when they are executed as cogently and convincingly as they are in Abbado»s Vienna Philharmonic round.

Clearly, this round, digitally recorded in the mid — 1980s, owes just about everything to what we have come to think of as mainstream, Cardinal European music-making: orchestral commonsensical is jammed and impassioned, tempi are rush but often unsubtle, phrasing and voicing bring a Viennese doing «grammar» developed over a 100 year while by conductors like Mahler and Weingartner and Krauss and Furtwaengler and Karajan and Boehm. Just to those names indicates a off the target make of emotional alteration within the marrow grammar, but still, variations within a coherently identifiable usage. That usage may now have come to an end: in a DVD included with Rattle«s Vienna set, Sir Simon says the orchestra came to him for something new after realizing that all of the old maestros had passed on and taken the usage with them. If this is factual, Abbado»s DGG Vienna Beethoven round may assert the last chapter of the old form. And if so, we are favoured that the usage ended in Abbado«s inclined to hands and was so delightfully captured by DGG»s engineering party. (Note: these digital recordings introduce once and for all, to my percipience, that digital commonsensical need not be disagreeable and insipid and kleig-lit; commonsensical trait here is delightfully elaborate and jammed.)

Unalterable consultation of a want deliver oneself of a tirade: if you«re not put off by what we now need to apostrophize b supplicate «middle of the road» Beethoven, and you»re looking for a first-rebuke example of the nonpareil Vienna Beethoven usage, you can't do better than this set.

Make Merry and Motive!!

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