There are close to 200 full cycles of Beethoven’s nine symphonies, performed by practically all respected orchestras and conductors. On the yellow label alone, the Vienna Philharmonic Orchestra has several notable cycles: Böhm, Bernstein, Abbado (in his early, often overlooked cycle), and Thielemann. There’s also Rattle’s digital cycle on Warner (originally EMI), not to mention many single symphony recordings. In other words, 250 celebrations or not, Nelsons is entering a crowded field, including cycles by the orchestra he chose for this recording.
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When conducting the VPO, there is obviously a great tradition of sound and approach to the music, and here you can rest assured that this orchestra’s famous sound quality is alive and well – superbly recorded too. The question that keeps nagging while listening to this set is whether a conductor, any conductor, should let the VPO play as they will or try to inject his or her own interpretation. In most of the performances here, Nelsons chooses not to interfere – and that’s not necessarily a bad thing.
When it works, there’s really no need for obstructive decisions, as in a truly wonderful performance of the Sixth Symphony (“Pastoral”), where the velvety sound of the Vienna Philharmonic’s strings is fully on display, or in the effortless fast runs of the woodwinds in the final movement of the Fourth Symphony. There are places, though, where one feels a little intervention might have been helpful, even discreetly, to elevate the music. Unfortunately, this thought arises in two of the best-known symphonies – No. 3 (“Eroica”) and No. 5. The first movement of the Eroica is somewhat tame, and although Nelsons follows the score closely, the music feels lacking in energy. The syncopated chords that precede the celebratory display of the main theme can indeed be observed quietly (as requested by the composer), but without losing tension, as Rattle demonstrated in his version. Here, the hushed playing by the strings, lovely as it is, allows the tension to dissipate too quickly.
At the other end of the spectrum, Nelsons and the VPO have a tendency to over-emphasize climaxes, recalling old mono recordings by Klemperer or Furtwängler, but without the strategic thinking of the great masters. As a result, in the first movement of the Eroica, the painful dissonant chords that finally introduce the late second theme sound deflated. This also occurs in the lead-up to the recapitulation (from 11’00” onward) and at the conclusion of the Funeral March’s high point (9’45”). And why do the horns suddenly slow down in the trio section of the Scherzo? A moment that should be witty turns heavy-handed.
In the Fifth Symphony, any sense of revolution is lost. The orchestra plays without excitement, reminiscent of old performances but without the inner tension that compensated for the lack of textural lightness. The third movement, so thrilling in Bernstein’s and Rattle’s versions, is dully performed, and the finale is celebratory but lacks drive.
Things improve significantly with the Seventh and Eighth Symphonies. In both works, the Vienna Philharmonic sounds much more spontaneous, sometimes at the expense of their usual accuracy (the third movement of the Seventh Symphony is too fast even for a Presto). In the first movement of this symphony, there is no match for Carlos Kleiber’s legendary handling of the transitions, but this remains a fine Seventh nonetheless.
Unlike Rattle, and more in line with Thielemann, Nelsons does not seem to reduce the orchestra’s size in the first two symphonies. The First, as a whole, feels somewhat hesitant, but the Second Symphony is nicely executed – if one overlooks the tendency to overemphasize weight to make a musical point.
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The Ninth Symphony, a piece that should and can serve as a triumphant ending to a Beethoven symphony cycle, falls short here. The issue isn’t the first movement, which is rather predictable, nor the slow movement, where Nelsons once again lets the wonderful string players shine. The problem lies in the finale – a turbulent affair where the Wiener Singverein struggles with loud or high passages, and the soloists’ excessive vibrato blurs the main melody.
When conductors with big personalities partner with the Vienna Philharmonic, the results can be electrifying (Bernstein, Rattle) or more restrained (Böhm, Abbado, and Thielemann). Here we find a middle-of-the-road approach. This can yield fine results, as in the Second, Fourth, Sixth, Seventh, and Eighth symphonies. With state-of-the-art sound, luxurious packaging, and thorough documentation, this may be a decent purchase and a good listen – but it is not one of the top cycles from the nearly 200 alternatives.
Image: ©️ Marco Borggreve
Beethoven – Symphonies No. 1-9 (Complete)
Camilla Nylund – Soprano
Gerhild Romberger – Mezzo
Klaus Florian Vogt – Tenor
Georg Zeppenfeld – Bass
Wiener Singverein
Vienna Philharmonic Orchestra
Andris Nelsons – Conductor
Deutsche Grammophon, CD 28948370719
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