Composer, pianist and conductor Thomas Adès leads the Britten Sinfonia in Beethoven’s first three Symphonies, in combination with two compositions by contemporary composer Gerald Barry. All works were recorded at The Barbican, London, between 2017 and 2018. According to Signum Records, this is the first of a three-volume cycle of the complete Symphonies, to be joined by contemporary works.
Adès’ interpretation is lighthearted but also meticulous. A good example are the short but carefully shaped opening two-note figures of the First Symphony that seem to tease the listener. The grander sections reflect a fitting sense of sophistication: they sound buoyant but never unhinged or frantic. What also comes through is a nicely-calibrated collaboration: we are able to appreciate all parts of the orchestra equally, hearing clearly the strings, brass, and winds at work together. The chamber-sized Britten Sinfonia combines historically informed practices with a hint of mid-twentieth-century warmth (the woodwinds are sometimes reminiscent of Britten’s own sound in his recordings with the English Chamber Orchestra).
The second movement enhances the cohesiveness that characterizes the entire work. There is lots of pristine clarity, especially in the strings’ even bow control. This makes us well-aware of the intricacy already apparent in Beethoven’s early style, such as the use of a fugal textures. The third movement is excellent, speaking to the elements of surprise that characterize of later periods of Beethoven’s writing (unexpected dynamics, sforzandi on “wrong” beats, and sudden modulations to unexpected keys). I found the distinction of characters among different instruments to be impressive. Take, for instance, the conversation between woodwinds and strings at 1’20” – the finely voiced, lyrical woodwinds are both complemented and interrupted by the humorous scurrying of the strings.
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The second symphony, completed shortly after the first, shows the start of a marked transformation: though it possesses some elements of the classical style, there is a clear shift towards the dramatization that would define Beethoven’s middle-period works. The orchestra effectively shows this transition while maintaining excellent control. The angular dynamic shifts and ever-present accents are strong, but don’t leave us feeling overwhelmed. This is in large part due to the good sound quality of all the instruments. In this regard, the second and third movements are particularly enjoyable. In the second, the strings have a strong showing, creating a delightful floating sensation. The lower string accompaniment (which motivically unifies the movement) is well done, taking on a dynamic character of its own based on the texture and character of the sections. The third movement is presented masterfully with a seamless back and forth dialogue between the strings, horn, and woodwind.
In the Eroica, The elegance of the first symphony is replaced by a grand, valiant character. As it did in the previous symphonies but to an even greater degree, the Britten Sinfonia manifests the varying personalities of the movement: moments of tenderness are starkly juxtaposed against an underlying defiance that flares up dynamically in certain sections. Comparing this performance of the Eroica with Simon Rattle’s with the Vienna Philharmonic, we can hear that Adès expresses the movement’s regality through an austerity and attention to excellently-blended ensemble playing; he also highlights the resonance and lyricism of Beethoven’s textures. Rattle’s approach, on the other hand, is raw and electrifying. In the opening chords, we can hear the strength of bowing in the Vienna strings, who seem to want to break free from the rest of the orchestra. An excitement exists throughout, as though a fiery character is always set to bubble over.
The emotionally entrenching second movement is a fitting musical complement to the composer’s Heiligenstadt Testament. The performers passionately portray its central conflict: the battle that rages between pathos and triumph. The thundering brass at 4:30-4:40 and again at 5:25-5:40 create a moment of powerful hope amidst the tragedy. Compositionally, though the introductory melody rests in the first violins, it is the movement of the cello and bass line that establishes the movement’s true Marcia Funebre character. Here I was less persuaded by Ades’ decision to play these low notes as close to the bit as possible, persistent throughout the movement. I also felt that the winds could have had more presence: the oboe sounds too transparent in phrasing and character, especially when placed against the accompanimental figures. The transparency here is lovely and a joy to experience, but you would have to go back to Rattle for a more pronounced vibrato and rich sonority. The final movement, however, is a powerful conclusion to the symphony, splendidly showing that triumph has prevailed.
Gerald Barry’s works are a thoughtful pairing with the symphonies. “Beethoven”, for Baritone and orchestra, is textually based on the composer’s letter to his “Immortal Beloved”, whoever she may be. Though a definitive contrast in era and style, there are some fundamental connections to Beethoven himself: the instrumentation of the contemporary work features brass and low registers, reminiscent of elements in the Eroica. The Piano Concerto is another fun listen, where we can hear influences of Stravinsky (the lovely Concerto for Piano and Wind Instruments), together with modernist French influences – Some of the violent chords in the solo part are very reminiscent of Messiaen – and a sound world which bares resemblance to the Second Viennese School. This may sound eclectic, but in reality the clever dialogue between soloist and orchestra is a joy to listen to. Both works are performed with conviction by baritone Nicolas Hodges and pianist Mark Stone. A solid effort by Adès and the Britten Sinfonia, then, and well worth a close listen.
Beethoven – Symphony No. 1 (Op. 21), 2 (Op. 36), 3 (“Eroica”, Op. 55)
Gerald Barry – “Beethoven”, Piano Concerto
Nicolas Hodges – Piano
Mark Stone – Baritone
Britten Sinfonia
Thomas Adès – Conductor
Signum Records, CD SIGCD616
Beethoven Symphonies – Recommended Comparisons
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