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Site review by Polly Nomial October 2, 2006
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Performance: Sonics (MC): |
Incredible as it might seem that this (most?) famous symphony might yield new facets to experienced listeners, Haitink and the LSO bring off the impossible and prove that there is always a new way of looking at great art. From the initial motive, one senses that we are in for a very special performance indeed. The energy imparted is extraordinary and I'm astonished that in the same concerts, other symphonies of this cycle where recorded - the LSO & Haitink sound as though they are giving their all.
Just as with the miraculous 7th, this 5th puts the famous Kleiber completely in the shade and any other performance that I've had the priviledge of listening or watching. Line flows from instrument to instrument and the intensity of the playing is something to behold - I am sadly not used to orchestras from the UK playing with such commitment; long may this standard from the LSO continue. The pacing is not particularly special compared to other accounts, rather it is the care that the textures are layered, the refinement of the dynamics and the conviction of the playing that impart such a sense of rediscovery. The impatient and impassioned power of the first movement give way to as noble an account of the slow movement as one could wish for; the conversations between strings and woodwind are very touching indeed.
The almost cheeky menace that opens the third movement is brushed aside by the brilliant horns. The lower strings really shine in the trio where the quavers are dispatched with tremendous vigour. Then, as we all know, the tension builds and builds until daylight breaks through - under Haitink, this is an almost unbearable occasion which has one jumping out of ones seat in delight. The playing is simply sensational and I cannot imagine it being matched never mind bettered for a considerable amount of time. The voyage that ones emotions undertake is very powerfully evoked by the LSO and the feeling of triumph in the closing peroration is total. Giving all five stars for such a performance seems very mean!
As with the Pastoral, an early symphony follows. Even here after such a momentous performance of a titanic symphony, Haitink and the LSO still persuade us to carry on listening the music making is so compelling. Here, for once, the textures are lighter and the LSO delight in showing off how versatile their sound can be. There is nothing more to say than, like the 5th, it is hard to imagine a better rendition - this is no mere filler.
The sound is as good as the Barbican will allow and so I will award a full five stars for what has been the most reinvigorated symphony of the cycle as a token of my appreciation to the LSO Live team for the radical improvements since the early efforts they made.
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Copyright © 2006 John Broggio and SA-CD.net
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Site review by Edvin September 20, 2006
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Performance: Sonics (MC): |
If I were to keep only one recording of the fifth symphony I would choose this. Does that mean that this is the best performance I have ever heard...I guess so. Or rather, I know so!
In the first movement the drama is less on the surface with fate knocking and all that rubbish. With Haitink it is about the inner lines and the tension within the parts. I said earlier that I admired Haitink in this new Beethoven cycle a lot because of the conductor´s handling of the dynamics and the inner tension and developement of not only a movement but the whole piece.
Bethoven 5. What to do? In the second movement we are used to hearing a proud portrait of a Napoleon like figure. Not here. Haitink downplays the pompous side of things and lets the music speak for itself. It is a swift movement with loads of attention to details. Lovely, so lovely. Scherzo, the repeating of the opening theme is like a smile, maybe tongue in cheek. I was utterly fascinated by the interplay in the trio section. Some very original sounds were displayed, Haitink pinpoints some chords and balances in an original way.
The finale is a tour de force. Not as glaring as some, again Haitink has his eye in the score and not so much in recorded history. I must say that I am amazed how the conductor sudenly has re-evaluated Beethoven so totally. I mean, he has recorded two cycles before and both were rather dull, or at least ordinary. But this is so special and so full of musical genius at work. Listen to all these subtle dynamic gradings, listen to how they contribute to making a whole.
I am happy when I listen to these performances. I am smiling and often caught off gaurd with a grin at some new discoveries, some new balances. I must say that this is the most natural way I have ever heard Beethoven being played.
No 1 is played in the same glorious tradition of the others. To be truthful and let my music critic fly I honestly think that this is the most musical Beethoven cycle ever recorded. Haitink has studied the scores anew and I must say that no cycle of these symphonies has even come close to making me appraise and re-appraise these works (oh I do wish my language was English).
Turn the volume up and revel in these performances. The sound is detailed and warm with a very wide dynamic range. What more can you ask for?
But the cover, arghhhhh...
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Copyright © 2006 Thomas Roth and SA-CD.net
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