Beethoven: Symphony No. 4; Symphony No. 7 [Hybrid SACD]
![Beethoven: Symphony No. 4; Symphony No. 7 [Hybrid SACD]](/images/Beethoven-Symphony-No-4-Symphony-No-7-Hybrid-SACD-B0010DJ11K-L.jpg)
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Composer: Ludwig van BeethovenConductor: Paavo J?rvi
Orchestra: Bremen German Chamber Philharmonic
Edition: Music CD
Format: Hybrid SACD
CD Release Date: 2008-01-02
Music Label: RCA
Free Music Notes for Beethoven: Symphony No. 4; Symphony No. 7 [Hybrid SACD]
Free Music Review: Looks like I'll be acquiring another Beethoven cycle
Hit: 4 Stars
Frankly, I had been avoiding Pavo Jarvi's new Beethoven cycle. Having acquired Haitink in SACD and the ongoing BIS SACD cycle with Vanska and the Minnesota Orchestra, I questioned just how much I needed more Beethoven symphonies in SACD in addition to the numerous older recordings on my shelves. I was also quite disappointed in the conductor's recent coupling of the Tchaikovksy Pathetique and Romeo and Juliet on Telarc - two pallid and emotionally inhibited performances that are simply not to my taste at all. It was a comment posted on my remarks about the recent Vanska coupling of Nos. 1 and 6 that convinced me to give Jarvi a try.
I've listened to both the Jarvi and Vanska performances of the Fourth for comparison. Both are excellent. Robert Schumann referred to the symphony as "a slender Greek maiden". Jarvi's vision is more Dionysian while that of Vanska is more Apollonian. Take for example, the introduction to the first movement. Vanska creates a mysterious atmosphere with a blended sonority and pianissimos on the verge of inaudability. Jarvi is more tragicomic/mock heroic with a prominent bassoon and more pungent accents. The interpretive stance carries over into the body of the movement and the rest of the symphony as well for both conductors - Jarvi more straightforward and punchy (the term high jinks kept coming to mind) and Vanska more restrained. Both approaches are valid, but I must say that Beethoven's earthy humor is more evident with Jarvi. The bassoon flourishes add to the fun. It recalls Haydn's wrecking decorum in Symphony No. 93 with the bassoon raspberry.
Some of the differences may be attributed to the difference in the forces employed. Vanska's Beethoven is more traditionally "big band" while Jarvi employs an excellent chamber ensemble to very good effect. Jarvi's string players limit the use of vibrato, achieving some interesting color in the process. The recorded sound is excellent and well matched to the performances in both cases. BIS gives us a big hall sound while Sony/BMG is more in your face.
For the Fourth, I can't decide which of these excellent performances I prefer. They both make me want to listen repeatedly - no minor feat in music as familiar as this.
Jarvi's disc includes a rollicking performance of the wonderful Seventh Symphony. The chamber forces display their mettle in the complex rhythms of the score. This is a wonderful, fleet-footed performance. The limited vibrato in the strings makes for some interesting, wiry effects in the introduction. Woodwinds and brass are nicely balanced. The growling basses near the end of the first movement are nicely prominent.
The Allegretto "funeral march" follows after the briefest of pauses, a very interesting interpretive choice. Tempo choice in this enigmatic movement strikes me as just right - neither ponderous or rushed. The Scherzo is ebullient and the Presto finale is both whirlwind in tempo and well articulated.
Time will tell whether Jarvi (and Vanska) join the select group of gold standard cycles that stretch back to the early years of sound recording. In any event, I'll be acquiring Jarvi as well as completing the Vanska with the anticipated coupling of Nos. 2 and 7. They are both very, very good, though different, and well recorded.
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