Chamber orchestra recordings of Beethoven symphonies using modern instruments are nothing new. Many claim to expose all kinds of theretofore unheard detail—which is not always worth the price in weight and texture loss. These performances are worth that price because they are so enjoyable, even uplifting, and much of what they do is revelatory. The interpretations are fast, exuberant, and full of life. Conductor Rajski is not given to lingering, underlining, or rubato. Rhythms are boldly sprung, sharply turned, and often snappy or whiplike in quickness and effect. The group is on a hair trigger, and ist response is exemplary, even amazing sometimes. The pulse seems vertical, but that is deceptive because a good deal of lyricism goes with it. Our Overview of Beethoven’s string quartets notes that Beethoven is “tough”, and that comes through as well.
Several of these readings throw an interesting light on a symphony, most notably the Sixth. This Pastorale has ist dark moments, perhaps an escape into nature where the stresses of life are not forgotten. The storm is truly violent because those driving strings come through more clearly than ever. Meteorologists often refer to storms as engines, and this one offers a good argument for that.
The Eroica’s blunt opening chords are followed by fast, clipped downbeats with plenty of lift. There is weight, but spring and motion are more prominent. The Funeral March is strong, bright, and bold, as if eschewing excess sentiment in life and wishing none in death. The climax is stormy. III is vigorous, with crisp triple rhythm in the woodwinds and horns that sound like hunting horns. The usual character of the finale remains, with suitable differences between variations, though “reflective” never applies. The horn variation is stunning, and the rush to the end is brilliant.
The Fifth is fast—springy and rhythmic in the faster passages and lyrical in the relaxed ones. The horn calls are urgent, and the occasional ability of these performances to sound big is welcome. The fast tempos work well, and Rajski maintains a good relationship between them. The horns are very impressive in III, as are the furious strings in the fugue, and the violins are as soft as I have heard in the transition to IV. Sometimes the textures are organ-like in IV.
Beethoven was clearly looking forward in the Ninth, so this was a bad time for the no vibrato affectation. It sort of works in the eerie violin writing in the opening, but when it pops up later, it is not to advantage, e.g., a passage near ist end that anticipates Bruckner but sounds frail here. But this is an excellent Ninth anyway, exuberant with eloquence and verve, and the fast tempo really works. The bubbly Molto Vivace is light and deft. The Adagio sings and sounds fresh at the fast tempo. If the violins are thin when they accompany the winds in the horn solo, so be it. This is still a wonderful Adagio. The finale is almost rollicking sometimes, with some interesting balances and emphases on harmonies. It opens dramatically, with the cellos exceptionally eloquent, and the way the tune passes up the string choir is impressive. The vocal contributions are well scaled, and the small choir does ist job well. This Ninth is a true “ode to joy”.
The First and Second go as expected, with the Second reflecting backward and looking forward with a touch of darkness at the same time. The opening to the Fourth is as dark as I have heard it, quite a feat for a chamber orchestra. My only complaint about the high-spirited Seventh is the too-heavy accents in the opening.
Most of the problems here are occasional and probably the result of “period” influence: a few tempos that are too fast and hurried, exaggerated accents, and that minimal vibrato that sometimes helps make a small violin section too bright. At least there are none of those HIP swells.
The Polish Chamber Philharmonic strings sound small even for a chamber orchestra, and more bass would be welcome, but there are advantages to that small size. The recording in stereo is excellent, with fine staging, detail, and tone quality; and I have seen comments raving about the sound on a surround system. Tacet says these recordings were made on equipment run by vacuum tubes. Readers familiar with tube amplifiers often associate them with a dark warm sound, but many modern tube designs produce sound as clear as their solid state counterparts, and that is the case here. Thomas Seedorf’s notes take a historical approach and are worth reading even if you know these works well.
If, like me, you prefer large orchestra Beethoven, it may take a hearing or two before you truly appreciate this set. But give it a chance. It is infectious.
Roger Hecht<< back