Review:

on 2011-02-22 CharlesMartel Said:

Two of Beethoven's most sympathetic, but often overlooked symphonies are to be found on this CD, performed by a Dutch orchestra and led by a German conductor and issued on the EMI label. The two works could hardly be more different and this contrast is one of the reasons why I was so drawn to this CD in the first place.

The fourth symphony is sandwiched between two of Beethoven's greatest symphonies ("Eroica" and the fifth) and uses a smaller orchestra than any other of his symphonies - a flute; two oboes; two clarinets; two bassoons; two horns, two trumpets, tympani; and strings. This provides a more intimate feel to the music. Written in 1806 and premiered a year later, it was dedicated to Count Franz von Oppersdorff, a relative of Beethoven's patron, Prince Lichnowsky. My only criticism of this performance is that, because of the small size of the orchestra, the slightest flaw in timing or tone can be magnified and the few errors here are consequently all the harder to overlook.

The seventh symphony, was finished in 1812 and premiered a year later. It was dedicated to Count Moritz von Fries. It begins as it should, with a strong opening chord resonating to the soul of the listener, presents a unity of conception and execution which is rarely found in other works of this length and style. The overriding feature is the rhythm which sustains the work throughout. It would be difficult to identify another composer (or indeed another work of Beethoven) where the rhythm is so powerful that it can subordinate everything else to it.

Both symphonies, when they were first performed in public, encountered some early misunderstanding and hostility from the intelligentsia when it was first performed. Subsequent commentators have been equally divided with some calling it a work of genius while others say it is indicative only of Beethoven being ready for the lunatic asylum. The conductor Thomas Beecham actually went so far as to say of it:

"What can you do with it? It's like a lot of yaks jumping about."

If ever there was one, that is a Philistine's description of a strong and forceful rhythm.

As usual, the muso-nerds and style police, who existed even during Beethoven's lifetime, exerted an influence out of all proportion to their numbers and felt themselves to be the true arbiters of proper musical taste. Their descendents today are all Radiohead fans and those who think "OK Computer" is sublime and lament the early passing of Jeff Buckley as depriving us all of a true musical genius. While critics were sceptical, the public appreciated the enthusiasm and grace which it both symphonies displayed. Eventually they came to be recognised for the sublime works which they are.

So, if you have overlooked these two symphonies in favour of Beethoven's better-known pieces, do yourself a favour and check them out. Beethoven was a master of the art of the symphony and there is something for everyone in all his symphonic works, not just the most famous ones. Sadly, to far too many people today, all they know of Beethoven's music is the opening notes of the fifth symphony. That is a shame.
Rating: 7/10