Beethoven: The Symphonies　贝多芬：交响曲全集

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艺人
Daniel Barenboim
语种
其他
厂牌
Teldec Records
发行时间
2000年04月25日
专辑类别
录音室专辑

专辑介绍

Daniel Barenboim's patience has paid off. His long-anticipated Beethoven cycle belongs in the pantheon of great recorded versions of this music, a fact that unbiased listeners will readily admit after a few minute's encounter with any one of these nine staggeringly fine performances.

Barenboim takes all first movement (and most other) repeats, but retains such intelligent textual modifications as the horn "bridge" in the recapitulation of the Fifth Symphony's first movement, and the trumpet reinforcements in the "Eroica's" first movement coda. He also divides his violins left and right, as Classical practice requires, and this adds a whole new level of clarity to the musical argument. Symphonies 1 and 2 are fleet (outer movements of both works), witty (the two finales), and classically poised (exquisite slow movements), with plenty of Beethoven's uniquely abundant energy (check out the hard-stick timpani playing in the first movement and scherzo of Symphony No. 1!). When he reaches the "Eroica," though, the style changes with the music, broadening and deepening, in tune with Beethoven's inspiration. The first movement is trenchantly argued, propulsive, but also weighty. The Funeral March sounds magnificently gaunt, the end of its first trio bringing one of many magical transitions that reveal Barenboim operating at a level of idiomatic musical control that few others have achieved. The swift scherzo provides a virtuoso display of conflicting duple and triple meters, while the horns make some magnificent sounds in the trio. Barenboim's finale offers near miraculous clarity in the fugal passages, and a coda that, by allowing Beethoven's notes their full value, really gets played rather than merely poked.

Barenboim's consistency from work to work is another point in which he surpasses many of his predecessors. The standards he sets in the first three symphonies never flag for a single moment in any of the others. So in the Fourth Symphony, the perfect transition between the first movement's introduction and allegro, and the work's genial yet surprisingly eruptive finale, come as no surprise. The Fifth Symphony's first movement builds in tension (as it must) right through to its last note; the gorgeously ripe cellos cap a noble second movement that flows purposefully from first note to last; the scherzo truly is, as Tovey described it, a "dream of terror;" and the finale explodes with an energy worthy of Carlos Kleiber. Barenboim's Sixth vies with Böhm's in sheer loveliness. The "Scene by the Brook" is quite simply the best I have ever heard: utterly calm, yet teeming with life. Barenboim has found the momentum behind the notes: no matter what tempo he adopts or how it varies, the music always moves forward inexorably. After a genuinely rustic scherzo, he demonstrates just how much interesting music Beethoven wrote into his storm; it's a genuine summer shower, not a Mahlerian vision of the apocalypse, and it introduces a ravishingly songful finale that never drags, and in which the sonority of the muted horns offers a tangy dash of aural spice to the last chords.

The Seventh Symphony belies the myth that the German tradition must necessarily sound slow and heavy. This Seventh has wings, and knows how to fly. The basic tempo for the first movement is quick, the rhythm always pressing forward eagerly, horns blazing. Barenboim's keenly observant strings articulate the second movement's repeated note first theme in such a way as to emphasize the rhythm without ever checking the music's natural momentum. The scherzo trips along with Mendelssohnian lightness, but it's the finale that offers the real revelation. By carefully slurring the string figurations, Barenboim (aided by superbly balanced recorded sound) allows an unusual amount of wind and brass detail to penetrate through the texture, giving the music a much sharper, less monotonous rhythmic profile than usual. Masterful. As is also the Eighth Symphony, where the classical poise so evident in Barenboim's accounts of the first two symphonies returns in the stunningly cultivated string playing (in movements two and four particularly), the amusingly pompous minuet, and the razor-sharp clarity of attack and attention to dynamic contrast.

The Ninth, of course, is Furtwängler territory, and it's fascinating to see Barenboim beating the old boy at his own game at such places as the recapitulation of the first movement, which has all of Furtwängler's drama and impact but so much more ensemble discipline and clarity. Indeed, the quality of the Staatskapelle Berlin's playing throughout this cycle is second to none: no surprise really if one recalls their numerous excellent recordings of Beethoven, Brahms, Schumann, Schubert and Dvorák for the much underrated Otmar Suitner. Their rhythmic precision in the Ninth's scherzo is a wonder to behold, while the slow movement really does achieve Furtwänglerian heights of spiritual repose without paying the usual Furtwänglerian price of lousy wind intonation. A smashing account of the finale, ably seconded by an excellent choir and fine team of soloists (save only for an unpleasantly thick-voiced tenor), completes the picture. The initial, instrumental "joy" variations have tremendous cumulative power and really glow; his march swaggers at an unusually swift tempo with no hint of pomposity; and the final bars bring a heartfelt, effortless culmination, ascending to the heavens with a final burst of jubilant energy.

Barenboim's Beethoven symphony cycle is the most emotionally complete, humane, and perfectly realized series of non-period instrument performances of this music to have appeared in decades. The best cycles of the past few years (Mackerras, Gielen, and Harnoncourt) have all belonged to the "authenticist" school to greater or lesser degree. Barenboim's achievement clearly demonstrates that a wonderful tradition is alive, vital, and still capable of renewal through intelligent understanding expressed in partnership with a like-minded orchestra, and above all, through supreme musicianship on the podium. His encounter with this music's generosity of spirit and deep passion will provoke, stimulate, challenge, and delight.

--David Hurwitz, ClassicsToday.com

Works on This Recording

1.

Symphony no 1 in C major, Op. 21

by Ludwig van Beethoven

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1800; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 27 Minutes 14 Secs.

2.

Symphony no 2 in D major, Op. 36

by Ludwig van Beethoven

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1801-1802; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 34 Minutes 40 Secs.

3.

Symphony no 3 in E flat major, Op. 55 "Eroica"

by Ludwig van Beethoven

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1803; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 55 Minutes 54 Secs.

4.

Symphony no 4 in B flat major, Op. 60

by Ludwig van Beethoven

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1806; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 36 Minutes 1 Secs.

5.

Symphony no 5 in C minor, Op. 67

by Ludwig van Beethoven

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1807-1808; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 35 Minutes 56 Secs.

6.

Symphony no 6 in F major, Op. 68 "Pastoral"

by Ludwig van Beethoven

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1808; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 31 Minutes 27 Secs.

7.

Symphony no 7 in A major, Op. 92

by Ludwig van Beethoven

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1811-1812; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 42 Minutes 16 Secs.

8.

Symphony no 8 in F major, Op. 93

by Ludwig van Beethoven

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1812; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 25 Minutes 8 Secs.

9.

Symphony no 9 in D minor, Op. 125 "Choral"

by Ludwig van Beethoven

■ Performer: Soile Isokoski (Soprano), Rosemarie Lang (Mezzo Soprano), Robert Gambill (Tenor),

■ René Pape (Bass)

■ Conductor: Daniel Barenboim

■ Orchestra / Ensemble: Berlin Deutsche Oper Chorus, Berlin Staatskapelle Orchestra

■ Period: Classical

■ Written: 1822-1824; Vienna, Austria

■ Date of Recording: 1999

■ Venue: Studio no 1, RIAS Studios, Berlin

■ Length: 76 Minutes 24 Secs.

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