Symphony No. 6 - Egmont Overture

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This is a lovely supplement to Tennstedt's EMI recording with the LPO that was one of the first CDs I ever bought. I've always felt that the Pastoral symphony is the most difficult Beethoven symphonies to bring off since it can easily sound trite and superficial, (Karajan's 1960's recording with the Berlin Philharmonic was a low point in an otherwise distinguished cycle) or just plain uneventful since the predominance of the key of F Major can lead to monotony if a conductor is not paying attention. Tempi relationship is everything but it can also be overdone, leading to an over egging of the pudding. However, a master conductor such as Tennstedt had the ability to conceal his art of just gently nudging the tempi along so boredom doesn't set in. This was a reason his studio recording was so successful and this live performance highlights his genius for taking the same ingredients and taking them to new heights in a concert situation.What is common to both recordings is the obvious love the orchestra had for their maestro and this is manifested in some beautiful playing from all sections of the orchestra. At this point in Tennestedt's life it was becoming increasingly obvious that he was never going to make 'old bones' and the orchestra seemed to realise that there were few occasions like this one left.If there is a slight criticism then the ever so prominent flute could be seen as a result of not quite accurate microphone placing but that is to pick nits! Whenever I write these reviews I always ask a basic question - does this recording reveal anything about a score I've not notices before? Well, in this disc it is, for me, all about the interplay of the wind section. There is so much detail I've not noticed before despite having heard this work literally hundreds of times.The Egmont overture is extremely dramatic and is very persuasively played.This disc is no available for very little money so snap up this bargain while you can.

This is in the most part a glorious recording. Klaus Tennstedt has a fine way with Beethoven: emotive, but not overly reverent. Looking at the timings on this disc, things initially seem relatively slow (especially the last movement), yet on listening one never feels stasis. The first movement in particular seems just right in its pacing. It is not rushed in the slightest, but nor is it overly sombre like Klemperer or Harnoncourt. At times, things do sound a bit run-of-the-mill, and textures are occasionally a bit muddy. I prefer Böhm’s absolute clarity in this piece. The Brook is one of the finest I’ve heard, gorgeous and relaxed. The storm is an absolute whale, utterly thrilling.Quibbles: the peasants aren’t quite rustic or trenchant enough for me, and the last movement knocks on the door of the numinous, but doesn’t quite inhabit it. If one had to pick top choices, then for me it would still be Böhm’s ageless recording, or Abbado/BPO if you like it brisker, but still overflowing with a feeling that most modern recordings neglect. This Tennstedt recording is well worth hearing though, and is better than most Pastorals I have heard. At this price it is a bargain.

The Egmont ouverture is Master Ludwig at his best. The dynamics in the recording is fine (i.e. the balance between forte and piano) and so is the power of the strings.The second part containing the 6th symphony (the Pastorale Symphony) is also fine and is one of a few examples where Beethoven composed "program music" (not sure about the English word for this ).All in all a recommendable CD.

Il serait abusif de s'extasier sur tout ce que fait entendre ce disque qui réunit l'Ouverture d'Egmont et la Symphonie Pastorale de Beethoven, mais il serait plus erroné encore de parler d'interprétations routinières, et de voir seulement en Tennstedt un chef allemand devenu célèbre sur le tard dans un contexte de pénurie relative en matière de grands interprètes du répertoire symphonique de base.Klaus Tennstedt est à la tête à l'Orchestre dont il avait été le directeur musical, le Philharmonique de Londres, formation qu'il retrouve ici (1991 pour Egmont, 1992 pour la Pastorale) alors que la maladie a rompu la continuité de leur association (le chef a dû démissionner en 1987), et que chacun de ses retours est salué à Londres comme une occasion exceptionnelle pour l'orchestre et son public.L'Ouverture d'Egmont placée au début peut paraître initialement assez statique, mais elle a beaucoup de caractère, et la coda exaltée va droit au but.La symphonie Pastorale, dont on pouvait attendre beaucoup, déçoit initialement par un Allegro ma non troppo assez anonyme. La musique ne traine jamais, mais le résultat manque d'ivresse panthéiste, en particulier dans le développement. La suite convainc bien mieux, en particulier un Andante molto moto où la fraîcheur des coloris (la petite harmonie, excellente et bien captée), la délicatesse des traits, le naturel de la progression, l'ambiance créée, baignée de lumière, captivent d'emblée. Un petit quart d'heure de pure félicité. Sans atteindre exactement les mêmes sommets, tous les mouvements suivants sont eux aussi gratifiants, remarquablement caractérisés (L'orage, avec un timbalier parfait), et il faut entendre cette interprétation de concert dans sa continuité, celle d'un discours fluide et animé, le chef conciliant souplesse et vigueur.Spécialiste des fresques post-romantiques Symphonie N°3 , Tennstedt nous donne quelque chose qui respecte pleinement la différence entre Beethoven et ses successeurs: telle qu'il l'approche sans rien alourdir, avec un orchestre qui joue pleinement le jeu, la Pastorale est bien ici un paradis terrestre où tout est réconcilié comme sans effort dans l'innocence des commencements. Une version de concert certes imparfaite, mais dans quatre mouvements sur cinq, pleine de sève et de sens. Symphonie N°3

Another gem, not to be missed. Klaus Tennstedt was one of the great conductors and was truly gifted, this is another wonderful example of his art and anyone that loves Beethoven should get a copy of this CD while it is available.