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Ludwig van BEETHOVEN (1770-1827)
Symphony No.3 in E-flat major, op.55 "Eroica" Munich
Philharmonic Orchestra Live recording 12 & 13 April 1987. EMI
Classics
5 56839-2 |
by Marc Bridle
Listening
to this disc has been a rare and humbling experience. It is a unique performance
to be savoured with the greatest bottle of Petrus and the finest Russian
cigarettes. I do not expect to hear another "Eroica" of such breathtaking
beauty and transparency possibly for another twenty years or so, if not
ever.
The "Eroica"
is one of the most startling and revolutionary symphonies ever written,
and it is here given a performance of such creative magnitude that recordings
I have long held in awe (Furtwängler 1944 [Music & Arts CD 814], Karajan
1944 [Koch 3-1509-2 H1], and Klemperer 1961 [CDM5 66793-2]) pale by comparison.
Only Furtwängler is as measured as Celibidache (notably in the marcia
funebre) and Klemperer presents this symphony in all its monolithic
grandeur. Celibidache has this and more
in equal measure, a breadth of utterance and nobility that transcends
the literal. One example of many occurs in one of the most striking passages
in the second movement, the solemn double fugue that starts the second
episode. It is here given a weight of unimaginable intensity. Celibidache's
pacing is broad, but never has this passage sounded as if it truly comes
from the depths. Felix Weingartner called this passage "Aeschylean", and
Celibidache brings true tragedy to it.
From the
very opening of this performance, two thunderous E-flat chords nailed
like pylons, greatness is evident. They are not swamped in a haze of bombast,
just laid bare. The cellos state their principal theme with grace and
beauty, and the violins enter on their high notes with purity and dignity.
Woodwind phrase beautifully, the harmony densening before the introduction
of the long second subject. Celibidache leads his players through the
panoply of themes which link this movement with purposeful clearsightedness.
Indeed, the transparency of detail here is extraordinarily real: lower
strings and upper strings playing simultaneously, but each thread clearly
audible.
The greatness
of Klemperer's first movement is the interplay between the strings, the
navigation aided somewhat by placing violins on the left and right. Celibidache
achieves a similar effect, as does Furtwängler in his recording with the
Vienna Philharmonic and like Furtwängler, Celibidache is inspired by the
triumphant sounds of the brass. By the end of the first movement we are
aware of the type of performance this is going to be: focused, noble,
richly dramatic. Unlike Furtwängler's "Eroica", however, this is
also a highly charged and mercurial reading, and no more so than at the
end of the first movement with the closing chords emphatically and impressively
lined out.
The "Funeral
March" is the longest movement, and this is partially due to the size
of the principal theme: a broad melody in two portions, played out firstly
on the strings and then repeated by woodwind. Celibidache's reading of
this is inspired because of all Beethoven's movements this one most needs
its tempos broadened for its development. Celibidache takes 19:14 over
this against 17:41 for Furtwängler and 16:52 for Klemperer. The sprightly
Karajan in his very first (and in some ways best) recording takes 15:24.
Beethoven
invests this movement with a series of contradictory episodes: the trio
that begins in tragedy and twice reaches the heights of triumph, the despondent
double fugue, a further change in harmony leading to an uneasy resolution
into consolation, only for the movement to close in a final, shattering
utterance of despair. The ending of the movement in Celibidache's hands
is unutterably full of grief and tragedy, the breathing he allows between
the final notes laying bare more nakedly than in any other performance
the spare solemnity of Beethoven's writing. This is more akin to the writing
of the late string quartets than is usually the case.
The Scherzo
is largely on the same scale as the rest of the symphony (although, by
far the shortest movement). All of the versions above, including Celibidache's
have virtually uniform timings. The close of the "Funeral March"
ends in desolation, and Celibidache is at pains to make the opening of
the Scherzo as subdued as possible. The blazing fortissimo that
follows is shatteringly done here, the trio of horns superbly played,
and the coda with its drums given a menacing glow.
The final
movement is not only unique in all Beethoven but unique in all music,
and Celibidache is possibly greater here than at any other movement in
the symphony. There is a feeling of inexorable inevitability about Celibidache's
handling of this movement, not least in the build up to the coda. The
introduction to the movement is given in a fiery and startling manner,
Celibidache then building up the solemn theme of the bass given out by
pizzicato strings and echoed by woodwind. This leads into a rather grotesque
theme, Celibidache allowing his strings to play with great delicacy as
he suddenly whips up the pace and his players into the first part of the
fugue.
This "Eroica"
is one which one should turn to often for insights that are not offered
in many other interpretations. It is glowingly played, superbly recorded
and offers the rare opportunity to hear a great conductor at his very
best.
Marc Bridle will be spending New Year's Eve lying on a bed of nails.
Everything about the "Eroica" is monumental. Its grandiose statements
herald the very beginnings of the Romantic Symphony, its four movements
are unprecedented in scale - the two outer movements almost shattering
the traditional concept of sonata form. The second movement funeral march
plumbs depths no symphony before ever attempted and only Bruckner succeeded
in equalling later. Within Beethoven's own
symphonic canon only the Fifth Symphony opens more magnificently and no
final movement is as exciting or thrilling as this. The extremes of emotions
encountered across the span of the symphony are not encountered anywhere
else in Eighteenth century music. With the "Eroica", a new musical
world came into being.
by Michel Katzaroff, early 1930s.
The Munich flautist brilliantly leads us into the dance-rhythms, strings
darkly hued, as the main tune reappears in the revised form of the fugue.
Celibidache leads into the climax with power and then the appearance of
the double variation. This is handled wonderfully by conductor and players,
the string tone saturated in the most glowing terms, the formidable wind
writing played with poetry, and brass blazing triumphantly and at full
throttle. The coda, one of Beethoven's most profound realisations, is
thrillingly done here: the mood moving progressively from solemnity to
the suspense of the final bars where Beethoven thrusts us back to the
opening of the movement and lets the symphony end in triumph. Karajan
is undeniably exciting here, as is Furtwängler but the real exaltation
is left to Celibidache as he builds up to the close with unparalleled
fire and depth.
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589: 20.10.1999 ©Marc Bridle
Readers' Comments
From: Sheldon Lichter (doseong@nu-world.com / Sunday, September 3, 2000 at 13:22:04)
On the basis of this review I purchased the CD. I had never heard Celibidache's work before, nor had I read about him. Exploring the Internet, it appears he has what can only be called a "cult following". The connection with Zen Buddhism is of course intriguing, and it appears he was a man with a great heart and a great mind. All of this made the purchase of the recording most promising. In addition, there was the prospect of obtaining a great Eroica in good stereo sound, for once. Unfortunately, I can hardly agree less with Mr. Bridle's assessment. Unlike such masterly performances such as Furtwängler's, Toscanini's, or Klemperer's — the energy rises and falls without rhyme or reason. One minute it is powerful and gargantuan, and the next it is prosaic and relatively weak. The opening chords are weak, and the closing moments of triumph are also weak. Inbetween, there are wonderful passages of cogent power — and then the energy lapses almost into nonchalance. The experience was disappointing and even frustrating. The Eroica is my absolutely most favorite symphony; and I'm sorry to say that I will be returning it to the vendor. It is awkward, perhaps, to take a stand against the adoring enthusiasts of a cult following, but, by God, this is in no way, shape, or form (in my opinion) an Eroica for the ages. Thank you for the platform.
From: not important (crazychicka3116 / Thursday, May 31, 2001 at 22:05:26)
this is very nice, but i think (if u can)add pics. of his music that he composed .like the notes and stuff(like i said, if u can)very nice .thank you.
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