Philippe Herreweghe, through the auspices of Pentatone (why not Harmonia mundi, I wonder?) is now embarking on a complete set of Beethoven symphonies. If the rest of the series lives up to this one, it will be one to reckon with. I have come to greatly respect the intelligence and innate musicality of this man, and while I don’t always agree with all of his decisions, I do understand the thought processes that lead him to his conclusions.
With perhaps the exception of something he says here in the notes, particularly regarding the choice of a modern instrument band (with the exception of horns, trumpets and timpani—something one must also question as to why). “For a certain part of the orchestral repertoire so-called ‘authentic’ or ‘historical’ instruments might seem essential in order to achieve a truly convincing performance. This is not the case for Beethoven.” He then goes on to say that the power of these symphonies does not derive from sonority. Well, excuse me, but some of it certainly does. This thundering giant, despite the ruckus that his teacher Haydn was known to make at times, created a sense of orchestral color and cumulative power precisely designed to express the inherent tension and drama in his music. And I have no doubt that lesser lights like Norrington (whose set I abhor) and Roy Goodman, to name two of the earliest attempts on authentic instruments, not to mention Gardiner, whose set still sets the standard for many, would disagree with this assessment, hence their choice of period instruments for their recordings.
Of course others, notably Harnoncourt and Rattle, both who use the substitutions that Herreweghe opts for, have chosen the big band route as well. The argument will never end nor reach a satisfying conclusion as to what combination of what instruments best suffice the music; what it all comes down to in the end is the interpretative ability of the musicians, type of sonority a secondary question. In this case, perhaps Herreweghe is right after all.
So what of this inaugural effort in splendiferous SACD sound? With the possible deduction of points for a string section that doesn’t quite measure up to the very best (but they are very good, no question), these are two excellent readings. I compared them to the nearest philosophical set, Rattle’s with the VPO on EMI, and the results are quite close. If anything, Philippe Herreweghe is a little more conservative in his excellent traversal of the First Symphony, giving us a perfectly balanced and proportioned reading of great finesse and sparkle. Rattle does also, but feels a little rushed in the first movement. With the “Eroica”, both conductors like to take the first movement at fast waltz tempo, something I am not too keen on yet can live with because of the power and drama both find here, though the big half-step-off chords benefit to my mind from a slower and more deliberate tempo, something neither of these gents is having anything of. Repeats are all taken, later added trumpet parts eliminated (and those parts do add excitement), and the funeral march is not lingered over (Rattle can’t resist lingering a little).
Philippe Herreweghe has the better sound, hands down, and thus is the advantage of this disc. When I finished listening twice, I simply sat back with a great feeling of satisfaction. This is good Beethoven, maybe even great, and while it may or may not assault the sacred cows of the past—and certainly can compete with them in ways—Herreweghe is on to something here, and makes his case with thoughtful, highly musical aplomb.
— Steven Ritter
