a Sega gt. Sfetifan coun T2006 A EVES EE PC peter Megs) Ge eyo Pave dank BEETHOVEN Symphonie Mutichannel SACD: 54:53) ‘This CD, Volume 3 in Jirvi’s set ofall nine Beethoven symphonies, belongs tothe subset des- ‘ignated “chamber orchestra, modem instruments (valve-ess trumpets excepted)” and as such com- Petes with such luminaries as Harnoncourt, Mackerras, and Herreweghe. On the strength ofthis dise and the previous two, I'd suggest hat this new one wouldn't disappoint listeners who know the other cycles. The sound is exceptionally clear, with excellent instrumental definition and balance across the entire soundstage and between highs and lows. Please see James Reel’s feature in 31:4 for Jitvi's comments on this series and fora review ofthe first CD. The opening movement ofthe Fifth (programmed frst on the CD) preserves the mystery atthe hheart ofthe movement and avoids the simplistic extremes of either brute force or sheer speed adopt- ced by to0 many conductors. The performance builds in intensity tothe strong, stentorin hon phrase summoning the secondary theme in the major mode. The entre movement is characterized by a con ‘em for balancing the power inherent inthe music with sensitivity to the transformative strength of Beethoven's deceptively simple materials, 4arvi's second movement is a model of how to project the com moto of Beethoven's tempo marking: the basie pulse is well within the overall Andante indication while the string subgroups play against it by breaking it nto faster units. There is constant animation here, yet the effect is of a slow movement, providing respite from the hectic energy of the frst movement and the unsubtle menace ofthe Scherzo, ‘There is no loss of power inthe Scherzo from the 40-odd musicians of this ensemble, while the clarity provided by the reduced forces and the excellent sound allows careful examination of Beethoven's ingenious orchestration. The homs are again the purveyors of commanding power ‘while the timpani anchor the sound without dominating it. Javi opts for elimination of the repeat, ‘adding othe concentrated energy of ths brief but ominous prelude tothe triumphant last movement. From a perfectly judged transition the majestic finale never needs to blare out its main theme. Jiri’ is as satisfying a performance of ths still revolutionary music as I've encountered in some time, In the performance of the First Symphony, the opening is at firs tentative, then dreamy, lead jing to an Allegro con brio that is exhilarating but never seems merely hasty. Precision and clarity are again the watchwords, but the brio is never slighted. The Andante is elegant, both songlike and ani- ‘ated as per the marking, and perfectly characterizing Beethoven's sunniest slow movement. The boisterous Menuetto is played with repeat intact, and is rambunctious qualities are fully exploited. [After a suitably exploratory introduction, the irrepressible finale i off and running; as withthe st movement, the clarity of inner voices is neve lst inthe exuberance ofthe tempo. I doubt that I've ever heard a truly bad recording ofthis symphony, but I can say that this is one of the most cnlertaining versions, played with lan and expert musicianship, implied ina review of Beethoven symphonies conducted by Philippe Hereweghe (32:1) that Jews were lightweight by comparison. As [become more familiar with Jrvi's cyele, my previous ‘assessment Seems presumptuous atthe very least. There is nothing lightweight about either ofthese ‘wo excellent new performances. Christopher Abbot fo. 5; No. 1 + Paava Janu cond; Gorman GP + RCA 733895 (Hybrid Page t oft AccountABSOLUTE SOUND Date Wesroeday,Juy 01,2000 Magazin (10Y) ve Pee tad eaten Two Golden Ear Discs Beethoven: Symphonies No. 5 and 1 Deutsche Kammerphilharmonie Bremen. Paavo Jarvi (cond), PhilipTraugott (producer) Everett Porter (engineer) Recorded at Funkhaus Koepnick, Bein. (RCA/SMG 88897-33835) Prokofiev: Second Plane Concerto, Ravel: Plano Concerto in . ‘Yundi Li (piano), Ozawa (cond), Bertin Phiharmonie. Christopher Alder and Matthais Spindler (producers) Klaus Hiemann (eng.). Recorded at Grosser Saal Philharmonie Hall (Deutsche Grammaphon DG CO 477-6593) rt: AQ20VE 2822)