Beethoven’s complete symphonies - 3 April, 6:00pm
To begin with, I would like to protest against the interpretation of my colleague, Mr. Majchrowski, as expressed in the review of the second night of the cycle of Ludwig van Beethoven’s complete symphonies. Paavo Järvi, as great a conductor as he was, did not play the first fermata in Symphony No. 5. It is true that D is twice longer than E flat, but this does not mean that the respective fermata is to be played twice as long. Actually, the fermata on E flat was not present, while the fermata on D was not twice as long as that on E flat, it was about five times long as E flat… We went into that detail, not only for the pleasure of discussion, but also because we would like to show how detailed are the interpretations of Paavo Järvi. It is rare occasion to discuss such a nuance after the life performance of a work of this calibre.
Speaking of Mr. Majchrowski, we would like to agree with his view upon the “even” symphonies by Beethoven. Those works are usually underrated, and Järvi’s performances certainly change that situation. Tonight’s performance of the Eight was simply superb, with classical balance of all elements of the work. The well-chosen proportions of tempi were particularly noteworthy as the second movement (Allegretto) consists of just forty-some bars. This is a very slow Allegretto, as only then the whole movement has the dimensions that justify its presence within the Symphony.
The cycle concluded, chronologically, with Symphony No. 9 “Choral”. There are two approaches to the first movement possible: a conductor with detailed approach would carefully build the main theme with the small elements appearing over string’s tremolo, underlining not only the theme proper but also every element used for its construction. On the other hand, a conductor with visionary approach would allow the theme to emerge ex nihilo in the first bars of the Symphony, as if it would be a Chaos that is then overruled by Cosmos. Paavo Järvi clearly belongs to the latter group. The first movement was therefore conceived as a battlefield between contradictory forces, the one that builds things and the other that destroys them.
Two middle movements were performed with precision and expression. It was now clearer why Järvi called for tempi that were usually very fast. It is in the score of Ninth that Beethoven noted ritmo di tre batutte and ritmo di quattro batutte, therefore requiring a very fast tempo with bars to be observed as basic rhythmic value. Järvi played some earlier symphonies with the same in mind, anticipating the idea that Beethoven was conscious about as late as the Ninth, but that was supposedly applied in earlier works. Thus, in fact, he had conceived all nine Symphonies as a cycle of connected, inter-related works.
The finale of the Symphony No. 9 was the climax of the evening, the clou of the cycle and a highlight of 14th Ludwig van Beethoven Easter Festival. The soloists followed the energy and joy of musicianship evident in Deutsche Kammerphilharmonie Bremen’s performance, singing excellent ensembles. This evening was a success of Christiane Oelze, soprano, Annely Peebo, alto, Donald Littaker, tenor and Günther Groissböck, baritone.
The Choir of the Podlasie Opera and Philharmonic in Białystok sung with taste and sensibility. The sound of the Choir was beautiful, this ensemble is certainly worth attention.
The last bars of Symphony No. 9 concluded the performance of the cycle of all of Beethoven’s Symphonies. It was great musical experience to all listeners. With those interpretations Paavo Järvi was able to set a new standard for the performances of these works. Without any doubt we will be comparing the future performances by various conductors and orchestras with the approach of Paavo Järvi and Deutsche Kammerphilharmonie Bremen. And this is the lasting value of the 14th Ludwig van Beethoven Easter Festival.
Krzysztof Komarnicki
Speaking of Mr. Majchrowski, we would like to agree with his view upon the “even” symphonies by Beethoven. Those works are usually underrated, and Järvi’s performances certainly change that situation. Tonight’s performance of the Eight was simply superb, with classical balance of all elements of the work. The well-chosen proportions of tempi were particularly noteworthy as the second movement (Allegretto) consists of just forty-some bars. This is a very slow Allegretto, as only then the whole movement has the dimensions that justify its presence within the Symphony.
The cycle concluded, chronologically, with Symphony No. 9 “Choral”. There are two approaches to the first movement possible: a conductor with detailed approach would carefully build the main theme with the small elements appearing over string’s tremolo, underlining not only the theme proper but also every element used for its construction. On the other hand, a conductor with visionary approach would allow the theme to emerge ex nihilo in the first bars of the Symphony, as if it would be a Chaos that is then overruled by Cosmos. Paavo Järvi clearly belongs to the latter group. The first movement was therefore conceived as a battlefield between contradictory forces, the one that builds things and the other that destroys them.
Two middle movements were performed with precision and expression. It was now clearer why Järvi called for tempi that were usually very fast. It is in the score of Ninth that Beethoven noted ritmo di tre batutte and ritmo di quattro batutte, therefore requiring a very fast tempo with bars to be observed as basic rhythmic value. Järvi played some earlier symphonies with the same in mind, anticipating the idea that Beethoven was conscious about as late as the Ninth, but that was supposedly applied in earlier works. Thus, in fact, he had conceived all nine Symphonies as a cycle of connected, inter-related works.
The finale of the Symphony No. 9 was the climax of the evening, the clou of the cycle and a highlight of 14th Ludwig van Beethoven Easter Festival. The soloists followed the energy and joy of musicianship evident in Deutsche Kammerphilharmonie Bremen’s performance, singing excellent ensembles. This evening was a success of Christiane Oelze, soprano, Annely Peebo, alto, Donald Littaker, tenor and Günther Groissböck, baritone.
The Choir of the Podlasie Opera and Philharmonic in Białystok sung with taste and sensibility. The sound of the Choir was beautiful, this ensemble is certainly worth attention.
The last bars of Symphony No. 9 concluded the performance of the cycle of all of Beethoven’s Symphonies. It was great musical experience to all listeners. With those interpretations Paavo Järvi was able to set a new standard for the performances of these works. Without any doubt we will be comparing the future performances by various conductors and orchestras with the approach of Paavo Järvi and Deutsche Kammerphilharmonie Bremen. And this is the lasting value of the 14th Ludwig van Beethoven Easter Festival.
Krzysztof Komarnicki
