According to the old joke, popular among musicians, Beethoven has composed four Symphonies, namely Third, Fifth, Seventh and Ninth. The common view underlines the value of “odd” symphonies. They are said to express the spirit of revolution and novelty more than “even” ones. Of course, the common view is not correct in this respect, as there are virtues in every single symphony by Beethoven. It is the task of the conductor to find and highlight them. A truism, perhaps, still while expecting the third night with Deutsche Kammerphilharmonie Bremen and Paavo Järvi we were wondering which symphony of the pair would appear better? Which would be performed in more appealing, more interesting way? What would be highlighted in the performance? In short, which one would appear better: Sixth or Seventh?
After the experience of the first two concerts, we were expecting precision of playing, accuracy in reading the score, and the enthusiasm of the musicians who would do their best to play what Paavo Järvi would demand them to play. Expectations were fulfilled, Deutsche Kammerphilharmonie Bremen is an orchestra of virtuosi, and one can rely on their skills. Paradoxically, the performing skills of the musicians were more evident in, potentially less attractive, Symphony No.6 in F major “Pastoral” Op. 68, than in Symphony No. 7 in A major Op. 92.
Beethoven’s Sixth, the only programmatic one among his works in the genre, does not deal with the state of humanity, it does not put forward existentialism problems. Does this make Sixth easier to perform accurately? No, not at all. Stretched out between awakening of cheerful feelings upon arrival in the country and shepherd’s song, it brings also the depiction of thunderstorm, preceded with the happy folk scene. It is the music Järvi was in his element. The first movement was painted with pastel, delicate colours, the second one (Scene at the brook) was the opportunity for Bremen orchestra to express fluency and smoothness. There were birds singing in the coda. Dance elements prevailed in the third movement (Happy gathering of country folk), with steps and accents, while in the fourth movement the nature took over with thunderstorm, rain, lightning and thunder. The climax was pictoresque, but it was gone as quickly as it had arrived. The finale was cheerful, happy and, so to say, sweet. In one word, “Pastoral” was the specimen of balance and proportion, everything was fitting in this performance.
It is commonly known, see the joke, that Seventh is of greater importance. According to Maciej Negrey it is “the most spirited of Beethoven’s symphonies” and at the same time it is “concise and precise in form”. It is easy to be overdriven with emotions, however, this music deceives the performer to play without control, faster and faster, without looking back. Paavo Järvi, who loves fast performances, was indeed deceived by some devilish instigation. The breakneck pace of the finale (Allegro con brio according to Beethoven) was even accelerated in the coda. This was theatrical, very showy, but it lacked precision. A spoon of birch tar in a barrel of honey. The ultimate gesture of the conductor was addressed to… the audience, that was already burning hot after experiencing the performance. The frenetic applause was extraordinary, and, of course, well-deserved.
Therefore, which one was better, Sixth or Seventh? Beyond any doubt – the “Pastorale”. Let us put jokes aside, especially those that are old and popular only among musicians.
Marcin Majchrowski (Polskie Radio)