Beethoven: Symphony Nos. 3 & 8 [Hybrid SACD]
![Beethoven: Symphony Nos. 3 & 8 [Hybrid SACD]](/images/Beethoven-Symphony-Nos-3-8-Hybrid-SACD-B000FDFRPU-L.jpg)
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CD Details
Composer: Ludwig van BeethovenConductor: Osmo Vänskä
Orchestra: Minnesota Orchestra
Edition: Music CD
Format: Hybrid SACD - DSD, Import
CD Release Date: 2006-06-27
Music Label: Bis
Soundtracks:
- Symphony No. 3 in E flat major ('Eroica'), Op. 55: 1. Allegro con brio
- Symphony No. 3 in E flat major ('Eroica'), Op. 55: 2. Marcia funebre. Adagio assai
- Symphony No. 3 in E flat major ('Eroica'), Op. 55: 3. Scherzo. Allegro vivace
- Symphony No. 3 in E flat major ('Eroica'), Op. 55: 4. Finale. Allegro molto - Poco andante - Presto
- Symphony No. 8 in F major, Op. 93: 1. Allegro vivace e con brio
- Symphony No. 8 in F major, Op. 93: 2. Allegretto scherzando
- Symphony No. 8 in F major, Op. 93: 3. Tempo di Menuetto
- Symphony No. 8 in F major, Op. 93: 4. Allegro vivace
Music reviews of Beethoven: Symphony Nos. 3 & 8 [Hybrid SACD]
Music Review: Wonderful
Rating: 5 Stars
I have only one criticism of this otherwise fine Eroica. Vanska's attention to balance and texture in the first movement of the Eroica robs the dissonant pile-up and the final climax of the power they inevitably are capable of delivering. Otherwise, this performance of the Third has everything for which even the most jaded Beethovenian could ask. The first movement, taken neither quickly nor slowly, simply overflows with energy. Vanska unearths interesting orchestral details while maintaining a razor-sharp control over the sonata structure, delivering a movement that is both musically and architecturally satisfying in the highest degree. And even where Vanska's hand keeps the fabulous playing of the Minnesota orchestra in check, the intensity of the music making well makes up for a somewhat limiting dynamic ceiling at the aforementioned first movement climaxes. The funeral march, on the other hand, is perfect. The major episodes sound appropriately big but never too joyous while the minor episodes are gripping, not simply because the music sounds grim, but because it is still noble - it is a funeral march after all. The scherzo is radiant. I can think of few trios that manage bravura without becoming vulgar. The cut-time declamation upon the return of the scherzo proper is both comic and imposing, while the coda is dazzling. The finale, so often treated as the inferior of the previous movements, has all the ingredients for a successful performance: sensational playing coupled with a clear sense of the movements overarching structural genius. At the entrance of the slow variation, the oboe playing is as gentle as anyone could ask, while the following "triplet" variation is noble but played with enough restraint to prevent the movement from climaxing to early. The coda is as energized as Szell's, even if taken at a more moderate tempo, brining the symphony to a glowing close.
The first movement of the Eighth is also taken at a flowing, but by no means rapid, allegro, but Vanska is able to generate a great deal of excitement due to crisp articulation, a keen sense of phrasing, and some wonderfully full-bodied lower strings. The development is sensational, with an overwhelming building up to the climatic recapitulation. If Vanska fails to achieve the same level of eruptive force Paavo Jarvi achieves in his hyperkinetic Deutsche Kammerphilharmonie recording, Vanska's more moderate tempo allows the movement to take on added weight. The second movement is charming, as it should be, but crisp playing of the Minnesota strings gives the music a bit of a needed edged. The trio of the minuet is charming, enhanced greatly by Vanska's heavily accented base line. In the minuet proper, at bit more pop and circumstance would have highlighted the comic vulgarity of Beethoven's joke (I am thinking of Szell's wonderfully punchy brass) but the overall effect of Vanska's interpretation favors charm over humor. Like in his stunning recording of the Seventh, Vanksa shows how at even a moderate tempo a finale can still have a great deal of power and energy. The tutti outbursts of the main theme are cosmic, while the central section is explosive. Vanska fairs better here at drawing out the humor of this music; just listen to Vanska's handling of the loopy coda.
In toto, however, it is Vanska's sense of architecture and his thorough understanding not only of sonata form, but also of Beethoven's intentions within that form. Both the Eroica and the Eighth are magnificently shaped. Vanska builds a huge amount of tension leading up to climazes, but his ability to continue that tension through the restatement is astounding. It is beyond describable, the sensation and excitement one has when hearing this music played in such a way. Simply fantastic, revelatory, and magical. Any fan of Beethoven will be immensely pleased.
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