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Do we really need another Beethoven symphony cycle?
A familiar question, this - one that gets wheeled out with every new set - but one that can, in this case, be answered with a resounding "yes". Sir Charles Mackerras, captured in live performances from the 2006 Edinburgh Festival, brings renewed vigour to each of Beethoven's scores, the notes fairly leaping off the page.
The live environment helps, too, though such is the discipline of the Scottish Chamber Orchestra in symphonies 1-8 that these could just as easily be polished studio interpretations. Yet the added frisson of the concert hall brings an extra cut and thrust, particularly to the more 'classical' of these symphonies.
Take the arrival of the Allegro in the Fourth Symphony for instance, a sudden burst of energy bringing us out of the relative darkness of the introduction. Or the helter-skelter finale of the First Symphony, taken at quite a lick by Mackerras but with the detail never compromised.
This is typical of the Mackerras approach. Nearly all of his chosen tempi unfold naturally, the context for Beethoven's music superbly judged. The only possible exception to this is the introduction to the Seventh symphony, where the music feels rushed, the ensuing Allegro not having the same impact as a result.
It's a small quibble though, as the orchestral sound is wonderfully taut, though while this makes for crisp chords to open the Eroica, it does not obscure the poetic wind solos of the Pastoral. One of the most dramatic moments of this whole set comes with the onset of the storm in this symphony, the open, thwacking timpani a vivid representation of thunder.
The symphonies of more 'classical' dimensions, then, come up smelling of roses. A First with its foot in the Nineteenth century, a Second that drives forward with vigour and a pleasing rasp to the brass section in the airy first movement. An Eighth with plenty of zip, and, crucially, humour.
The OMH review of Mackerras's Choral at the Edinburgh Festival with the Philharmonia, highlighted problems of balance between the soloists. Thankfully with recorded sound these are rectified, the performance benefiting from the larger scale orchestra to provide a fitting summation to the series.
It's extremely easy to forget just how vital a symphonic cycle the Beethoven nine is - without it the whole form loses its right arm. Mackerras knows that of course, and these performances go back to basics to produce excitement, vitality, rhythmic thrust and structural mastery - all traits exhibited by Beethoven as he took the form to new levels. Mackerras captures that pioneering spirit.
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