Beethoven: Sym Nos 5-8 / Egmont Overture

These Australian-made restorations are generally fresh, detailed, and generally impeccable sonically. They are also as a whole impressive on a musical level, and this one is particularly distinguished musically. Why? Because it presents one of the absolutely greatest performance of Beethoven's Fifth symphony--that's right the one that starts with didididaah, and goes on to some of the greatest emotional and musical heights ever attained by any music in any form, by any composer! Like most matters like this, there is a downside to this proposition, in that these heights elude mostperformances, performances which for this reason alone end up as miserable, uncouth failures. In this game, many are called but few are chosen--not even Toscanini, Walter, Karajan, Klemperer, Szell, et. al. Among the few that have explored this territory we have Felix Weingartner, Karl Böhm and Wilhelm Furtwängler--oh, and now Erneat Ansermet and his Suisse Romande Orchestra. Indeed, Ansermet's performance is in all musical aspects very similar to Weingartner's performance with the London Philharmonic, which is (not without difficulty) still obtainable in mono CD form. But why bother when you can get an almost exact realization of it, played to perfection by the Suisse Romande and recorded in vivid stereo by Australian Decca. Basically (at 31 minutes and change) it is generally a quick performance, but one that slows dramatically for that great climax at the opening of IV. It is a joy to hear in it's sure progression--perfectly formed. But why go on, just buy it now. Devoted Beethoven collectors will also have the slower but also great performances by BPO/Böhm DG) and VPO/Furtwängler (EMI), but trust me, this is a serious competitor. Oh, and it is accompanied (at a respectful distance) by three other symphonies. No. 6, the Pastoral, is perfectly formed but also quite conventional and explores no new territory. No, 7 is also hard to criticize, since it too, is well-formed, with s quickish allegretto and a marked slowing for the trio sections of III--just like Weingartner, though in IV he does not attain the same heights. No. 8, however is very good throughout, hard to beat, with impeccable ensemble by the SRO. As a whole, this entire set is worth those few minutes of climax in No. 5, and accompanied by good performances of 6, 7, and 8, my advice is, run to Amazon's online store while it's still available, and at a bargain price!John P McKelveyAmerican Record Guide.

wow. I have liked Ansermet's approach to other things (e.g., Debussy), but I wasn't expecting this. These renditions of symphonies 5 - 8 are absolutely great...clean, well articulated, detailed, very energetic, and sharp as a knife. AND, for this price, an incredible bargain. They also were fairly well recorded to boot for the late '50s, and stand up well sonically.Yes (as others seem to delight in reminding us) the Orchestre de la Suisse Romande was never at the Berlin Philharmonic level of capability or polish, but with performances like these, one hardly notices. All 4 symphonies are very good, but the 5th and 7th are standouts. I wouldn't go as far as one other reviewer in calling Ansermet's 7th "the best ever", but it is very very strong. I started listening with the 5th and it just blew me away. It takes no prisoners.The program commentary notes how Ansermet grew up sufficently removed from the German tradition to step back and view the scores afresh. This is evident from the very first bar. Rhythmic clarity rules. One could be forgiven for thinking thse interpretations were from Chailly or one of the more recent hybrid HIP/traditional sets. The commentary also describes how Ansermet was considered the master of detail, and boy that shows through as well. These are well considered, highy detailed performances, at times reminding me of the attention to detail with which a Gary Bertini approached Mahler. And, while you're enmeshed, it all feels entirely right; I don't think there was one instance in which I questioned the path he'd taken.New sets of Beethoven symphonies seem to follow me home like lost kittens; I'd be lying if I said these are the be-all and end-all interpretations of Beethoven's symphonic canon. However, they are a real treat and I can see turning to them as often as those by Karajan, Furtwangler, Toscanini and Mackerras. I have not heard the other symphonies in the "full" set but I can strongly recommend 5 -8. A blow-your-ears-off rendition of the Egmont completes the box.

What a wonderful surprise this set was! When I was younger, back in the early 60's, Ansermet's London (Decca) recordings were a mainstay for "hi-fi" demonstration, and it seemed that the San Francisco classical radio stations featured something from The Suisse Romande Orchestra every two hours or so. The recordings were mass appeal sonic showcases, later elcipsed by London's Dutoit-Montreal recordings. In recent weeks I've revisted many of these Ansermet recordings to find they are far more than just "hi-fi". And Ansermet was the absolute last conductor I would have picked for fabulous Beethoven. I'd never heard these before, but I've really enjoyed this set! The 7th especially is as fine--and fun--as any I've heard. No, the sound quality is not equal to today's best recordings, but it's surprisingly good. Thanks Eloquence for making these available. I will no doubt grab the 1-4 set, and 9 while I can.Read the other reviews for more performance detail, but these have the sparkle and clarity of the best of today's "informed" viewpoints. Great stuff!

Critics and professional musicians in the United States have made a career out of denigrating the Orchestre de la Suisse Romande (i.e., the Geneva-based orchestra of the French-speaking western quarter of Switzerland). Both the orchestra and its longtime conductor, Ernest Ansermet, have been derided by the cultural elite as second-rate. I fell for this line myself for many years until I read a review by John McKelvey, longtime music critic for the American Record Guide. In fact, these recordings are among the finest ever made of Beethoven symphonies. Most notable is the outstanding job the recording engineers did in capturing the woodwind instruments, which are usually drowned out in other recordings. Most critics have found all sorts of faults with these performances, but I didn't hear any of them. Buy it immediately!

This group of Beethoven symphonies and Egmont overture was recorded in 1958-63 at the Victoria Hall, Geneva in Switzerland. This was a favourite venue for the Decca recording engineers as it had wonderful acoustics and even today, over 55 years later, this recording easily stands the test of time and is superior as an audio product. The Suisse Romande Orchestra did not always have a reputation for infallible technical security but on this occasion they prove to be more than capable of playing with complete security. Their orchestral timbres are ones of conductor’s choices rather than any inadequacy of recording.Ernest Ansermet, their founding and chief conductor for 50 years, was noted for his devotion to the printed notes in the musical scores that he conducted. He was opposed to anything that was added by interpreters in the form of false emotional overlays preferring to concentrate on structural clarity and directness of expression.That approach perfectly suits all of these works resulting in music-making strong in sparkle and verve on the one hand and illuminating on the other by making clear so many details that are so frequently lost in the lushness of other performances. To modern ears these seem to be closer to the clarity and timbres of ‘period’ performances whereas at the time of their recording the relative sparseness of the orchestral timbres was often seen to be a disadvantage.A strong sense of internal and forward motion is apparent in all works. This is achieved by observation of countless internal details as referred to above. As with any other lifetime collector of recordings one gets to become familiar with a considerable number of fine alternatives and knows what to expect and what to appreciate. It therefore comes as quite a shock to find a recording, and especially one of this vintage, that has escaped previous notice and one that still has so much more to add to one’s awareness. That is the measure of Ansermet’s achievement in these works.Without wishing to extend this review to unmanageable proportions there are points below worth mentioning for each work.The 1958 fifth symphony is tight and punchy and includes the exposition repeat in the first movement, relatively unusual at the time of recording. The sparser textures underpin the Classical period character of the performance and bring it right up to date with modern research and thinking. The Egmont overture, also from 1958, shares the same characteristics of pace and timbre of the fifth symphony but in this case, far more than in the symphony, some listeners may find the cutting edge of the trumpets and high strings a bit too much of a good thing at climatic points.The 1959 6th symphony observes the same Classical emotional restraint, so the storm is not cataclysmic for example, but the following final movement is a remarkable thing of joy – surely what Beethoven had in mind. Timbres are marginally fuller.The seventh symphony’s main tempo surprise, bearing mind the conductor’s generally forward moving pace, is the relatively restrained tempo for the Allegretto second movement. It also has matching warmth of expression which still remains within the period. The third movement has expected slower trio sections than one might expect today but not untypical for 1960. The final movement, like the first movement, is kept at a steady, moderately crisp pace but with tight rhythmical accenting possible at that speed that more than compensates with extra bite but without Romantic period weight.The 1963 eighth symphony is similarly immediately given extra power and emotional dimension within period boundaries with a steady first movement, once more relying on bite rather than speed for impact. The following Allegretto scherzando is kept on the move with a satisfying emphasis upon the scherzando element. The remaining two movements adopt the mod and approach of the opening movement. This reading successfully challenges the, once known, sub-title of this symphony as ‘The Little.’Ansermet’s group of these works by Beethoven can be considered to be a collectable portent of interpretive things to come.

Another fine issue by Australian Eloquence in its Ansermet Legacy series.Ansermet's long and distinguished career included probably more world premieres than any other conductor. When in the 1960s he and the Suisse Romande turned to core repertoire, some were taken aback by his candid, unvarnished approach which in many ways presaged the performance protocols of the period instrument movement. It is clear that he concerned himself fundamantally with what was written on the page, with not a hint of embellishment or attention-seeking. Others take note!One is immediately taken by his natural sense of line and infectious rythm. Orchestral texture is meticulously handled, so that detail often emerges which comes as a surprise after listening to more central, generalised accounts.Symphony 5 is probably the strongest reading here - direct and powerful with unremitting energy throughout. The exposition repeat is taken in the first movement - the only one of the four in which this happens; these repeats were quite a discretionary matter at the time. 6 is a most satisfying account of a work which seems hard to bring off on record. 7 is a slow-burner which gathers momentum until achieving white heat in the finale, leading to several repeat plays for this listener. One would not expect every work in a complete cycle to bring equal satisfaction and for this reviewer, 8 is the least successful here with its rather steady tempi (too steady in the 3rd mvt). The second movement has a delightful rythmic lift but the finale, although highly detailed, is restrained and unsually Ansermet makes a couple of slowings towards the coda. Scherchen's flabbergasting account still holds first place for the 8th, with Hogwood and Leslie Jones (never on CD) close behind. Ansermet's account of the Egmont overture is a valuable bonus and no mere makeweight.Once again, there are overtones of Toscanini in the phrasing and the sound is detailed - brass and timpani well forward and nasal woodwinds cutting through tellingly. String articulation is often captivating. The parallel review of 1-4 comments that the Suisse Romande is not the most highly-polished ensemble, but one senses that they play from the heart, and so this set will surely appeal to anyone seeking an escape from glossy, big-orchestra, neat and tidy Beethoven. The sound is eminently serviceable, only the top register really betraying the half century or so since these performances were commited to tape. The 9th (separate issue) is the crowning glory and the entire set brings considerable listening pleasure.

L'orchestre de la Suisse Romande est fondé par Ernest ANSERMET, musicien et mathématicien, en 1918...et qui le dirige jusqu'en 1967, soit pendant 50 ans! Cet orchestre de renommée internationale est basée à Genève. ANSERMET a enregistré une intégrale des symphonies de BEETHOVEN et des ouvertures à l'époque bénie du début de la stéréo captée par DECCA, c'est dire le grand intérêt acoustique et musical de ce très grand chef. Cette intégrale se compose de trois double CD : les 1 à 4, les 5 à 8 et la 9e avec les ouvertures et la grande fugue. A un prix aussi modique, il faut se précipiter sans complexe, joie assurée. De 1950 à 1967, dans un son de grande fidélité, une vaste discographie illustre l'art exceptionnelle de ce chef qui a crée de très nombreuses partitions du XXe siècle. ANSERMET, également pionnier de la musique du XXe siècle... à découvrir absolument.

Sono digiuna di musica classica e un amico mi ha consigliato questo ascolto. E davvero bello. Anche l'incisione è notevole.Tempi di consegna come al solito precisissimi...

...captée en mai 1958 au Victoria Hall de Genève, inaugurant le cycle beethovénien qu'y enregistra Ernest Ansermet, conclu par la "Huitième" en novembre 1963. Notons toutefois que les Symphonies 1 et 8 avaient déjà été préalablement gravées en mono -la perspicace collection Eloquence rééditera-t-elle ces précédentes moutures ?Ansermet fréquentait assidûment l'opus 67 puisqu'il l'inscrivit une trentaine de fois au programme de l'Orchestre de la Suisse romande durant leur collaboration entre 1918-1967. Concernant la parution du microsillon, Irving Kolodine (critique à la revue américaine "Saturday Review) écrivit que le maestro helvète « semble avoir établi avec une beauté mathématique les relations entre les quatre mouvements comme s'il en avait conçu la construction à partir du Finale, faisant apparaître celui-ci comme l'aboutissement convaincant du mouvement initial. »C'est ainsi rendre justice à une sagacité analytique peut-être davantage sensible à la logique du discours et aux proportions architecturales qu'à leur impact émotionnel, affirmant ainsi la cohésion organique de l'oeuvre. Pour autant, rien de guindé dans cette exécution. Dans le Finale, relevons par exemple la subtile accélération dans l'escalade vers l'aigu des deux notes aux violons (2'55-) Accréditant ces propos de Jean-Michel Hayoz (altiste solo à la Tonhalle de Zurich) : « le sens de la pulsation, de la vie rythmique qui anime la musique, n'était en rien, chez Ernest Ansermet, synonyme d'uniformité métrique ».Nous voilà confrontés à une expérience pragmatique où la perception du fatum retrouve un impact neuf, dans la pleine lucidité de son accomplissement, concrétisant cette ambition qu'Ansermet avait consignée dans ces lignes du 11 octobre 1937 : « on croit que l'extrême popularité de cette oeuvre en a défraîchi l'effet. Ce qui se défraîchit, ce sont les traditions qui l'ont fait voir à travers les lunettes d'une grandiloquence conventionnelle. Il ne dépend que de nous de retrouver la fraîcheur de son effet. »Hélas l'interprétation de la Pastorale peut sembler bien prosaïque, alourdissant le contenu illustratif et oblitérant la dimension spirituelle par une lecture épaisse voire boursouflée, in fine préjudiciable à susciter la transcendance des "sentiments reconnaissants après l'orage". Le chant hymnique s'enfle jusqu' à emphase : cuivres à 3'14-, trémolos de cordes à 6'44-Instrumentalement tout aussi opulente, mais peut-être plus finement captée par les micros, l'interprétation de la "Septième" apparaît bien mieux contrôlée dans ses dosages dynamiques et sa prosodie. Comme l'observe Raymond Tuttle dans la notice du CD, les sonorités orchestrales se voient donné de la masse, mais les voix intérieures ne sont pas dissimulées. On peut admirer la prodigieuse tension inculquée au Finale, disciplinant ses propensions centrifuges et obstinant son cinétisme en une rayonnante transparence (les trompettes crépitantes !)On relirait avec profit les considérations développées dans l'ouvrage "Les Fondements de la musique" au chapitre "éthos des tonalités", notamment une pénétrante exégèse harmonique de l'Allegretto, Ansermet y décelant une dynamique introversion/extraversion tandis que la cadence introductive (dactyle - spondée) génère un rythme continu qui « confère à tout ce mouvement l'allure d'un cortège fantomal, d'une succession d'états affectifs prenant forme dans l'ombre de l'intériorité ». A l'écoute : une subjuguante intelligence de l'articulation et des nuances...Ansermet était conscient de la singularité de la "Huitième", dont le thème introductif manifestait pour lui « une sorte d'aisance, de disponibilité de soi, de luxe dans le mouvement, qui imprime d'emblée à l'élan mélodique le sceau de la bonne humeur, une sorte d'enjouement, de Heiterkeit, rare chez Beethoven ». Bien que cette composante affective lui semblait avoir inspiré l'oeuvre entière, la présente interprétation dissimule sourire et naïveté mais affirme plutôt un robuste classicisme, une démarche athlétique que la gouailleuse saveur des bois (le basson d'Henri Helaerts dans le Menuetto !) et une saine respiration d'ensemble viennent sauver de l'orgueilleuse démonstration de force.Faire vivre la musique, lui offrir une noblesse de coeur, un supplément d'âme : l'Ouverture d'Egmont nous rappelle que la baguette du chef barbu s'était acquis cette vertu.Oublions son décevant témoignage dans la "Pastorale" et accordons à l'évaluation de ce double-album les cinq étoiles qui honorent légitimement ce don précieux.