Beethoven: Egmont Overture/Symphony No. 6, 'pastoral'

This is a lovely supplement to Tennstedt's EMI recording with the LPO that was one of the first CDs I ever bought. I've always felt that the Pastoral symphony is the most difficult Beethoven symphonies to bring off since it can easily sound trite and superficial, (Karajan's 1960's recording with the Berlin Philharmonic was a low point in an otherwise distinguished cycle) or just plain uneventful since the predominance of the key of F Major can lead to monotony if a conductor is not paying attention. Tempi relationship is everything but it can also be overdone, leading to an over egging of the pudding. However, a master conductor such as Tennstedt had the ability to conceal his art of just gently nudging the tempi along so boredom doesn't set in. This was a reason his studio recording was so successful and this live performance highlights his genius for taking the same ingredients and taking them to new heights in a concert situation.What is common to both recordings is the obvious love the orchestra had for their maestro and this is manifested in some beautiful playing from all sections of the orchestra. At this point in Tennestedt's life it was becoming increasingly obvious that he was never going to make 'old bones' and the orchestra seemed to realise that there were few occasions like this one left.If there is a slight criticism then the ever so prominent flute could be seen as a result of not quite accurate microphone placing but that is to pick nits! Whenever I write these reviews I always ask a basic question - does this recording reveal anything about a score I've not notices before? Well, in this disc it is, for me, all about the interplay of the wind section. There is so much detail I've not noticed before despite having heard this work literally hundreds of times.The Egmont overture is extremely dramatic and is very persuasively played.This disc is no available for very little money so snap up this bargain while you can.

This is in the most part a glorious recording. Klaus Tennstedt has a fine way with Beethoven: emotive, but not overly reverent. Looking at the timings on this disc, things initially seem relatively slow (especially the last movement), yet on listening one never feels stasis. The first movement in particular seems just right in its pacing. It is not rushed in the slightest, but nor is it overly sombre like Klemperer or Harnoncourt. At times, things do sound a bit run-of-the-mill, and textures are occasionally a bit muddy. I prefer Böhm’s absolute clarity in this piece. The Brook is one of the finest I’ve heard, gorgeous and relaxed. The storm is an absolute whale, utterly thrilling.Quibbles: the peasants aren’t quite rustic or trenchant enough for me, and the last movement knocks on the door of the numinous, but doesn’t quite inhabit it. If one had to pick top choices, then for me it would still be Böhm’s ageless recording, or Abbado/BPO if you like it brisker, but still overflowing with a feeling that most modern recordings neglect. This Tennstedt recording is well worth hearing though, and is better than most Pastorals I have heard. At this price it is a bargain.

The Egmont ouverture is Master Ludwig at his best. The dynamics in the recording is fine (i.e. the balance between forte and piano) and so is the power of the strings.The second part containing the 6th symphony (the Pastorale Symphony) is also fine and is one of a few examples where Beethoven composed "program music" (not sure about the English word for this ).All in all a recommendable CD.

Another gem, not to be missed. Klaus Tennstedt was one of the great conductors and was truly gifted, this is another wonderful example of his art and anyone that loves Beethoven should get a copy of this CD while it is available.

excellent

From the late 1970's through to his eventual retirement and untimely death in the early 1990's there was a conductor, working regularly in London, who was the greatest Beethoven conductor since Klemperer. His name was Klaus Tennstedt. An exagerated claim? I think not.There is a world of difference between performances (as has become the modern way) where precision, tidiness, fleetness, accuracy etc replace passion, meaning, truth, grandeur, as this music was understood to contain by Tennstedt and those that preceded him. One skims the surface, the other digs deep. Beethoven's music, more than anybody elses, breathes character, life, truth. He is the greatest "Yay" sayer of all creative artists. His music embraces life, whatever it brings, sorrow or joy, and affirms that it is noble and worthwhile. He is a giant. Performances of Beethoven's music which do not recognise this about him, which seek to shrink his message, to bleach out the meaning, to consign him to a trivial "historically accurate" pageant, ought to be consigned to the bin - the bins would be very full!No conductor in the past 40 years has brought more insight to these extraordinary works than Tennstedt.For a contemporary review of one of Tennstedt's concerts - go to ...http://www.nytimes.com/1981/11/18/arts/music-beethoven-eroica-conducted-by-tennstedt.htmlWill we ever again hear Tennstedt's like? I somehow doubt it. This is completely inspirational, utterly beautiful, totally captivating music making. Whatever it is that lifts a performance above the routine and prosaic into the realms of poetry, meaning and transcendent beauty; whatever the small details of phrasing and orchestral balance and pacing and impetus and relaxation, whatever it is, this performance simply abounds with it. You could begin to go into details, but once again, there is no point; and, in fact, even just to list the examples of heartbreakingly lovely woodwind playing in the second movement alone would take too long (it moved me to tears). Compared to Tennstedt's (very good) studio performance this is more relaxed and sunnier, but also more alive. All Tennstedt's live Beethoven recordings (1,3,5,6,7,9,9) are out of the ordinary, but this is the best of all - and also the best in terms of recorded sound.Do not hesitate.