Ludwig van Beethoven (1770-1827)

[SonicMan46]

Of the ones you listed, I know only this one, and it is quite good.  Fairly light, energetic, exuberant, it is worth a listen or even a purchase.

My current reference set, and one it will take a lot to dislodge, is from Trio Owon.  Top notch across the board.

Thanks Todd - unaware of that offering but just made a Spotify playlist and will audition soon - Dave

[SonicMan46]

Why?

- now Andrei - belongs in one of those 'one-word' threads - I have no reason - but just got a little bonus $ from my retirement account and have some empty space where my Beethoven discs are stored - 

[Jo498]

On period instruments the "Castle Trio" is very good, already from the 1980s. The problem is that while op.1,11,97 and some WoO were reissued on two EMI/Virgin twofers (the Archduke coupled with the Schubert Eflat major), the op.70 appeared only on a Smithsonian foundation disc that is very hard to find used, I am afraid. I'd recommend at least the twofer with op.1+11, WoO 38+39.

Staier (+Sepec, Queyras) did a great op.1/3 and 70/1 on harmonia mundi (also reissued with 2 violin sonatas as a twofer) and the label has another disc with Melnikov/Faust/Queyras playing op.70/2 and 97 on historic instruments but I have not heard the latter. I'd guess these two discs would make a top notch period instrument complement for what you have.

[Brian]

The main question when yet another new Beethoven concerto cycle appears is: will this one be any different? Will it offer something new? Does the pianist have a point of view?

Here, the answer is yes. Partially. I've only listened to 1 and 4, so I'll get to the others later. But wanted to jot down an initial impression based on those two. Haochen Zhang offers an unusual differentiation in playing style between the two. He plays the First in a small-scale, Mozartian way, almost like he's on a fortepiano - I turned up the volume to double-check, and consulted the booklet to verify that it really is a Steinway - only "breaking character" for the first movement cadenza (big, long version). He then does not do this in the Fourth, embracing a bigger, more romantic conception of piano color and dynamics. I think it is relatively rare to find a pianist who will alter their approach so significantly and humbly. Usually you get one who decides that one of those poles is the "right" style for the whole cycle.

Another major plus is Stutzmann, who leads HIP-inflected performances with hard-stick timpani and characterful attacks. The bassoons are unexpected stars of the Fourth Concerto.

I am not yet committing on whether this is good, great, etc., or whether anyone should buy it. To me, the best Beethoven concerto cycles have been modern-instrument, period-informed performances from the last 25 years: the tasteful and somewhat more classical Bronfman/Zinman on Arte Nova, and the barnstorming virtuosity of Oliver Schnyder on Sony (with a piano from c. 1900). So far, Zhang hasn't made me want to throw out either of those two. But in his ability to achieve both styles when he wants to, there is something quite thoughtful.

[Jo498]

This seems odd because I think the C major concerto is more large scale, bold, extrovert whereas the G major is more intimate and "Mozartean". Admittedly, this concerns maybe more the orchestra and the "whole" than the piano part.

[Brian]

I think you're right on both counts - the mood of 1 is much more extroverted, but maybe he is working off the qualities of the available keyboards at the different times, rather than the character of the works. The "big" extroversion is why Schnyder is my preferred First.

[Mapman]

I listened to several of Beethoven's Irish folk song arrangements today. One melody was familiar, and I couldn't find any source on the internet giving the source of the melody Beethoven used. Fortunately, I was able to locate the name that the melody is best known by.

Beethoven's "The Soldier", either published as 12 Songs of Various Nationalities, WoO 157/2 or 63 Irish songs, WoO 153/37, uses the melody "The Minstrel Boy".

[Karl Henning]

DNA analysis of Beethoven's hair reveals health issues — and a family secret

[Karl Henning]

DNA analysis of Beethoven's hair reveals health issues — and a family secret

Previous work suggesting that Beethoven had lead poisoning was determined to be based on a hair sample that didn't belong to him — one that instead had belonged to a woman.

[lordlance]

A new Beethoven 4th that I enjoyed:


The only way to characterize this performance may be relentless. There's no warmth or lyricism about it and I am all for it. The tempi are breakneck so it's clearly HIPster inspired. When I made a friend hear it he said that it sounded like a timpani concerto which is a good thing in my book. ;-)

Not for the Klemperer or Walter crowd but perhaps Scherchen folks may enjoy it. 

[Spotted Horses]

A new Beethoven 4th that I enjoyed:


The only way to characterize this performance may be relentless. There's no warmth or lyricism about it and I am all for it. The tempi are breakneck so it's clearly HIPster inspired. When I made a friend hear it he said that it sounded like a timpani concerto which is a good thing in my book. ;-)

Not for the Klemperer or Walter crowd but perhaps Scherchen folks may enjoy it. 

Looks like they've gone for a 50's vibe in the cover art.

[lordlance]

Just heard Schuricht's Beethoven 1 with Paris Conservatory because it was this week's release by Pristine and also because Dave loves the orchestra. It seems the original performance is not on streaming sites so for now YouTube will have to suffice:

What a great performance. A lot of vitality and drive. Lean. Schuricht's always been someone whom I viewed as a Kapellmeister of sort. Performances that were perhaps respectable and nothing more but this shows he could sometimes be worth listening to.

[Spotted Horses]

What a great performance. A lot of vitality and drive. Lean. Schuricht's always been someone whom I viewed as a Kapellmeister of sort. Performances that were perhaps respectable and nothing more but this shows he could sometimes be worth listening to.

Sometimes? Have you lost it?

Try Schuricht's recording of Beethoven 8 with Paris.

[lordlance]

Sometimes? Have you lost it?

Try Schuricht's recording of Beethoven 8 with Paris.

Whenever I've heard Schuricht he did not inspire confidence or warrant repeated hearing.

[Spotted Horses]

Whenever I've heard Schuricht he did not inspire confidence or warrant repeated hearing.

To each his own. Many of his recordings have impressed me with their interpretive focus.

[lordlance]

To each his own. Many of his recordings have impressed me with their interpretive focus.

Do you have any absolute favorites? I can give it another spin.

[Spotted Horses]

Do you have any absolute favorites? I can give it another spin.

Memories have vanished in the fog of time. The Beethoven 8 impressed me,.

[Karl Henning]

Cross-post:

Boston Symphony Orchestra kicks off 2023/24 season pairing Beethoven, Mozart, and Strauss with a Latvian tango

[vers la flamme]

Is there any good HIP recording of Fidelio? Any great recent recordings, HIP or otherwise? I have the Klemperer and am curious to hear a more recent performance with perhaps better sound.

[Jo498]

I am not aware of and certainly have not heard any HIP Fidelio (there is a Gardiner recording of an older version "Leonore" but I haven't heard it either). Neither can I remember a strongly recommended Fidelio of the last 30 years (in fact the latest somewhat recommended ones seem from around 1980! Bernstein/Vienna and Solti).
Tbh I doubt that Fidelio would benefit from the HIP treatment. The main difficulty with Fidelio is the casting of the two main rôles that are too heavy for typical "Mozart singers" but not as heavy as typical Wagnerian rôles (although most love Vickers' Florestan, I think he sound sometimes to much like "Florestristan") and that casting (esp. the tenor) has not become easier in the last 40 years.