I freely admit that I listen to Beethoven's Cello Sonatas less frequently that I listen to his piano sonatas or violin sonatas, but I do rather fancy them, and I have managed to build a decent collection. I've never really identified a favorite work, though I couldn't help but notice that I commonly end up whistling the main theme from the Allegro vivace whenever I listen to Op 69, so I settled on comparing and contrasting that work, just because. Since I have so far been unable to track down a copy of the recording by Sung Won Yang and Pascal Devoyon, I will sadly have to dream of what that recording is like in proper playback and instead focus on the recordings I do possess proper resolution copies of (ie, red book minimum).
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I decided to start off with Pablo Casals and Rudolf Serkin. The slow opening of the Allegro ma non tanto is taken at a nice tempo and mixes early and middle LvB sound nicely. Casals generally sounds nice in the slower, longer cello stretches, but in the faster passages, he doesn't sound quite as sure, and Serkin definitely ends up holding things together with rock-solid playing, which becomes even more evident when the piano plays solo. In the Scherzo, Serkin, though more distantly miked, sets the pace and sounds more incisive, though Casals whacks out some nice, short bow strokes. There's nice verve and nice use of pauses. In the final movement, Casals plays affectingly in the Adagio cantabile, and as things pep up in the Allegro vivace, things sounds light, playful, and fun, though again Serkin holds things together better. Overall, this is a nice enough version, but it's one to respect, not love.
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Enrico Dindo opens the Allegro with bold, rich, vibrato-laden playing that pops. The SOTA sound delights, something reinforced when Pietro de Maria arrives, his gorgeous tone and even playing sounding perhaps too beautiful. (Nah.) His runs sound just splendid, a treat within a treat. The duo team up nicely, and playing with some storminess, and Dindo tips the playing toward the romantic end of the spectrum without going overboard. In the Scherzo, Dindo and de Maria match up nicely, Dindo's control and accuracy more pleasing to hear than Casals', and de Maria keeps up, jumping to the fore with some sharp but still pleasing sforzandi, and the whole movement is dispatched with nice vigor. In the final movement, the duo start off with restrained and lovely playing, but it's in the Allegro vivace that they really deliver, matching each other as they zip through the music with real elan and paired virtuosity, compelling the listener to head bop and silently whistle along. Overall, a marked step up from the first recording.
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Miklós Perényi and András Schiff. To the extent I had a reference cycle, this is it. More distantly recorded, the recording really ends up highlighting dynamic contrasts nicely. In the opening of the Allegro, Perényi plays with nice tension and less dramatic contrasts than Dindo, and Schiff plays almost as beautifully as de Maria. One doesn't really think of Schiff as a powerhouse pianist, yet when the playing gets going, he plays with no little heft, and just past midway, the duo generate real (refined) heat, reminding the listener that this work is from the peak middle years. But they also back off, and both demonstrate a more sensitive touch, too. The Scherzo has some snap to it, but the more distant microphones, while adding dynamic impact, results in a bit less immediacy than in Dindo/de Maria. The same holds true to an extent in the Allegro vivace of the last movement, but the duo play with such verve, and Perényi's playing is so effortless and gliding in places, that pretty much any complaint is piffle. Even after almost two decades, this set holds up.
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Slava and Richter. Titans playing titanic chamber music. One has certain expectations. Expectations are sometimes met. In the Allegro ma non tanto, Slava starts with a slow opener with some pronounced vibrato, and then when Richter enters, it seems like a strangely perfect blend, with Slava a bit bolder and more fiery, but as the players ramp up speed and volume, the work takes on heroic proportions and weight. True, Slava's tone is a bit nasal in middle registers from time to time, but other than that, there's nothing much to complain about. The Scherzo starts off with the duo backing off a bit in volume, but the sharpness and coordination of the attacks works very well indeed. The forte passages have real drive and bite, but here Slava's tone detracts a bit. The final movement starts off with Richter doing slow and controlled as better than almost anyone, and Slava joins him. Again, the tone. The Allegro vivace has energy and verve and drive, but once again the cello sound doesn't match the other qualities of the playing. Overall, an historical recording of interest, but not a favorite.
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Paul Tortelier and Eric Heidsieck. French Beethoven. Love me properly Frenchified Beethoven chamber music. It ain't no secret, and this set is a prime example of Gallic goodness. Classical in mien, crisp, quick, energetic, with the musicians often taking turns sharing the spotlight. Tortelier's tone is more to my liking, his control exemplary, and the great Eric Heidsieck plays with a nice staccato touch, varying dynamics nicely, and both sort of lend an air of freedom to the playing. It sounds almost spontaneous. The improved sonics make the broad dynamic swings more appealing, though the flow seems less smooth than, say, Perényi/Schiff in the Allegro ma non tanto. The Scherzo, though, is snappier, more vibrant, more energized. It rocks. The final movement starts with an Adagio cantabile that sounds quite taut, and though lyrical, it could be said to be rushed or not deep enough. The Allegro vivace is quick, alert, and playful. It is serious music played seriously - but not too much so. It brings a smile to the listener's face. Extremely good stuff.
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Bylsma and Immerseel. The first of two period instrument sets. Bylsma opens the Allegro ma nan tanto with a tonally alluring sound - not too heavy, and definitely not too light - and with both a lyrical sense and exemplary control. Immerseel's keyboard doesn't tickle my fancy. It reminds me why I am not a big fortepiano fan. The whole first movement has decent energy and swing, and Bylsma, in particular, grabs one's ear. The Scherzo points up the shortcomings of the fortepiano again. Immerseel plays with decent attack, it just sounds a but wimpy. Bylsma satisfies more, and the rhythmic component is there. The Adagio cantabile again benefits most from the cello playing, though in the Allegro vivace, the lightness of the keyboard ends up less of a liability. The movement sounds suitably brisk and fun. Overall, not bad, but not a favorite, and a reminder of why I have never and will never turn to period performances first.
Quote from: Todd on November 25, 2020, 05:00:01 AM
I couldn't help but notice that I commonly end up whistling the main theme from the Allegro vivace whenever I listen to Op 69 of the Op. 5 / 1 time and again without ever listening to an actual performance of it.
Fixed.
Quote from: Todd on November 30, 2020, 04:47:39 AM
I have never and will never turn to period performances first.
Ditto for any composer, not only Beethoven.
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Or will I? Nicolas Altstaedt and Alexander Lonquich. The second of two period instrument sets. With a twist. While both artists use period instruments, they don't bother to adopt HIP tics so much. That, plus the fact that Lonquich is a unique and truly brilliant pianist helps matters. Altstaedt opens the Allegro ma nan tanto with tight playing, and then Lonquich enters with a period instrument that sounds compelling. Lonquich uses comparatively broad dynamics, including nuanced playing in the piano area, and as per usual, his rubato is noticeable but perfectly suited to the music. The two musicians sort of go their own ways for a while, and then intersect fantastically. They also share the limelight splendidly, ceding to each other in a seamless fashion, and when Altstaedt lays on the lyrical playing, it stands out. As the duo crank out the loudest, most robust playing, they approach what Perényi and Schiff achieve. Nice. The Scherzo lacks a bit of bite, but instead takes on a sort of ramped up dance feel, with Lonquich's touch especially ear-catching. Very nice. The Adagio cantabile revisits the feel on the opening moments of the work, and then the Allegro vivace is quick and alert, with both players exhibiting no little virtuosity. Again, the way they move back and forth between taking center stage is really quite striking. It's nearly a wonderfully musical race to the end, with only minor slow-downs, yet it never sounds rushed. Very, very nice. A much better period instrument version, and a high-end one overall.
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Mischa and Martha. Maisky can be prone to excess in his playing, but when paired with Argerich, that's a good thing. The recorded balance favors Argerich, and the dynamic range is startlingly wide. There's plenty of effective interplay between the two, and each hands off to the other, and Maisky generates a rich tone and romantic vibe, while Argerich's runs sparkle in the Allegro ma non tanto, and more impressive yet, her pianissimo playing before the coda is simply breathtaking. Argerich's bold start to the Scherzo, and Maisky's impishly tentative one, magnifies the fun and humor, and the boogie factor is pretty snazzy. In the Adagio cantabile, Maisky makes his cello sing more beautifully than any version to this point, with Argerich ceding the limelight, and then in the Allegro vivace, they both just zip right along, generating energy and fun, and both artists' ease of delivery makes the performance something a cut above. Superb.
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Jacqueline du Pré and Daniel Barenboim. Ms du Pré opens with a singing tone with attractive vibrato, and Danny Boy jumps in with plenty of verve. The live recording betrays itself, which is fine, and Barenboim doesn't always hog the limelight even when it's his turn. The Scherzo comes off a bit slow and stiff compared to others, and du Pré doesn't navigate some passages as cleanly as other cellists, though things improve a bit as the movement progresses. The Adagio cantabile sounds fairly nice, but du Pré's tone is a bit thin, while the Allegro vivace peps things up, with Barenboim's playing the attraction. Overall, so-so.
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Mario Brunello and Andrea Lucchesini. Brunello opens the Allegro ma nan tanto with a dark, rich sound, and Lucchesini enters gently, with a finely honed touch. The duo take their time at 13'54" in the opener, which allows Brunello, especially to draw out some of his playing, and he makes the upper registers sing. Lucchesini offers perfectly judged support, never pushing or rushing. This is more about the cellist. The slow tempo does mean that the sonata has notably less energy than other versions, but it also ends up being more lyrical and romantic. The Scherzo is a bit broad in tempo, but the dynamic contrasts are bold, and the rhythmic swagger is there. The Adagio cantabile is also slow, and meltingly beautiful, while the Allegro vivace has ample pep and energy, while still singing. Very nice, if not a top choice.
Quote from: Todd on November 29, 2020, 05:42:10 AM
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Paul Tortelier and Eric Heidsieck. French Beethoven. Love me properly Frenchified Beethoven chamber music. It ain't no secret, and this set is a prime example of Gallic goodness. Classical in mien, crisp, quick, energetic, with the musicians often taking turns sharing the spotlight. Tortelier's tone is more to my liking, his control exemplary, and the great Eric Heidsieck plays with a nice staccato touch, varying dynamics nicely, and both sort of lend an air of freedom to the playing. It sounds almost spontaneous. The improved sonics make the broad dynamic swings more appealing, though the flow seems less smooth than, say, Perényi/Schiff in the Allegro ma non tanto. The Scherzo, though, is snappier, more vibrant, more energized. It rocks. The final movement starts with an Adagio cantabile that sounds quite taut, and though lyrical, it could be said to be rushed or not deep enough. The Allegro vivace is quick, alert, and playful. It is serious music played seriously - but not too much so. It brings a smile to the listener's face. Extremely good stuff.
I'm glad that Heidsieck EMI/Erato box is coming out so I can finally hear these.
Quote from: Florestan on November 30, 2020, 07:54:34 AM
Ditto for any composer, not only Beethoven.
Same here as well.
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Gautier Capuçon and Frank Braley. More French goodness. Capuçon opens with a rich, singing tone and Braley enters with clean, brisk playing. The recorded balance generally favors the cello, which is fine. The players alternate the spotlight seamlessly and create a lyrical, somewhat light overall feel. As the Allegro ma non tanto continues, it becomes more dramatic and even more lyrical, though it still maintains a bit of reserve. The Scherzo darkens the lyricism, but it sounds smoother than other takes, and takes on a fun sort of perpetuum mobile feel, with Braley's pianism especially effective at creating a sense of forward momentum. The Adagio cantabile sounds quite lovely, with Braley's arpeggios offering a hazy underpinning for Capuçon's playing, and then the duo ratchet things up quite nicely in the Allegro vivace. The contrast between the instruments is especially fine here. Superb.
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Li-Wen Qin and Albert Tiu. Qin opens the Allegro ma non tanto with a dark, rich, singing tone and Tiu answers with something lighter and brighter. Qin continues to play with a rich tone and assumes a leisurely overall sound. His phrases breathe, and Tiu is given some room for maneuver. The movement eventually starts to sound a bit too languid for maximum satisfaction, but then things pick up in the Scherzo, which has a bouncy rhythm, and Tiu's attack has a perfect amount of edge to accompany the bright tone. The Adagio cantabile starts with lovely playing from Qin, but Tiu comes subtly to the fore, and then in the Allegro vivace Tiu leads, with tight, snappy playing and Qin sort of follows, belting out tunes in a dreamy way, only eventually catching up. The effect is quite nice, and the remaining music sounds light-hearted and flowing and joyful. I swear, it sounds like the musicians are having fun.
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Maria Kliegel and Nina Tichman. Kliegel launches the work with a full, fully controlled tone, and Tichman enters with a nice lightness of touch. Kliegel's upper register work lacks the sweetness and purity of some other versions, but it sounds swell nonetheless. She also makes her instrument sing in a far more than satisfactory manner. Tichman pairs nicely but often seems to recede into the background a bit. The Scherzo sounds plucky (and no, that is not in reference to inappropriate pizzicatti). Kliegel slashes away effectively in some passages, and Tichman ups her game a bit. Nice. Kliegel ups her singing approach in the Adagio cantabile, and then the due deliver a peppy Allegro vivace closer. The pair keep things fairly light and always move things forward.
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Lynn Harrell and Vladimir Ashkenazy. Harrell opens dark, rich, and sure, with a singing sound and hefty vibrato. Ashkenazy enters as he has to, by which I mean he supports Harrell and plays with perfect dynamic contrasts, matching tempo, and a neutral demeanor. As the duo pick up the pace a bit in the lengthy Allegro ma non tanto, they make just about the most of the staccato piano and cello pizzacati, with Harrell's sound almost impossible weighty and controlled. (One senses Decca engineers intervening, to the benefit of the listener.) When Harrell plays the higher registers, his technical security impresses. The duo plays the Scherzo extremely quickly overall, offering not just stylistic contrast, but also a major tempo contrast. They play the dickens out of it, with comparatively large scale, perfectly timed and judged attacks, and a nice forward momentum, and of course Ashkenazy is in his element dashing off the music with ease. The Adagio cantabile is predictably well played, but it's not quite as beautiful as some other versions. The Allegro vivace is fast, spry, and energetic while also sounding somewhat hefty. A nice combo of traits. A nice version.
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Heinrich Schiff and Christian Zacharias. I listened to this disc with mixed feelings because it is always good to hear Zacharias in Beethoven, but it is disheartening because he has obviously committed crimes against humanity by recording far too little Beethoven. The Allegro ma non tanto starts with Schiff firmly delivering some tuneful playing, with Zacharias delivering something even more fluid and tuneful to follow. The duo then move through the rest of the movement with fluidity and spontaneity, and the recording, if not SOTA, is one of those wonderful live recordings that allows one to gain a full appreciation of the dynamic range that two instruments can generate. Of course Zacharias can move up and down in volume at will, but perhaps even more impressively - make that definitely more impressively - Schiff can play high up on the neck with great precision, then bellow out a big, fat tone with perfect control. Unlike with Harrell (and then only possibly), there is no chance of engineers twiddling at the control desk to enhance the sound. The duo move along, back and forth, up and down in perfect harmony. The Scherzo has plenty of bitey sforzandi but also a slightly relaxed tempo, all the better to enjoy the back and forth. The Adagio cantabile boasts some lovely playing culminating in Schiff tapering off to nothing before the duo zip along in the Allegro vivace with a lightness of touch combined with just enough weight. It's quite splendid, though ultimately it just demonstrates how bad Zacharias is for not recording enough Beethoven.
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François Salque and Eric le Sage. Salque opens with a tight, nasal sound in the Allegro ma non tanto, and le Sage plays with a crisp, quick, alert style. (And man, do I dig his trills.) Salque never generates a big, bold tone as recorded here, but he does play with passion. The pianist demonstrates again that he shines in Beethoven more than in other repertoire, at least to my ears. The Scherzo shines. Brisk, energetic, forward moving, and benefiting from le Sage's steady pulse and clean fingerwork, it sounds swell. The Adagio cantabile sounds fairly taut, with Salque's playing sounding ligther, but then in the Allegro vivace it's off to the races. Mr le Sage lays the foundation and takes the lead much of the time, with strikingly nimble playing. There's much to enjoy in the closing movement, even if the overall sonata is so-so. Hearing this does make me hope that le Sage records some early and middle sonatas, at least. Opp 2/3, 10/3, 22, 28, 31/1, 31/3, and 53, please, sir. Sound for this set is odd. Modern and hi-res, the live recording is fairly clean and mostly clear, but the soundstage is uncommonly narrow and small, and dynamics are rather limited.
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János Starker and Rudolf Buchbinder. Starker starts off things with a midrange rich sound of no little attractiveness, though some others have delivered tighter playing. Reliable Rudolf doesn't fade to the background, but this is more about the cellist. The two trade off well, with some of the passages where they copy each other quite good. The pacing is just a tad broad, but it is engaging, but the omission of the repeat perplexes the listener a bit. The Scherzo sounds a bit heavy and laborious, but Buchbinder does generate a nice rumbly accompaniment effect in places. The Adagio cantabile ends up the best thing in the recording, with a romantic feel imparted by Starker, along with and partly because of his hefty vibrato. The Allegro vivace is quite energetic, but Buchbinder takes the lead and sometimes outpaces the cellist. Overall, a nice enough versions to sit back, relax, and just listen to.
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Anne Gastinel and FFG. Gastinel launches the Allegro ma non tanto with a tight, medium sound that fairly sings, and FFG enters with sparkle and what I swear sounds like a sense of seriousness sprinkled with prankishness. His tone is fine, his style fluctuating between staccato and legato seamlessly as the music demands. Gastinel sounds more poised and her playing is magnificently fluid and pristine, if not particularly weighty. The duo work together as well as any to this point, and whenever called for, they can ramp up the playing to high excitement levels, or back off to something more contemplative. The Scherzo has a near perfect level of energy, snazzy dynamic contrasts, and a just right level of refinement. In the Adagio cantabile, Gastinel's upper register playing sounds as sweet as anything anyone could play, even my imaginings of Yang, and FFG lends perfect support. The duo then deliver a super-snazzy Allegro vivace, and here FFG's affinity for LvB pays quite large musical dividends. One of the very best.
I'm enjoying reading these Todd - Beethoven's music across a variety of genres. If you've got the time could you add a new genre, his piano concertos. Op 58 might be a good place to start.
Quote from: Holden on December 12, 2020, 03:06:04 PM
I'm enjoying reading these Todd - Beethoven's music across a variety of genres. If you've got the time could you add a new genre, his piano concertos. Op 58 might be a good place to start.
After I did the years-long survey of Op 73, I started compiling handwritten notes on Op 58, but never got around to converting it to electronic form. I think I made it through around thirty versions. At this point, I'd have to start over.
I was thinking of Op 132 next, which would force me to buy another five to ten versions because, well, because. Maybe stockpile them both for 2027. I've also thought about a sonata-by-sonata survey of all recordings of all of the piano sonatas, but I don't know how long that would take me, even if I stopped buying new non-cycle recordings. (As if that would happen.)
If I had enough recordings of Op 58 then I would give it a go but unfortunately I don't. How many recordings of Op 58 do you have?
Quote from: Holden on December 12, 2020, 09:58:23 PMHow many recordings of Op 58 do you have?
I don't know for sure. Somewhere in the 40-50 range.
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Xavier Phillips and FFG, because you can't have just one FFG recording. Phillips launches with a dark, rich, supremely well controlled tone, and FFG enters with even more seriousness of purpose than before. Phillips can and does create a singing tone, but what he and FFG are more about is vibrant, vigorous playing, with not a little wit, as displayed in the passages that, as in 31/3, can be played in a manner suggesting laughter. In terms of musical vigorousness, the duo gives up nothing to anyone. The Scherzo continues the high energy good time, which makes the subdued coda all the more compelling. The Adagio cantabile is all beauty and songfulness, and then it's off to the (musical) races, as Phillips and FFG lighten up, speed up, energize things even more, and generally deliver one of the most sparkling and fun renditions around. Absolutely fantastic.
Chopin's Op. 69 are among the 9 of the waltzes that I like from his output, especially No 1.
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Pierre Fournier and Arthur Schnabel. Fournier and his three recordings come last. The old mono sound is fine, though Fournier's cello sounds high and nasal, with less lyricism than one would expect from him. Part of this is due to Schnabel pushing the overall tempo of the Allegro ma non tanto to an almost aggressive degree. Finally, after seven minutes in, Fournier gets to really do his thing, and marvelous it is. The movement is high on excitement, but a bit lacking in nuance, as is the even more pressed Scherzo. Schnabel likes his Beethoven played fast. The Adagio cantabile starts off more relaxed and Fournier again gets to let his cello sing, while Schnabel also backs off. In the Allegro vivace, it's back to high speed, high energy playing. The excitement factor is again pretty darned high. Nice, but not Fournier's best outing.
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Pierre Fournier and Friedrich Gulda. Fournier's cello sounds much better here, and he opens the Allegro ma non tanto with a richer sound that sings. Gulda plays as accompanist and accommodates the much broader tempo. He plays clean, with fine dynamic contrasts. And Fournier soars over Gulda, the two musicians working sympathetically together, but also offering a nice contrast. The Scherzo has plenty of rhythmic pep, thanks to Gulda, and sounds like an adroit mix of fun and seriousness, with a pleasing sense of relaxation in parts. The Adagio cantabile, of course it sounds splendid while the Allegro vivace has enough pep to impart a nice sense of energy, but also a decently relaxed feel wherein Fournier can deliver his superbly refined playing. (The shifting perspective and sound in one section indicates that the sessions were not optimally spliced together.) A step up from the pairing with Schnabel.
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Pierre Fournier and Wilhelm Kempff. The survey ends with Fournier's last recording, a live recording where he pairs with Wilhelm Kempff. This recording has long been a favorite, and so it remains. The repeatless Allegro ma non tanto starts off with Fournier playing in predictably lovely fashion, and Kempff enters as only Kempff can, with a not particularly vigorous, definitely non-super-virtuoso approach that nonetheless sounds just right. The whole thing is laid back, almost to a fault, and neither artist seems too concerned about super-tight ensemble or playing everything with precision. Rather they just let the music flow, even if a bit choppily. It's old-fashioned chamber music playing by people familiar with each other. No reason to go for broke. The Scherzo retains much of the same feel, and while the rhythmic component is pretty nice, it's really just a light-hearted take. Those wanting bite should listen elsewhere. The Adagio cantabile again benefits from Fournier's elegant, beautiful tone, here augmented by Kempff's lovely, gentle playing. It's almost unfair to the hapless listener, really. The Allegro vivace is not the swiftest, surest, or most vigorous of versions, but, aided in good part by late-career Kempffian fantasy and insouciance, it just glides along to the end, a fantastic musical time. It's a recording that defies the most critical listener to dislike it.
A first ever survey of a cello sonata yielded interesting results. Like a musical Grande Armée, French cellists sweep all before them, with my new reference being an all French duo, and the top tier being composed almost solely of artists from the land of wine and cheese. I wonder what that might mean? I know it means nothing beyond my taste happens to lean toward the French in this work. (My other takeaway is that FFG needs to rerecord the Beethoven sonatas.)
Top Tier (A French sweep)
Phillips/FFG
Gastinel/FFG
Tortelier/Heidseick
Capuçon/Braley
Fournier/Kempff
Second Tier
Perényi/Schiff
Maisky/Argerich
Altstaedt/Lonquich
Fournier/Gulda
Schiff/Zacharias
Third Tier
Everything else
Quote from: Holden on December 12, 2020, 03:06:04 PM
I'm enjoying reading these Todd - Beethoven's music across a variety of genres. If you've got the time could you add a new genre, his piano concertos. Op 58 might be a good place to start.
I've enjoyed reading these too.
This cross-posted from the 'Best of 2020' thread - not meaning to hi-jack this thread, but I had to post this somewhere in appreciation of
Todd:
I'm over 70 now and I have to confess I've never really got on with Beethoven's music - apart maybe from some of his earlier Piano Sonatas. His orchestral music has always been especially problematic and to this day I've never listened to Beeethoven's 9th Symphony in its entirety. In hindsight this 'Beethoven block' is probably because in my formative years the Gold Standard for Beethoven was Klemperer - and believe it or not I clung to him for nearly 50 years.
So I thank
Todd for his tireless survey of Beethoven recordings over the last year, which has opened my ears to some very fine music. And how tastes have changed!
Thankyou,
Todd !! - the following five outstanding Beethoven acquisitions are down to your advocacy:
(I should add that I buy mainly downloads and selected tracks where I can - not the complete compilations as illustrated below.)
Hunt Sonata; Yusuke Kikuchi
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This is music I simply didn't know at all. After reading Todd's thread and sampling a couple of them, I settled on this one. Very nice addition to my music library.
Late Quartets; Quatuor Ebene
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I've always up to now struggled with the late quartets. These recordings, despite their too-obvious flaw of being over-produced, have really opened this music up for me.
Piano Concetos 3 & 4 Oliver Schnyder and James Gaffigan
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These two concertos are probably my favourite orchestral music by Beethoven. I've long relied on Perahia with Haitink, but these newer recordings are a revelation, I've listened to the 3rd in particular several times this year.
Symphony 3 Eroica; Thomas Adès
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I really wanted to like Toscanini as well but I just found the NBC SO tympanist too distracting. For every tymp hit (and there are a lot of them, in the Eroica) it was a lottery just how far behind the beat he would be. (Or maybe, just maybe, the tympanist was getting it right and the entire rest of the orchestra was pressing on too hard?)
Violin Concerto; Patricia Kopatchinskaja with Herreweghe
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This is just wonderful - possibly my top choice of the year.
then, apart from the above here are my three other Beethoven standouts of 2020:
Piano Concerto 5 'Emperor'; Kristian Bezuidenhout on fortepiano and Heras-Casado conducting the Freiburger Barockorster.
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This is music that I really have never liked much - it's just too bludgeoning, the music of a deaf composer. In this recording the fortepiano is light and crystalline while the accompaniment from the Freiburgers - who I always find a bit too lush and heavy in their core repertoire - here that warm sound is a plus. There is a terrific separation between soloist and orchestra, which in this particular music works really well. The first time I've ever really enjoyed this concerto.
The coupling is the 2nd Concerto which is completely new to me. I've had a listen, and will certainly be playing it again.
Symphony 6 'Pastoral'; AAM Berlin
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From the same stable as above, the AAM self-drive through this familiar landscape. They are predictably quick, textures are light and gossamer-thin, but the storm when it arrives has terrific impact, a real throwback to the music of Sturm und Drang. What a contrast to Klemperer!
Symphony 5; Teodor Currentzis
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Raising this tired old warhorse to a whole new level. And I see Currentzis has a 7th coming out later this year as well.