Eloquence: Beethoven: Symphonies 1-4; Coriolan Overture

Ansermet really delves into Beethoven! This is the closest I have heard since the old Furtwangler Beethoven. For a conductor who is French Swiss and loves the French composers so well, he really cracks Beethoven like a German Genius. The great Herbert Von Karajan lost so much of Furtwangler because He could not wait for Furtwangler to die. Karajan would never have copied Furtwangler, he had to create a new sound for Beethoven. He wanted to be recognized, and not duplicated. These Beethoven Symphonies go back to Furtwangler with new recording technology. When I first heard the first recording, all I could hear was Furtwangler! Great Beethoven, as Germanic as Furtwangler!

Ernest Ansermet is widely recognized as a conductor of modern music and the Franco-Russian repertoire, so one might question his ability to project classical Austro-German music. Fear not, for Ansermet early on, 1925-33, he studied this repertoire with the great Austrian Felix Weingartner, who was not only twice Director of the Vienna Opera, but later came to be the first conductor to record the entire set of Beethoven symphonies on 78s. He was in fact the best student of the best conductor of this music. Those who are familiar with Weingartner's Beethoveln will be pleased to hear it more or less intact in finely detailed Decca stereo, and played by his Suisse Romande orchestra, often underrated, though in fact Switzerland's best, indeed one of the finest in Central Europe. So in this instance we have splendid clear-eyed views of these works skilfully restored sonically by Australina Decca engineers. Specifically, Nos. 1, 2 and 4 are as perfect as they get, blowing away accounts by (for example) Beecham and Karajan. The Eroica, No. 3 is also quite good, but in its straightforward progression does not quite reach the Ausrro-German heights occupied by potent accounts by Karl Böhm (DG) and Wilhelm Furtwängler (EMI). But in summary, this sonically unexcelled Australian restoration is one of the most satisfying Beethoven recordings to have come my way for a long time. They are available as a 2CFD set from Amazon at favorable prices.John P McKelveyAmerican Record Guide

Good renditions, now among my favorites.

This group of Beethoven symphonies and Coriolan overture was recorded in 1959-64 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. 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 rather than the actual tempi set.Ansermet was also keen to highlight the differences of instrumental timbres rather than attempting any sense of blended sound. 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.Without wishing to extend this review further to unmanageable proportions there are some brief overviews below worth mentioning relative to each work.The symphonies 2 and 4 share many of the conceptual features of the renowned pair recorded by Monteux with the LSO. Both conductors follow similar ideas as regards tempi and delivery of Beethoven’s assumed intentions and thus follow the printed score rather than imposing an ‘interpretation.’ The first symphony is very similar in approach notably unfussy with an emphasis upon clarity of line and instrumental texture. The third symphony has a marked forward pace to the first movement especially which leads to considerable excitement. This is the nearest that Ansermet gets to an ‘interpretation’ rather than a presentation of the music and the result is even more modern in terms of ‘period’ performances than that experienced in symphonies 1, 2 and 4. The Coriolan overture is similarly paced and is notably an exciting account.This group of works by Beethoven can be considered to be a collectable portent of interpretive things to come. It makes the ideal complement to the companion set of symphonies 5 -8 and the whole is a significant achievement of relevance for today.

This group of Beethoven symphonies and Coriolan overture was recorded in 1959-64 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. 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 rather than the actual tempi set.Ansermet was also keen to highlight the differences of instrumental timbres rather than attempting any sense of blended sound. 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.Without wishing to extend this review further to unmanageable proportions there are some brief overviews below worth mentioning relative to each work.The symphonies 2 and 4 share many of the conceptual features of the renowned pair recorded by Monteux with the LSO. Both conductors follow similar ideas as regards tempi and delivery of Beethoven’s assumed intentions and thus follow the printed score rather than imposing an ‘interpretation.’ The first symphony is very similar in approach notably unfussy with an emphasis upon clarity of line and instrumental texture. The third symphony has a marked forward pace to the first movement especially which leads to considerable excitement. This is the nearest that Ansermet gets to an ‘interpretation’ rather than a presentation of the music and the result is even more modern in terms of ‘period’ performances than that experienced in symphonies 1, 2 and 4. The Coriolan overture is similarly paced and is notably an exciting account.This group of works by Beethoven can be considered to be a collectable portent of interpretive things to come. It makes the ideal complement to the companion set of symphonies 5 -8 and the whole is a significant achievement of relevance for today.

At one time I had many treasured Ansermet LPs in my collection but he seemed to fall from favour and releases on CD have been patchy until this wonderful survey by Australian Eloquence.One is bound to wonder how well memory will serve after almost half a century and so many fine recordings of these symphonies. I started with the Eroica and before long was completely drawn in by the performance. Tempi are not fast, but often a good deal quicker than one might expect for 1960s practice; the exposition repeat is not taken and indeed the whole set is thin on first mvt repeats, not unusual for the period. Just like the excellent Brahms cycle, there is something of a slow-burning quality, but then they grab your attention. There is a sense of forward momentum and a tremendous grip on the rhythm and melodic line, making these pointed and beautifully sprung readings akin to Toscanini or maybe Barbirolli in their quest for detail. Brass and timpani are prominent, to this listener's taste, while the slightly nasal wind sound is more recessed, but nonetheless a joy. Top frequencies show their age but largely speaking these recordings wear their years lightly. Playing is not always highly polished, but that's quite a relief after squeaky-clean big orchestra Beethoven - give me passion any day.Symphony 2 is a powerhouse and perhaps the finest of this set (the other 5 are well worth getting, especially 5 and 7)- Ansermet has a strong overview of the work and never seems in doubt as to where it is going. Phrasing is crisp and clear. 4 is hardly less persuasive. I find no. 1 (an all time favourite work) the least successful in the series having become so used to Toscanini's riveting 1939 concert. Ansermet gives a warm, lyrical, detailed performance but it seldom seems to take wing in the same way as its brethren, and the second movement is surely too slow.But this set can hold its own (in different ways) in the exalted company of Toscanini, Scherchen and Barbirolli through to Antonini and the likes.There are no underlinings, no attention-seeking; these readings are at the composer's service at all times. This set is a bargain.

...avec l'orchestre du Kursaal de Montreux durant l'hiver 1912-1913. Rappelons aussi que la "Quatrième" figurait au programme du tout premier concert qu'il conduisit : le 15 mars 1911 à Lausanne.« Beethoven est habité, essentiellement, par le projet fondamental de la conscience musicale -l'acte d'expression de soi- qui, par la richesse de sa personnalité, atteint au plus haut degré de transcendance possible, au plus vaste champ d'expression » notera-t-il dans sou ouvrage "Les Fondements de la musique". Ajoutant aussi au sujet des neuf symphonies : « les diverses modalités affectives qui y entrent en jeu et caractérisent chacune d'elles suffisent à résumer, sans redites, les divers aspects de la vision beethovénienne de l'homme ».Réalisé entre mai 1958 et novembre 1963, l'enregistrement du cycle constitue un témoignage phonographique inestimable pour prendre la mesure audible de cette conception. Comment la situer stylistiquement ?« En termes sommaires, la musique instrumentale jouée par Toscanini était tracée au burin et s'organisait par plans nettement tranchés, celle que jouait Furtwängler était faite des jeux du clair obscur qui opposent et lient à la fois les parties d'une forme globale » écrivit Ansermet en 1957 dans une notice nécrologique en hommage au maestro italien qui venait de disparaître.Lucide constat. Entre ces deux voies si dissemblables quant aux fins et moyens, la démarche du chef helvète parvient à concilier l'éclairante transparence des lignes et la générosité d'une expression qui étoffe la polyphonie sans la dissimuler. En d'autres mots, comme ceux de Warren Storey Smith dans le "Boston Sunday Post" le 23 décembre 1951 au lendemain d'un concert : « Monsieur Ansermet, comme chef, possède à un rare degré la clarté et la chaleur ».Intelligence du discours et luminosité réchauffée par une sensibilité très latine, se propageant à tous les pupitres, notamment aux bois qui assument ici savoureusement leur plein rôle harmonique. Sans la moindre compacité, les textures si variées que déploie l'orchestre suisse rendent justice au génie d'instrumentation beethovénien et à la novatrice émancipation de ses partitions.Résultat : un resplendissant relief sculpte l'interprétation des opus 21 et 36 dans un robuste gabarit classique mais néanmoins doué d'une saine et vigoureuse respiration. Même solidité classique pour l'opus 55 qui privilégie le recul narratif, accréditant ces propos du maestro : « le mi bémol se situe dans la profondeur, du côté du passé et du pathos. L'Eroïca est une histoire qui se dit au passé ».Sans se figer dans le hiératisme ni pétrifier les cas de conscience, la baguette d'Ansermet anime la tragique "Ouverture de Coriolan" par une souplesse agogique inouïe, ourdissant le schéma dramatique sur sa signification morale.

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.

Grande interprétation. Le très beau son de l'orchestre de la Suisse Romande avec son chef Ernest Ansermet. A noter la qualité de l'enregistrement et leur restauration, du beau travail du label "Eloquence"