Beethoven: Symphony No. 5–Currentzis

Beethoven's Symphony No. 5 is probably the most well known piece of classical music in the world, or at least the first four notes. It was used as a wartime victory sign and as the definitive idea of ”fate“ in a musical capacity knocking on the door. After this, however, the remaining thirty five minutes of it are sometimes glossed over and the effects and orchestration of the work which terrified listeners on its first hearing is now taken for granted in a world which has since heard The Rite of Spring and music of the Second Viennese school.

Greek conductor/actor Teodor Currentzis has a reputation for analysing and deconstructing the score to its component parts and has both exhilarated and generated the ire of audiences and critics around the world. However, many grudgingly admit to having a unique musical experience which some loudly protest they don't want again. This has resulted in record sales not seen since the days of Karajan.

The Beethoven symphonies have been treated to a continuous level of scrutiny from period music groups since the 1980s. The older, big band recordings are viewed now by some as rather like the Golden Age of Hollywood. Nothing will deter record collectors from eulogising about the Karajan 1963 set or the Klemperer performances with their granite like inevitability. For me, and for many, the apotheosis of the 5th Symphony came with the Carlos Kleiber recording in 1975 with the Wiener Philharmoniker on DG.

Setting all this aside for a moment, we must not lose sight of the fact that Beethoven was an innovator both in musical form and in performance. This is born out by some of the fingerings he left behind in the Piano Sonatas which even today leading exponents say are virtually unplayable. His fascination with repeated rhythms and forward momentum paved the way for the twentieth century works of Stravinsky and later Glass and Adams, and he himself stated that he didn't think audiences would understand the late opus String Quartets for a least seventy five years.

So, where does that leave us with this new recording of the great warhorse of symphonies?

Photo credit: BBC

I enjoyed it immensely and after repeated hearings my enthusiasm for what Currentzis has done grows steadily.

He has completely stripped down the layers of performance habits and brought a shining freshness to passages in the work that I'd almost forgotten existed. For example, he uses the instruments as individuals in the wind section giving a clarity of attack to each wind entry—although the tempos are very brisk (slightly faster than Kleiber) he allows individuality of the woodwind section to shine. What a pleasure in hearing the Contrabassoon in the finale in what is a joyously fruity sound. Is this what Beethoven had in mind when he introduced the trombones and expanded the orchestra to outrageous size for the period? The tremolo strings suspended over the menacing timpani roll at the conclusion of the 3rd movement leading into the finale is spine tingling and even if some say it’s a bit contrived, it is performed with imagination and verve sadly missing in many modern recordings.

As a performance, it stands with all the major hallmark performances. I will still be listening to Kleiber and others but when I want to walk a clear path in my listening experience, I’ll choose this performance and his handpicked Siberian orchestra (now free of the Perm Opera House and privately funded) as evidence that Beethoven is still the supreme innovator in musical literature.

Beethoven Symphony No. 5 in C Minor

Musica Aeterna conducted by Teodor Currentzis

Sony Music Classical

B085654CBH