Beethoven: The Symphonies—Pittsburgh Symphony Orchestra/Steinberg
William Steinberg (1899–1978) was a conductor much loved and respected by musicians with a clear and concise beat and an unassuming manner who was much in demand from the world’s leading orchestras and soloists for much of the 20th Century. His recordings with Heifetz, Milstein and Firkusny are among the best to be found anywhere and have stood the test of time for over 60 years in the catalogue.
He held conductorships in London and Boston and founded the Israel Philharmonic with Hubermann, but it was as the successor to his earlier teacher and friend Klemperer in Pittsburgh which cemented his fame and reputation.
It's no surprise then that his approach to Beethoven should encompass all his virtues and from the start of the first two Symphonies the playing of the Pittsburgh orchestra is clean, taut and robust in equal measure.
His reading of the Eroica is a model of classical style with a bolt of romantic electricity but Steinberg never loses sight of this as a piece still very much anchored in Beethoven's idolization of Haydn, his favoured teacher.
Symphony No. 4 shows how Steinberg was able to hold a phrase in mid air and keep the drama going without losing any momentum. It is a particular favourite of mine in this set.
The Fifth receives a full bloodied performance—not quite in the dramatic league of Carlos Kleiber, but containing much power and musical intelligence. The Pastoral is taken at a brisk pace which never slackens and does not fall into the habit of becoming a cliché like many offerings from conductors trying to turn it into a symphonic poem.
Photo credit: historicpittsburgh.org
In 1952 Steinberg and the Pittsburgh Symphony Orchestra began this Beethoven cycle recorded in their Syria Mosque home. The symphonies were recorded by Robert Fine (later of Mercury) for Command Classics featuring a process of recording on 35mm film.
The clean attack of the Pittsburgh strings is very well projected in Symphony No. 7 and Steinberg is an exponent of separate bowing in certain phrases, particularly in the ‘Finale’, which keep the evenness and energy of the musical line well projected without losing inertia.
The 8th Symphony has sweep and a sense of spirit while maintaining a ‘big band’ sound. It gives Beethoven's favourite ‘little’ symphony a sense of proportion.
The Choral Symphony is again given a fine and energetic performance but it is the one work that I felt lacks some sonic clarity. The choral movement was restored from a LP pressing as the master tape has been lost and perhaps this has slightly dimmed the edge of the sound? Yet, overall, this is a box set to cherish in many respects and I am now seeking out many other performances from Steinberg to enjoy.
Beethoven: The Symphonies
WIlliam Steinberg
PIttsburgh Symphony Orchestra
DG 00289 483 8344
