Like the Seventh, Eighth, and Ninth Symphonies in Roger Norrington’s recent live Beethoven cycle with the Stuttgart Radio Orchestra, Nos. 5 and 6 immeasurably surpass the conductor’s 1980s versions with the London Classical Players. For starters, the German musicians simply outplay their British counterparts on every level. They prove that modern instruments can reproduce the timbral characteristics of period instruments that Norrington favors (heightened dynamic swells, mininum string vibrato, and gritty horn calls), with all the technical, dynamic, and intonational advantages today’s instruments offer. As a result, newfound ferocity and purpose emerge from Norrington’s relentlessly fleet tempos throughout the Fifth Symphony. The image of fate knocking on the door no longer works for the first movement. Why? Because Norrington and company have systematically ripped the door to shreds! Once you get used to the Andante con moto played almost twice as fast as “tradition” deems, you notice the folk-like character of its themes as never before. And when the ascending scale figures reappear in slightly altered form during the finale, you know where you first heard them.
If anything, the “Pastorale” is finer. The woodwind commentaries and brass flourishes take on a bracing, bucolic hue via Norrington’s sound world, and are more judiciously balanced with the violins than in Thomas Fey’s similarly conceived performance (also on Hänssler). Norrington’s “Storm” movement is full of ghostly squeals, shuddering tremolos, and drum whacks that will send you ducking for cover (thanks to the robust and realistic engineering). Music making on such a confrontational and compelling level needs all our support, so buy this disc now, while you can. [4/5/2003]
