Composer: Ludwig van Beethoven
Orchestra: Radio-Sinfonieorchester Stuttgart des SWR
Conductor: Sir Roger Norrington
Format: FLAC (tracks)
Label: Hänssler
Catalogue: 93086
Release: 2000
Size: 319 MB
Recovery: +3%
Scan: cover
Symphony No. 5 in C minor, Op. 67
01. I. Allegro con brio
02. II. Andante con moto
03. III. Allegro
04. IV. Allegro
Symphony No. 6 in F Major, Op. 68 “Pastoral”
05. I. Pleasant, cheerful feelings aroused on approaching the countryside: Allegro ma non troppo
06. II. Andante molto mosso
07. III. Happy gathering of villagers: Allegro
08. IV. Thunder-storm: Allegro
09. V. Shepherd’s song. Grateful thanks to the Almighty after the storm: Allegretto
Conductor Roger Norrington made his name as an iconoclastic interpreter of early music but has broadened his range in later years. A performance of Bohuslav Martinu’s music by the Radio-Sinfonieorchester Stuttgart des SWR might seem to have little to do with historical performance practice, but apparently, Norrington has done research on early 20th century orchestra size and seating arrangements. Norrington has hardly mellowed in old age, and there will be as many opinions about this release as there are listeners. The usual trademarks of his style are all here: the fast (sometimes dangerously fast) tempos that distort the usual relationships among movements and sections of movements, the entirely individual phrasing, and the flat affect with minimal vibrato. Some will find these Martinu symphonies willfully idiosyncratic; others will, as usual, hail these as fresh looks at the music, and there are enough of these that the album landed on classical best-seller charts in the summer of 2022, even as the recordings were made in 2008 (the Symphony No. 5) and 2003 (the Symphony No. 6). This is not the place to attempt some kind of grand resolution of these differing perspectives, but two things may be noted. First, there is a strong neoclassical strain in Martinu’s music, and it is especially cleverly elaborated in these two later works. The composer does not hew to Baroque forms but rearranges the building blocks, so to speak, into his own structures. For this reason, Martinu makes an appealing subject for the former Baroque specialist Norrington, and those new to his approach in 20th century music might try this recording out. Second, and this is often true with Norrington, approaching the performance fresh, without the sound of other readings in one’s ears, yields the best results. Bottom line: Norrington is as original as ever and as outrageous as ever here, and listeners may pay their money and take their choices.