This series goes from strength to strength. In a world overflowing with Beethoven symphonies, these performances have in abundance the all-important qualities of freshness and vitality, of the kind that makes you perk up your ears and listen anew to music you thought you had memorized ages ago. The outer movements of both symphonies move at a lively pace that never sounds frantic, excitement generated as a function of rhythm and phrasing (particularly in the finales) rather than by the conductor’s desire to urge the music into a frenzy. The third movements dance, and the two slow movements really sing, and though Dausgaard adopts a “period-influenced” approach, it’s good to be able to report that there’s no lack of warmth or of the long sustained line in the music’s more lyrical passages.
The playing of the Swedish Chamber Orchestra is above reproach. The balance between strings and winds permits maximum clarity at all dynamic levels, while the sound in loud passages is remarkably full for a small ensemble, with trumpets and drums cutting through the texture cleanly. Dausgaard never inhibits his players with fussy phrasing or self-serving mannerisms, but the effect he creates (perhaps paradoxically) is music-making full of personality and character. The sonics, as we have come to expect from Simax, are as good as it gets, and the cute Ritterballet music makes an excellent curtain-raiser. Don’t overlook this practically perfect release. If you’re in the market for Beethoven’s first two symphonies, you can’t do better. [6/4/2004]
