This is the final single-disc installment of Bernard Haitink’s LSO Beethoven cycle, and like the others in the series, it reflects the influence of the period-performance movement on the conductor’s interpretations (his third complete cycle). Tempos are swifter, rhythms more incisive, timpani use hard sticks, and the brass cut through the textures more incisively. A similar interpretive about-face can be heard in Abbado’s recent Beethoven interpretations, though Haitink manages (at least most of the time) to be both fleet and exciting, whereas with Abbado tension and drama are only occasionally present (at least on disc; his videos are another story).
The First Symphony has many of the same qualities that made Haitink’s disc of the Fourth and Eighth Symphonies so outstanding: very fine playing, intelligently chosen tempos, and a gruff energy that makes the music sound “Beethovenish”. A bit more oomph in the handling of accents in the scherzo would have been nice, but it’s a very fine reading all around. The Fifth has the makings of a great performance but doesn’t quite get there. Haitink is strongest in the second movement, taken truly con moto and phrased with an impressive elegance and directness.
Unfortunately the outer movements are strangely unbalanced. The pile-driver timpani slam away, but the strings (especially) fail to offer the same degree of tension and intensity. It’s very odd, because although I’m sure there were more players on the stage than in most period-instrument versions, the result sometimes sounds even smaller in scale. The scherzo also lacks spooky atmosphere in its outer sections, and the cellos and basses show little character in the rambunctious trio. It’s impossible to fault Haitink for the impressive way the finale erupts, but the brilliance of its opening bars (to the point almost of vulgarity on the repeat) only highlights the not-quite-thrilling remainder. I have no doubt that this performance must have sounded very impressive live, but on disc it just misses being the kind of experience that you will want to repeat often.
That said, this cycle as a whole has had some extremely impressive moments. It reflects well on Haitink’s willingness to rethink his approach; certainly it’s the best Beethoven he has ever done, and the same might be said for the LSO, not an orchestra ordinarily associated with this repertoire (if only Dorati had done a complete cycle with them in the late ’50s and ’60s!). As a document of the present stature of both conductor and orchestra, I can understand the reason for preserving these interpretations. You may not love all of them, but they command respect. Whether or not you need to add yet another basically very good Beethoven cycle to your collection is another matter–but do try to hear the Fourth and Eighth. They show this partnership operating at its very best.
