Beethoven - Symphonies Nos. 2 & 5

Ludwig Van Beethoven (1770-1827)

Symphonies Nos 2 & 5

The Chamber Orchestra of Europe

Nikolaus Harnoncourt

This Harnoncourt coupling of the Second and Fifth is a strong entry in his Beethoven cycle. However, I admit that the Second comes off better than the Fifth.

I've always noted that Harnoncourt's Beethoven scores in the early short symphonies and the Eroica. Harnoncourt's reading of the Second proves this point. Beneath its bubbly exterior, Harnoncourt manages to highlight the shade and telling detail in the first two movements. In the first movement the trumpet fanfares lend a telling detail. Also, near the beginning of the recapitulation, there is a heightened sense of menace. The second movement has a steady pace between calm and stormy sections, and Harnoncourt allows the menace to make itself keenly felt. I occasionally wished that the F major section could assert itself more. Despite this minor quibble, I am more than pleased with this version of the Second.

After the success of the Harnoncourt Eroica, I felt a bit disappointed with this version of the Fifth. I am aware that Harnoncourt re-did the symphony at the end of his life with his Vienna Concentus Musicus. Though I haven't heard it in full, I get the impression that the performance might be tighter and applies itself more. I felt that this 1990 version was not alert and vigorous in the first two movements. I find that the four-note motto in its initial statement does not assert itself. However, the performance finds a surer footing when you reach the development and even the recapitulation. The second movement lacked some menace and tension and I felt that the various shattering tuttis lacked impact. However, Harnoncourt brings out some telling detail in the score, notably the bell notes that the oboe plays before the last variation. The symphony fares better in the second half. The horns come into their own when they assert themselves blasting out the four-note motto. It is good to see Harnoncourt including the repeat of the Scherzo and Trio in this version, as Gardiner, Suitner and Abbado did in their versions. After a superbly managed transition, the Finale allows the performance to come into its own. This is arguably the best part of the performance, with the highlighting of the piccolo and brasses.

This is still a very good disc in the Harnoncourt Beethoven series. The Second could easily score full marks. The Fifth is fine despite my reservations about the first two movements. However, these performances still manage to bring out the best in Harnoncourt's readings of Beethoven.