Beethoven and Berwald: Septets

Chronique

Beethoven's Septet in E flat major, Op. 20, was his best-known work during his lifetime. It fell out of favor, partly because Beethoven himself was annoyed by its success in comparison with his more individualistic works. However, in a sensitive performance like the one it receives here from the Wigmore Soloists, it has much to reveal. It is a light piece in the tradition of the 18th century divertimento, but it is not trivial. Beethoven's treatment of register is careful and subtle throughout, as is apparent from the opening measures, and the wind writing is lovely. Even better is the Grand Septet in B flat major of Franz Berwald, composed in 1828. This work is far from a common item on chamber recitals, and the Wigmore Soloists make a powerful case for it. It certainly was inspired by the success of Beethoven's Septet, but with three substantial movements instead of Beethoven's six light ones, it resembles Beethoven very little. One might take it as Schubert, however, with its abundance of chromatic harmony turns, and it is a real find in the always sparse 19th century chamber music repertory. Sample the finale, which departs from the home key right at the beginning. The only complaint about this excellent release is BIS' church sound, which is noisy and remote in warm, intimate music.

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