Beethoven: Symphony No. 7 & Triple Concerto

Presentación del Álbum

Since they first began releasing compact discs in early 1999, the London Symphony Orchestra's homebrew labels -- LSO and LSO Live -- have been pioneers in the independent label field and a powerful model for other orchestras to follow. The youthful LSO has always been enterprising and progressive: since its conception in 1904, its administrative structure has been -- and continues to be -- one of innovative self-government. This disc presents the results of live concerts from November 2005 with venerated guest conductor Bernard Haitink. It is tempting to assume that Haitink, in his late seventies, is stuck in the older, more heavy-handed performance traditions of the previous generation. Indeed, as his earlier recordings of both Beethoven's Seventh Symphony and the Triple Concerto with the Royal Concertgebouw demonstrate -- though they are nowhere close to the scope of Karajan or Klemperer in grandiosity, weight, or forcefulness -- they were certainly not lighthearted in any sense. It is refreshing to see that sometimes people can change their ways -- Haitink's work here, akin to the more typical performance practices of today, comes through as eminently more translucent, lucid, and dance-like than his previous efforts. While conductor and orchestra create a silky and agile string sound, there are still a few less-than-stellar moments, primarily in the first movement. The very opening chords sound too clipped, and in general there is angularity where there should be line and continuity. On the other hand, the shaping of the delicate second movement is quite lovely and includes a rich, cascading dynamic emphasis: very sensuous -- if a bit overdone. Since they are not bound by the conglomerates that dictate what superstars go where, the LSO is able to feature some of its own outstanding talent: LSO concertmaster Gordan Nikolitch and principal cellist Tim Hugh join pianist Lars Vogt for the Triple Concerto. Hugh's sound is vocal, warm, and compassionate but not sentimental. Nikolitch and Vogt respond accordingly, centering their energy (and intonation) around him, impressively matching his character. Overall, the group seems to breathe the music well together and the performance becomes more and more focused as time goes on. The second movement shows off Vogt's striking lyricism, while the final movement, if a bit heavy-handed and sluggish, still affords an enjoyable finish. Considering this is a live recording, the sound is excellent with minimal audience noise. If you are looking for a modern approach by an old master of two of Beethoven's most important works, look no further.
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