Ludwig van Beethoven
Piano Concerto no 5 in E-flat major, op. 73 'Emperor'
Violin Concerto in D major, op. 61
Bruno Weil
Jos van Immerseel, pianoforte; Vera Beths, violin
Tafelmusik
Sony Classical/Vivarte
Recording: September 8-10 1997, Kursaal Bad Tolz/Germany

Musical quality: 8 - Sonic quality: 9

After the interesting, if not always convincing first two volumes of
the Beethoven concertos I was very curious about this final instalment.
Unfortunately, the last piano concerto doesn't quite live up to the
standard of the first four.  It almost seems as if Bruno Weil and Jos van
Immerseel have taken Beethoven's republican views into the music.  This
Emperor doesn't sound very Royal at all.  Too bad that Beethoven didn't
know it'd be called 'Emperor Concerto' in English, a title it doesn't have
in German.  Jos van Immerseel plays the same Trondlin pianoforte as in the
third and fourth concerto.  Not a smart decision, I'm afraid.  Vera Beths
plays a beautiful 1727 Stradivarius.

The first movement begins positively Mozartian.  This may be slightly
out of place, but it is interesting nonetheless.  After the lengthy
introduction, the orchestra plays the first subject with true brio, while
the second subject provides good contrast.  It is both the pianist and his
instrument that let down this performance.  The quiet passage at 5:29 that
sound so magical in other performance is earth-bound and dull here.  It
is precise rhythmic work, but it doesn't go beyond that.  However, some
mysterious atmosphere is conjured up in the development.  I began to hope
that it indeed might be a great performance after all.  But no, the climax
of the movement, if not of the concerto, is let down by the soft-toned
pianoforte.  The giant fortissimo-chords certainly need more impact
than given here.  Generally, this instrument sounds very soft in louder
passages, quite to the disadvantage of the music.  It is the quieter
moments that make this performance attractive, like the end of the cadenza.
I have never heard it so ethereal.  Alas, the second movement is truly
disappointing.  It begins with hoarse violins goes on with the muddy sound
of the piano and does not quite climax in the way too loud pianissimo of
the oboes.  On the trill-like thirds Jos van Immerseel applies a ridiculous
rubato.  The only good moment in this movement is the cantabile section of
the piano (3:34 in track 2).  Afterwards, the string chords sound like a
giant trying to sneak.  The interplay between woods and strings is quite
good, though.  Shortly, where this movement ought to be 'spiritual' this
remains earthbound and dull.  The finale is somewhat better, but again the
piano doesn't deliver anything near a fortissimo.  The orchestra again is
good, delivering crisp rhythms and excellent contrasts in the quieter
passages.  The timpani really thunder when demanded, the trumpets make
themselves heard too.

The violin concerto is a different matter altogether.  From the opening
timpani strokes which are perfectly clear and piano it is clear that this
is an excellent performance.  The bassoon is still well audible, but
doesn't sound like a hoarse saxophone anymore, the tempo is well judged and
the orchestra as alert as ever.  Right after the calm introduction, the
drama beings.  Indeed, it won't leave us quite as soon:  This is the most
dramatic account of the violin concerto I've heard.  The second subject is
a delight.  It is played slightly faster than in the introduction, thus
underlining the structure of the movement.  When it appears slightly
varied in the low string it still is audible on this recording, without
dominating.  When Vera Beths makes her first entrance there is nothing of
the slightly odd sound of the fortepianos.  This is as full and warm a
violin tone as one could wish.  Her intonation is infallible.  Especially
during the development, the firm bass line is something to marvel at.  The
only real caveat of this performance (save the cadenzas) occurs shortly
before the recapitulation (10:44 into track 4), where the rocking quavers
of the first violins are inaudible.  When they are taken over by the second
violins and violas they snap into focus, though.  Right into the
recapitulation the timpani are truly thundering, which makes again for
quite some drama.  Now for the cadenza.  Vera Beths plays in both movements
cadenzas by her husband Anner Bylsma.  They are quite dreadful.  They don't
sound like Beethoven in their strong chromaticism, the way they treat the
violin also isn't very Beethovenian and in this case it's fairly long.
These fine musicians however save the day with the magnificent of the
movement.  It gradually returns from a dream-like land - where the cadenza
should have taken place - to the real world.  I can't write very much about
the slow movement.  It is utterly absorbing and quite excellent throughout.
However, I have to point out the stunning solo clarinet and the sweet tone
of the orchestra's violins.  The transition to the finale is very well
done.  This begins as we've come to expect from Bruno Weil:  Crisp, clearly
articulated rhythms.  It is nicely jumpy but never silly.  Where the
numerous repeats of the theme might easily bore you, this doesn't happen
here.  It always sounds fresh, the slight changes Beethoven made are well
to the fore.  In this movement, it is especially the solo work of the oboe
and horn that is marvellous.  However, the cadenza is again a let-down.
It isn't quite as bad as the first time round, now taking up some of the
movement's motivic material and it's must shorter but still no happy
solution.  The remainder of the movement begins very darkly and only
gradually solves towards the bright end.

The sound quality again is outstanding, perhaps the best of the set.
The packaging again is excellent, with yet another essay by H. C. Robbins
Landon.  Funnily, it suggests that the Emperor concerto may never have
been performed in Vienna, but other than that it's as good as the other.
Jos van Immerseel contributed the same text regarding the instrument as
to the previous release.  The rating is a blend of the two performances,
individually they would be at 6/9 for op.  73 and 9/9 for op.  61 The
performance of the Emperor Concerto is for people who know their Beethoven
and want a new view on things.  It provides quite a few insights, but
fails to convince on the whole.  The violin concerto is quite the
opposite.  It is except for the cadenzas excellent, and deserves an
enthusiastic recommendation.

Jan