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