Beethoven: Overtures

 

When it comes to German conductor Herbert von Karajan, I generally turn a blind ear to criticisms regarding the Berlin Philharmonic Orchestra. Some call them slick sounding, like a Cadillac Karajan is riding. I don't really get it, especially in Beethoven, where the conductor took a heroic, driven quality to the composer.

As far as the strings overwhelming the winds, I hear such things, particularly in the loudest moments, where the winds are mere doubled colorings. If there is a hierarchy, it is strings, brass, then winds and percussion. I hear it here too. But where the importance lies with the winds, they shine through ably. I have criticized recordings, even recently, of such string-to-wind balances, wishing the winds were clearer and more forward. With Karajan and Berlin, this is less of a problem for me, for some reason.

If you have come across Karajan's readings of any of Beethoven's overtures, they most likely come from 1965 and 1969. Indeed, a 2007 box set of Karajan leading the symphonies of Beethoven from the 70s comes with six of the overtures from those exact years. On this 1989 Galleria reissue, 11 overtures are spread across 2CDs.

It is easy to pick out the overtures which were recorded in 1965, for the sound is a little wirier and Karajan's tempos are a tad broader. This would include the Fidelio, Coriolanus, and the last of the Leonore overtures. Otherwise the DGG sound is typical of 60's Berlin, with only a slightly out-of-tune bassoon in the overture from The Ruins of Athens. The rest of the program is sublime, although I am not ecstatic regarding the Jesus-Christus-Kirche recording location, which finds Berlin sounding a mite boomy at their loudest moments.

Generally speaking, Karajan approaches these overtures with a driven quality, one which is highly combustible. This contrasts with other classic sets of overtures from Otto Klemperer, who takes more time to pore over the music, George Szell who approaches Beethoven in a similar manner to Karajan, but gets a leaner sound out of Cleveland, and Claudio Abbado with the Vienna Philharmonic, the latter of which might be the most consistently best set of Overtures of them all.

All of these options should please those looking for a complete set of Beethoven's overtures from a classic conductor/orchestra pairing of yesteryear. I enjoy Karajan's approach to Beethoven's nine symphonies, so it only made sense to collect the rest of his recorded overtures of Beethoven.

Truthfully, there really aren't all that many sets of complete overtures from Beethoven, mainly, I assume, because they don't neatly fit on a single CD or LP duo. Karajan's has them all, including the short Namensfeier Overture and all of the Fidelio-related overtures. The latter grouping of overtures is interesting to catch a composer truly trying to make a music project work out, but never coming to fruition. I think the first time I heard all of the Leonore overtures was from Yoel Levi and the Atlanta Symphony Orchestra on Telarc. I don't enjoy listening to the trio of overtures back to back, as programmed here, for they share too much musical material, and Beethoven relishes the Adagio sections much more than I like to hear over 40 minutes of Leonore music.

Yet, there is appreciable weight and attack a-plenty for the Egmont, Fidelio, and Coriolan overtures, with some rather lovely pastoral sounds coming out of the Creatures of Prometheus, King Stephan, and Ruins of Athens overtures. For those who wish it, there is power behind the Berlin sound, with Karajan egging them on in tempo. The German conductor might have a firm grasp on tempo in the symphonies of Bruckner, heard in the solid Adagios across Beethoven's Leonore overtures, but generally, Karajan prefers forward motion and heroic musical settings.

 

 

Works
Creature of Prometheus, op. 43 (5.21)
King Stephan, op. 117 (6.45)
Ruins of Athens, op. 113 (5.24)
Egmont, op. 84 (8.19)
Coriolan, op. 62 (8.57)
Name Day, op. 115 (6.51)
Consecration of the House, op. 124 (10.14)
Leonore I, op. 138 (10.40)
Leonore II, op. 72 (14.44)
Leonore III, op. 72a (14.41)

Fidelio, op. 72b (6.59)

Performers
Berlin Philharmonic Orchestra
Herbert von Karajan, conductor

Label: DGG
Year: 1965 & 1969; 1989 (set)
Total Timing: 1.39.44
  CD1: 52.24
  CD2: 47.20

I love Karajan and Berlin in the music of Beethoven. They are heroic and driven, with a plush orchestral sound.

This recording is not perfect, mainly coming from the three overtures recorded in 1965, but this set of overtures confirms Karajan's vision of Beethoven's orchestral music.

 

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