David Zinman, Tonhalle Orchestra Zurich - Ludwig van Beethoven: Symphonies Nos. 5 & 6 (1997)

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David Zinman, Tonhalle Orchestra Zurich - Ludwig van Beethoven: Symphonies Nos. 5 & 6 (1997)

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Beethoven composed his Fifth and Sixth Symphonies more or less simultaneously during the years 1804-8, and they were both first performed in a memorable all-Beethoven concert in December 1808 that also featured the Fourth Piano Concerto (with Beethoven performing at the piano for the last time in public), the Choral Fantasy, and some other works. Despite being composed together, the Fifth and Sixth inhabit very different musical worlds. The fifth is a marvel of terse, dramatic writing, whereas the Sixth is more leisurely, frankly programmatic, and celebrates the glories of nature and the countryside.
Conductor David Zinman and the Tonhalle Orchestra Zurich use the Barenreiter Urtext versions of these symphonies. These versions stick closely to original manuscripts of the symphonies and supposedly represent Beethoven's intentions better than other editions. Zinman also closely follows Beethoven's metronome markings, which were added several years after the symphonies were composed.
The Fifth is perhaps classical music's best known composition; nearly everyone is familiar with the opening four-note theme, which Beethoven may have described as fate knocking at the door. Zinman brings a certain freshness to this overplayed symphony. There are few recognizable differences from the traditional performance, the chief one being a longer, more elaborate oboe solo between the two parts of the main theme in the first movement's recapitulation. There are also some instrumental differences, but they are subtle.
Zinman follows the metronome markings closely, which in particular results in a faster second movement Andante that is almost allegretto. Actually, I find this tempo to be more suitable for this set of free variations than the slower, more ponderous tempo of some conductors who seem to be trying to give the movement a weightiness that it doesn't need. Zinman takes all the indicated repeats, including one in the third movement that is in the original manuscript but not in subsequent published versions. It's not known whether or not Beethoven changed his mind about this repeat, which is usually not performed today. In this recording, it changes the usual ABA' into ABABA'. Overall, Zinman and the Tonhalle Orchestra regale us with a lively and exciting Fifth.
The Sixth is a much more laid back work with an explicit program about nature and the countryside. Each of its five movements has a title:
1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the country): Allegro ma non troppo
2. Szene am Bach (Scene at the brook): Andante molto mosso
3. Lustiges Zusammensein der Landleute (Happy gathering of country folk): Allegro
4. Gewitter, Sturm (Thunderstorm; Storm): Allegro
5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherds' song; cheerful and thankful feelings after the storm): Allegretto
The mood of the symphony is mostly pacific and lacking tension, unusually so for Beethoven. Only the realistic thunderstorm movement provides any real drama (and was probably the model for Rossini's similar storm in the overture to William Tell). This movement is linked to the finale, similar to the linkage in the Fifth. One of the beauties of the second movement is its use of woodwinds, including in bird calls.
Zinman and the Tonhalle keep this pleasant music sparkling, with especially excellent woodwind performances. I didn't notice any deviations of the Barenreiter edition from customary performance, though there may be some in the orchestration. Zinman accentuates the lightheartedness of the symphony and doesn't try to make the music any more profound than it is.

–Mary Ann Bergman

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David Zinman, Tonhalle Orchestra Zurich - Ludwig van Beethoven: Symphonies Nos. 5 & 6 (1997)

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