My office this morning is my office.
(Yes, I like the 1960s TV series Lost in Space.)
Anyway, I was going to visit another restaurant/coffee shop this morning. But all the booths were full. So I just kept driving until I got to my office.
Here, I’ll listen to “Hungarian-born Jewish-American conductor and composer” George Szell and The Cleveland Orchestra show me what they’ve got regarding Beethoven’s Symphony No. 3 in E flat Major.
Since I don’t have a steaming mug of coffee in hand as I listen, I’m hoping George keeps me company with a lively rendition of Beethoven’s Second.
On with the show!
I first encountered Maestro Szell and the Cleveland Orchestra on Day 16 of my journey through Ludwig’s nine symphonies.
The second time I heard him was on Day 34.
Day 16 was “Meh!”
Day 34 wasn’t “Meh!” and it wasn’t “Huzzah!” It was somewhere in between.
I wonder what today will bring?
Beethoven wrote his symphonies in four parts (except for the Sixth, which is in five). The time breakdown of this particular one (Symphony No. 3 in E flat Major), from this particular conductor (Szell, at age 60) and this particular orchestra (The Cleveland Orchestra), at this particular time in history (February 22, 1957) on this particular record label (Sony Classical) is as follows:
I. Allegro con brio………………………………………………………………………14:54
II. Marcia funebre: Adagio assai……………………………………………….15:38
III. Scherzo: Allegro vivace – Trio…………………………………………………5:36
IV. Finale: Allegro molto – Poco andante – Presto…………………..11:28
Total running time: 46:56
My Rating:
Recording quality: 4 (slight tape hiss, not uncommon for its age of 61 years, and a somewhat lacking top end as if Noise Reduction cut off a bit of the treble)
Overall musicianship: 4
CD liner notes: 0 (none; boo! hiss!)
How does this make me feel: 4
On Day 34, I wrote: “I don’t know if hearing this on the heels of yesterday’s Sleepy Time tea performance from Simon Rattle made it sound better than it really is. But – boy howdy! – it sure does sound better to me. I’m hearing much more energy, dynamic range, and power in Szell’s performance than I did in Rattle’s.”
I could write the same thing today.
I don’t think it’s fair for Szell to follow Rattle. It makes Szell sounds fantastic, even if it’s just slightly above “Meh!”
The opening chords to Movement I were just as I like them: decisive. Bold. Energetic. The rest of the first movement flowed swiftly and surely along, holding my attention. I didn’t feel the need (as I did with Simon Rattle’s performance yesterday) to get out my blanket and take a nap on the floor after my milk and cookies.
The Adagio (Movement II) was suitably slow, as most Adagios are. But it held my attention.
I tend to wake up when Movement III begins. The energy of the Scherzo is just what the doctor ordered after the Adagio. Szell’s interpretation of this Scherzo was particularly stirring. Plus, I’m always keen on French horns, especially since my wife used to play one in orchestra back when she was a wee lass.
The Finale (Movement IV) is a rip-roaring experience that gets my blood pumping and puts a smile on my face. How could I resist pizzicato strings? They always make me smile, like those old cartoons when one character was sneaking up (on tip toes) behind another. That’s what pizzicato reminds me of. Plus, the flute – another favorite instrument – is noticeable right where it should be.
I’m going to have to award this performance with a “Huzzah!” rating. It pushes all my buttons – even though the box set itself has no liner notes, which usually is a huge No-No for me. I’ll overlook the laziness on the part of Sony Classical and give this my highest rating.
You’re welcome, Sony.
NOTE: Only two conductors left (Wand and Zinman) before I switch over to Beethoven’s Fourth. Looking forward to it!