Nikolaus Harnoncourt (conductor)
The Complete Teldec Recordings
Chamber Orchestra of Europe
rec. 1990-2004
Warner Classics 2173296713 [28 CDs & 1 DVD]

Nikolaus Harnoncourt (1929-2016) often challenged orthodox ideas about how to perform certain ‘canonical’ works, raised awareness of masterpieces that were unfamiliar to most audiences, and refused to conduct some mainstream pieces. I admire his individualistic approach not only to performance practice, but also to his selection of repertoire. Harnoncourt was not only one of the mavericks who pioneered the use of period instruments, he recorded the three surviving operas by Claudio Monteverdi and, along with Gustav Leonhardt, all the surviving sacred cantatas by Johann Sebastian Bach.

The present boxed set invites re-evaluation of his work with the Chamber Orchestra of Europe from 1990, when the partnership launched a critically-acclaimed, best-selling cycle of Ludwig van Beethoven’s symphonies, to the turn of this century with a set of the same composer’s piano concertos. Before I received this set, the Beethoven symphony cycle was a known quantity, but it was my first encounter with Harnoncourt’s interpretations of the other works included here, which proved to be consistently thought-provoking. Even when I do not agree with Harnoncourt’s ideas, I respect his decisions and understand his rationale for them. The performances captured here are all the more impressive because they were mostly taken from live concerts. If the information on the CD sleeves is correct, these may be genuine, unedited performances. No information is given about whether any subsequent touching up took place; if so, it was so skilfully done that it is inaudible.

The first three CDs are devoted to Wolfgang Amadeus Mozart’s final four symphonies and a selection of concert arias sung by the soprano Edita Gruberová. The performances of the symphonies differ slightly from his recordings with the Concertgebouw Orchestra approximately a decade earlier. Harnoncourt’s readings were similar but the Chamber Orchestra of Europe brought vivacity, clarity, and sharpness of attack to the proceedings. Tempi and accentuation are similar to Harnoncourt’s previous recordings (and all the repeats indicated by the composer are, thankfully, observed), but the interpretations sound as if the conductor has gained conviction, which the orchestra shares.

Hearing the disc of concert arias, which Mozart composed for insertion into operas by other composers, made me regret that I did not acquire this disc long ago. I already owned two collections of the complete concert arias that feature Gruberová in seven of the eight arias on the Teldec release (the Wiener Kammerorchester directed by György Fischer on Decca and the Mozarteumorchester Salzburg conducted by Leopold Hager on Deutsche Grammophon). In these live recordings from June 1991, Harnoncourt directed with sensitivity to Gruberová’s voice, which captivates with  expressiveness, precision, technically brilliant coloratura, and drama. With Harnoncourt, she reprised two arias, K. 217 and K. 369, from the Decca set and five, K. 368, K. 416, K. 418,  K. 419, and K. 538, from the DG collection, The only aria here that she had not recorded before is K. 374. Comparison of these versions with her previous ones reveals (unsurprisingly) that her conveyance of the text had deepened during the intervening years in that the characters’ feelings are palpable even without knowledge of each entire libretto. The other difference is that Harnoncourt restrains the orchestra so that it accompanies Gruberová while keeping her firmly in the auditory spotlight. Admirers of this soprano and this repertoire will find this disc an invaluable enrichment to whatever recordings are in their collections. My only slight criticism is that the applause after each aria should have been omitted.

When the Beethoven symphony cycle was released by Teldec in 1991, it was greeted with enthusiasm, and I would even go as far as to say that it is one of very few cycles that satisfies on repeated listening, even though the sixth and ninth symphonies would have benefited from greater impetus. Situating this set among releases between Herbert von Karajan (recorded under studio conditions for Deutsche Grammophon between 1961-62), which can be seen as the apotheosis of what could be done with the Breitkopf & Härtel edition, and John Eliot Gardiner (released by the same label in 1994), which was the first to use the scholarly edition by Jonathan Del Mar, Harnoncourt fares very well among the competition. Before assuming that I am overly enthusiastic, consider what the major labels issued between 1963 and 1990. Apart from the period-instrument cycles by Roger Norrington and Christopher Hogwood in the late 1980s, whose readings are more cogent than Harnoncourt’s? Characteristics of Harnoncourt’s cycle include lean textures, generally swift tempi (except for No. 6 n F major, Op. 68, which is among the most leisurely I have heard), immense energy, audible inner details, exposition repeats blessedly observed (including the rarely played one in the ‘Scherzo: Allegro’ third movement of No. 5 in C minor, Op. 67), sprung rhythms, and vibrancy enhanced by the clean string textures and valveless period brass instruments.

Recorded live in the Großes Festspielhaus during the 1992 Salzburger Festspiele, the Missa solemnis, now presented on one CD, is nuanced with carefully considered dynamics, a fine vocal quartet (Eva Mei, Marjana Lipovsek, Anthony Rolfe-Johnson, and Robert Holl), and the Arnold Schoenberg Chor. Even if this is not a clear first choice, it ranks with the best. Karajan (1966) has the greatest vocal quartet on record (Gundula Janowitz, Christa Ludwig, Fritz Wunderlich, and Walter Berry) for this work, and his interpretation carries tremendous emotional weight. Harnoncourt reminds me of Otto Klemperer’s (1965) emphasis on counterpoint and eschewal of operatic effects, albeit with a less monumental choir and orchestra. Harnoncourt conveys delicacy in the intimate moments and tension in the climaxes. The recording captures the venue’s resonant acoustic and reminds me of being in the first balcony there.

When they were released in 2003, the recordings of Beethoven’s five piano concertos were hyped as revolutionary, shocking, and guaranteed to disrupt interpretive conventions. These performances are analytic, slow and stately in the opening movements, and not radically different from the plethora of other options. Pierre-Laurent Aimard is redolent of Maurizio Pollini with the Berlin Philharmonic under Claudio Abbado in the early 1990s: both pianists prioritised technique and clean articulation over emotional engagement. As much as I respect the Aimard/Harnoncourt set, the overall effect is sterile and cold. No information is provided about which cadenzas Aimard played.

Featuring Gidon Kremer as the soloist, the Violin Concerto in D major, Op. 61, receives one of the most engrossing performances since the legendary recording with Wolfgang Schneiderhan conducted by Eugen Jochum (1962). Kremer, like Schneiderhan before him, has built a cadenza by adapting the one Beethoven wrote for the piano arrangement of this concerto. Kremer and Harnoncourt reveal the drama latent in the overtly serene ‘Allegro ma non troppo’ 24-minute opening movement, tender lyricism in the ‘Larghetto’ second movement, and buoyancy in the ‘Rondo (Allegro)’ finale. The inclusion of the two violin romances Opp. 40 and 50 makes an attractive bonus.

Between 2003 and 2004, Harnoncourt turned his attention to Beethoven’s Triple Concerto Op. 56, Rondo for Piano and Orchestra in B-flat major, WoO 6, and Fantasia in C minor for piano, orchestra, and choir, Op.80. In spite of some rhythmic stiffness, the Triple Concerto probably sounded more engaging during the concerts at the Styriarte Festival from which this recording was assembled (the dates 17-22 June 2004 are listed) than the result does on CD. The team of Thomas Zehetmair (violin), Clemens Hagen (cello), and Pierre-Laurent Aimard (piano) does not erase memories of Wolfgang Schneiderhan, Pierre Fournier, and Géza Anda in the recording conducted by Ferenc Fricsay (1961) or David Oistrakh, Mstislav Rostropovich, and Sviatoslav Richter under Herbert von Karajan (1970). The Choral Fantasy sounds meticulously prepared and exquisitely sung, but suffers from a feeling of detachment, possibly caused by an effort to be ‘objective’ and ‘emotionally restrained’ to avoid any trace of ‘Romanticism’. The Rondo in B-flat achieves a frisson from the interaction between Aimard and Harnoncourt, which makes this short work the most successful aspect of this disc.

One interesting aspect of boxed sets dedicated to performers’ output is the inclusion of works that many listeners otherwise would not explore. The overture to Beethoven’s Die Geschöpfe des Prometheus, Op. 43, is performed regularly, but the rest of the ballet music is less well known. Harnoncourt infuses the score with energy, crisp articulation, and visceral excitement.

The performance of Fidelio, Op. 72, is taut, with an overture that signals the forward momentum from which this performance benefits. Harnoncourt slows down inexplicably in ‘O Namenlose Freude!’, which undermines the ecstatic moment in which Leonore and Florestan are reunited. The jubilant concluding ensemble, ‘Wer Ein Holdes Weib Errungen’, sounds reticent in Harnoncourt’s hands. Although abridged, there is sufficient dialogue to connect the musical numbers logically. Impressive individual vocal performances, especially the Marzelline of Barbara Bonney, the Florestan of Peter Seiffert, and the Rocco of László Polgár, and historically-informed orchestral playing make this recording a supplement to the reference recording conducted by Otto Klemperer (1962).

Seven CDs are devoted to works by Felix Mendelssohn-Bartholdy and Robert Schumann, which are self-recommending for fans of these composers, especially since some rarities are here (e.g., Mendelssohn’s Die erste Walpurgisnacht and Schumann’s Genoveva). Harnoncourt breathed new life into Symphonies Nos. 3 and 4 by Mendelssohn with textural clarity that reveals the masterly orchestration. Harnoncourt exhibited similar passion and commitment in the selections from Mendelssohn’s incidental music to William Shakespeare’s Ein Sommernachtstraum, including the Overture, the Scherzo, and the Hochzeitsmarsch. In addition to the four symphonies by Schumann (the D minor is given in its original 1841 form), there are performances of his Violin Concerto in D minor with Gidon Kremer and Piano Concerto in A minor, Op. 54, featuring Martha Argerich as the soloist.

A final discovery for me in the adventure initiated by this box is the two sets of Slavonic Dances, Opp. 46 and 72, by Antonín Dvořák. In comparison with George Szell and Rafael Kubelik, Harnoncourt elicits virtuosity with raw energy and rusticity from the Chamber Orchestra of Europe, the sound of which resembles what I expect to hear from a real dance band.

Valuable insight into how the partnership between Harnoncourt and the Chamber Orchestra of Europe began can be found on the DVD, along with performances of Beethoven’s sixth and eighth symphonies. The packaging consists of a sturdy, high-quality outer box that slides over and protects the inner box containing the CDs, which are stored in sturdy cardboard sleeves, and booklet. The presentation makes it easy to locate each CD. Although including the original liner notes from the original releases and complete sung texts would expand the booklet and the cost of the set, I am confident that consumers would pay a little more for the enormous value that this material would add to a package as important as this one.

Harnoncourt could always be counted on to identify familiarity as habitual rather than reflective of composers’ intentions and uncover gems, which otherwise might remain obscure. As I was listening to this collection, I thought about Harnoncourt’s refusal to perform anything by Christoph Willibald Gluck or Gioachino Rossini because his expertise would have brought insight to these composers and added context to contemporaneous music he professed to love. I am surprised that Harnoncourt did not accept that Rossini, for example, fulfilled the criteria for balancing connoisseurship with popular appeal that Mozart elucidated in an often cited letter to his father on 28 December 1782: ‘die Concerten sind eben das Mittelding zwischen zu schwer, und zu leicht – sind sehr Brillant – angenehm in die ohren – Natürlich, ohne in das leere zu fallen – hie und da – könen auch kener allein satisfaction erhalten – doch so – daß die nichtkener damit zufrieden seÿn müssen, ohne zu wissen warum’. Rossini wrote a tremendous number of memorable melodies, which required intelligence and commanding knowledge of composition to conceive. In his best operas (e.g., Il barbiere di Siviglia and La Cenerentola), Rossini showed keen understanding of characterisation. My intention is not to end with a criticism of Harnoncourt, but rather to note that even the very best conductors have their blind spots, which are usually caused by ideologies about art, which limit their perspectives, even without their awareness.

Daniel Floyd

Buying this recording via the link below generates revenue for MWI, which helps the site remain free

Contents
CDs 1-3
Wolfgang Amadeus Mozart: Symphonies Nos. 38 “Prague”, 39, 40, and 41 “Jupiter” · Concert Arias (Edita Gruberová)
CDs 4-18
Ludwig van Beethoven: Symphonies Nos. 1-9 · Overtures: Coriolan, The Ruins of Athens, Leonore 1-3, Egmont, The Creatures of Prometheus · Missa solemnis (Mai, Lipovšek, Rolf Johnson, Holl) · Piano Concertos Nos. 1-5 (Pierre-Laurent Aimard) · Triple Concerto (Thomas Zehetmair, Clemens Hagen, Pierre-Laurent Aimard) · Rondo for Piano and Orchestra · Choral Fantasy (Pierre-Laurent Aimard) · Violin Concerto (Gidon Kremer) · Romances for violin Nos. 1-2 (Gidon Kremer) · Fidelio (Charlotte Margiono, László Polgár, Barbara Bonney, etc.)
CD 19-20
Franz Schubert: Masses D. 950 & 678
CDs 21-23
Felix Mendelssohn: Symphonies Nos. 3 “Scottish” and 4 “Italian” · The Fair Melusine · Ein Sommernachtstraum · Die erste Walpurgisnacht · The Hebrides
CD 23-27
Robert Schumann: Symphonies Nos. 1-4 · Piano Concerto (Argerich) · Violin Concerto (Gidon Kremer) · Genoveva (Ruth Ziesak, Deon van der Walt, Marjana Lipovšek, etc.)
CD 28
Antonín Dvořák: Slavonic Dances
DVD
Ludwig van Beethoven: Symphonies Nos. 6 and 8 · Documentary: The making of the Symphonies