Composer: Hector Berlioz
Works: Overture ‘Le Carnaval romain,’ Op. 9, H. 95; ‘Grande Ouverture du Roi Lear,’ Op. 4, H. 53; ‘Grande Ouverture de Waverley,’ Op. 1, H. 26; ‘Grande Ouverture des Francs-Juges,’ Op. 3, H. 23D; ‘Ouverture du Corsaire,’ Op. 21, H. 101; Overture to ‘Les troyens à Carthage,’ Op. 29B, H. 133A; ‘Marche troyenne’ (Concert version), H. 133B; Symphony No. 31 in D Major, K. 297 (300a) ‘Paris’; Requiem in D Minor, K. 626; Symphony No. 35 in D Major, K. 385, ‘Haffner’; Symphony No. 40 in G Minor, K. 550; Symphony No. 41 in C Major, K. 551, ‘Jupiter’
Performers: Royal Philharmonic Orchestra; Sir Thomas Beecham; Elsie Morison (soprano); Monica Sinclair (contralto); Alexander Young (tenor); Marian Nowakowski (bass)
Recording: 2, 3, 16, 17 December 1954, Walthamstow Town Hall, London; 13-14 December 1954, Walthamstow Town Hall; 29 May 1956, EMI Studio No 1, Abbey Road; 9 March 1951, Kingsway Hall; 9 May 1951, EMI Studio No 1, Abbey Road
Label: Sony Classical SMK89807, SMK89808, SMK89809
Sir Thomas Beecham’s recordings of Hector Berlioz and Wolfgang Amadeus Mozart are emblematic of a particular mid-20th-century aesthetic, one deeply rooted in the romanticized interpretations of the classical canon. Both composers, while stylistically divergent, share a profound connection through their innovative orchestration and theatricality, aspects that Beecham deftly highlights in these newly reissued recordings. The juxtaposition of Berlioz’s dramatic overtures with the lyricism of Mozart’s symphonic works creates a compelling landscape, showcasing Beecham’s interpretative prowess and the Royal Philharmonic Orchestra’s vibrant sonority.
Beecham’s approach to Berlioz is characterized by a sinewy vigor, bringing a dramatic flair to pieces that often serve as preludes to larger works. The ‘Overture to Le Carnaval romain,’ for instance, bursts forth with exuberance, capturing the festive spirit while maintaining a meticulous attention to orchestral color. The warmth of the strings and the sharpness of the woodwinds create a vivid tapestry, although the recording does betray a slight shrillness in its upper registers. The ‘Grande Ouverture de Waverley’ progresses with a somewhat measured intensity, its climactic moments building to a rousing conclusion, yet it occasionally verges on congestion, particularly in the lower strings. This nuanced handling of dynamics showcases Beecham’s deep understanding of Berlioz’s dramatic intent, transforming what might be seen as mere overtures into substantial musical narratives.
Turning to Mozart, the performances of the symphonies, particularly No. 31 ‘Paris’ and the ‘Haffner’ Symphony, reveal a conductor who is unafraid to infuse these classic works with a sense of urgency and character. Beecham’s interpretation of the ‘Haffner’ Symphony, however, while robust, suffers from an overly stately minuet that feels somewhat at odds with the otherwise lively outer movements. The G minor Symphony No. 40, filled with tension and pathos, benefits from Beecham’s ability to draw out the characterful wind solos, which—though occasionally overly spotlighted—imbue the performance with a distinctive flavor. The engineering of these recordings, while generally clear, occasionally results in muddied textures during the tuttis, particularly in the more complex passages of the G minor.
The Requiem, presented in the Süssmayr edition, offers a contemplative counterpoint to the preceding symphonic works. Beecham’s interpretation leans towards the introspective, with the chorus and soloists delivering a nuanced performance that, while somewhat reserved, is executed with a delicate touch. The close miking of the soloists allows for an intimate experience, yet the overall sound feels constrained, perhaps due to the disparate recording sessions. Notably, the editorial decisions surrounding the Tuba mirum, where the trombone is supplanted by a viola solo, may raise eyebrows among purists, although it does serve to highlight the interpretative liberties Beecham was willing to embrace.
These recordings, while sometimes lacking the stylistic finesse found in Beecham’s earlier works, still provide a valuable glimpse into his interpretative approach during a pivotal era for orchestral recording. They stand as a testament to Beecham’s enduring legacy, illuminating the ways in which he shaped the performance practices of both Berlioz and Mozart. Collectors and aficionados alike will find much to appreciate in this compilation, which not only showcases a remarkable conductor but also serves as an essential reminder of the rich, emotional depth inherent in the music of these two giants. This collection is an indispensable addition for those looking to understand the breadth of Beecham’s artistry and the interpretive possibilities within the classical repertoire.
