After a February symphony cycle at the Barbican, most of my Beethoven this year – understandably – has been either streamed or on disc, so I thought I’d mark the great man’s 250th with a round-up of my favourite recordings released in 2020 (in no particular order, I hasten to add).
Symphony No.7: Kirill Petrenko/Berliner Philharmoniker
Not given a separate CD release yet (it’s only available in a bumper box celebrating the impact Petrenko’s made on the Berlin Phil) but released digitally, this Seventh is outstanding, even finer than the performance that wowed the Prommers back in 2018. It’s a joyous account, exciting without feeling unduly forced, indicative of a partnership that’s being forged with love.
Complete String Quartets: Quatuor Ébène
Having watched the Quatuor Ébène’s outstanding cycle streamed from Paris this year, I couldn’t resist buying their Erato set, recorded in seven cities – and six continents. Playing of revolutionary zeal and intense beauty by one of today’s finest string quartets. One for the ages. (Erato 0190295339814)
Timpani Concertos 1-5: Jordi Savall/Le Concert des nations
I jest. But only slightly. The microphone placement in Alia Vox’s release of the first five symphonies favours the timps far too much, but that only seems to heighten the drama and crispness of Jordi Savall’s punchy accounts, with an especially fiery Eroica. I do hope they’ve recorded the other four symphonies. (Alia Vox AVSA9937)
Symphony No.5: Teodor Currentzis/musicAeterna
Yes, every hairpin dynamic is rehearsed within an inch of its life, but Currentzis’ account of the Fifth is still very exciting. A controversial reading – when does this conductor produce anything else? – but one I’ve enjoyed just as much as their Prom concert of 2018, complete with contrabassoon thrills. The disc is short measure though… Currentzis was apparently unhappy with the planned coupling of the Seventh. (Sony 19075884972)
Symphony No.5: François-Xavier Roth/Les Siècles
Another Fifth but one that draws less attention to the conductor and more, perhaps, to Beethoven’s revolutionary spirit, especially when paired with a symphony by Gossec. Incendiary playing from Les Siècles. (harmonia mundi HMM902423)
Piano Concertos Nos.2 & 5: Kristian Bezuidenhout, Freiburger Barockorchester
Also on harmonia mundi, Kristian Bezuidenhout and Pablo Heras-Casado have got stuck into the piano concertos, starting with this excellent pairing of the Second and Fifth. Performed on period instruments, they bristle with life and are the most exciting Beethoven piano concerto releases to come my way since Arthur Schoonderwoerd’s Alpha recordings with chamber accompaniments. (harmonia mundi HMM902411)
Christ on the Mount of Olives: Simon Rattle/LSO
Sounding like a mild expletive, Beethoven’s oratorio Christ on the Mount of Olives, saw a boost in its fortunes early in 2020 thanks to the earnest advocacy of Simon Rattle and the London Symphony Orchestra, happily captured on LSO Live. Three excellent soloists, but it’s the London Symphony Chorus that takes the palm here, sounding tremendous. (LSO Live LSO0862)
Leonore: René Jacobs/Freiburger Barockorchester
I’ve never been the biggest Fidelio fan (I know, my loss), although Tobias Kratzer’s 2020 staging at Covent Garden had its impressive moments. But René Jacobs makes an excellent case for the opera’s original version, Leonore, with its Singspiel characteristics. Marlis Petersen and Maximilian Schmitt are very fine as Leonore and Florestan and the hardback book that houses it all is superb. (harmonia mundi HMM902414.15)
Immortal Beloved: Chen Reiss/Academy of Ancient Music
Apart from Ah! Perfido, Beethoven’s concert arias – a couple of them in Italian – don’t get out much but this collection from Chen Reiss is a real ear-opener, especially with the Israeli soprano on such irresistible form. The disc also includes a lovely memento of her Marzelline, seen streamed from the Wiener Staatsoper this year in Amélie Niermeyer’s new staging of Leonore. (Onyx, ONYX4218)
Piano Trios: Philippe Cassard, David Grimal and Anne Gastinel
Two favourite piano trios – the Ghost and the Archduke – played by three stylish French musicians, sensitively aligned. Fresh, unfussy performances where one senses the delight in the music-making. (La dolce vita LDV76)