Beethoven: Symphony No. 2 in D major, Op. 36

This set contains the first three symphonies together with the eighth by Ludwig van Beethoven (1770-1827). Although there are over 12 years separating No. 8 from the first two they probably have more in common than No. 3 has with its predecessors. The first two and No. 8 use the same size of orchestra as does Haydn in his last group of symphonies and Beethoven even uses the word menuetto for the third movement of No. 8. The first symphony shows his debt to Haydn and Mozart, especially the former when he starts both first and last movement with a slow introduction. During the completion of the second he had to face the awful realisation that he was going deaf so it is the third, arguably his most remarkable work, called “Eroica”, which took the form on to a much higher level of achievement. Some writers have given prominence to the figure of Napoleon – indeed Beethoven had originally intended to dedicate the work to him – but the use of a tune representing the hero Prometheus, from his ballet Die Geschöpfe des Prometheus (The Creatures of Prometheus), on which he wrote variations for the last movement may well show that it was indeed Beethoven who, Prometheus like, is the hero in his stand against the wrath of the unjust gods. Wolfgang Sawallisch shows his enormous wealth of experience conducting the Royal Concertgebouw Orchestra.

Beethoven’s Symphonies Nos. 2 and 7 make up the fifth and final instalment of the Symphony Cycle with conductor Osmo Vänskä and Minnesota Orchestra; a cycle which has received universal praise.

The first instalment in Osmo Vänskä’s and Minnesota Orchestra’s Beethoven cycle was released in December 2004 and was immediately praised for the performances as well as for the state-of-the-art sound. The following discs have if anything strengthened the case for this cycle. With such forerunners it is not surprising that the present disc, closing the cycle, has been eagerly awaited.

The disc opens with Symphony No. 2, completed in 1802 during one of the darkest periods of the composer’s life, as he was struggling to reconcile himself with his encroaching deafness. Under the circumstances, as Beethoven specialist Barry Cooper points out in his liner notes, a striking feature of the work is ‘its thoroughly optimistic character throughout – it is almost as if he was using the symphony as a means of escape.’ Following it is the Seventh Symphony in which the strong rhythmic drive that pervades all four movements has made it a favourite in the concert hall – among its admirers is found Richard Wagner who famously dubbed it ‘the apotheosis of the dance’.

‘Vänskä's Beethoven looks set to be a front-runner among the historically unprejudiced cycles now available.’ International Record Review