Monotony vs. mood charged Interpretation

On recordings of Beethoven's symphonies truly no shortage and of course there is hardly a listener who did not have any preferences here. New productions have therefore always difficult to compete against the already known "big" recordings - especially when they arose, led by less renowned conductors relatively new to the plate market is a very dedicated recording of Symphonies No. 4 op.. . 60 in B flat major and no. 6 in F major op.68, with the young conductor Thomas Fey and the Heidelberg Symphony Orchestra, released by Hänssler Classic.
Anyone who has heard the Fey-recording the first two symphonies 1 & 2 knows that Thomas Fey is known to present a very stormy and accented Beethoven: fresh tempos of fast movements are pushing forward, combined with a concise and dynamically sophisticated elaboration of subjects and an almost exaggerated highlighting the beethovschen accentuation -. as the first movement of the Fourth Symphony, Op 60 is articulated to hectic and choppy. In contrast, the performance of the normally stormy and rousing thunderstorm set (fourth movement, Allegro) falls the Sixth Symphony op. 68 too energized and the contrast between threatening, thunderstorm, whose spannsreiche discharge and the decay of the storm drops to out carefully.
Especially nice is the nuanced ensemble of the orchestra unfolds in lyrical slow movement of the Fourth Symphony, Op. 60, but also in the scherzo of the Pastoral Symphony op. 68th
Remarkable sound quality
The booklet provides the prospective detailed information in German and English, partly supported by images, about the origin of the works, to know about the Heidelberg Symphony Orchestra, as well as the musical director Thomas Fey. The well-controlled recording gives the listener solid bass, balanced mids and brilliant highs: all in all a worth listening to sound experience, keeping in mind that the Heidelberger are playful and also with their technical recording possibilities in the shadow of the great symphony orchestras.
"More than an expression of feelings Malerey ..."
Below are some information known to the works:
Actually, the recording of the fifth and sixth symphony from a scientific perspective would have been more correct, but is the Sixth Symphony with the fifth double symphonic work and premiered together.
His Fourth Symphony, composed in 1806, presents Beethoven as already its first and second symphony a slow introduction above, in which he can sink into the abyss of G flat major triad of the B flat major triad. From this gloomy mood out the exposition, which presents three themes developed: the main theme with dramatic character, the epic side issue and the strict imitative second page topic lyrical character. It is precisely the dichotomy of the setting that determines the formal design in all movements and influences shape and design issues.
The Sixth Symphony (Pastoral), premiered in 1808, is characterized as one of Beethoven's symphonies in more detail by subtitles of each movement. The Pastoral Symphony - or memories of country life, as she was also titled - Beethoven created the actual starting point of the symphonic program music and even then eliminated the spirits to see whether the work was now classified programmatically or as absolute music. Beethoven attached great importance to the fact that this music "more an expression of the sensations as Malerey" was and commented on the fact that his music the listener knew to convince when it did not have the knowledge of the individual movement titles.
The peculiarity of the Pastorale lies not only in the giving set titles, but also in five-movement rate system - were but four sets the conventional rule. The last three sentences go without a break into one another and make the storm set the culmination of dramatic development.
Recommended CD
In many respects an interesting Beethoven interpretation, but also brings their weaknesses in musical expression to the fore. Recording quality and design of Beihefts make the CD but a sensible investment.