Amongst the various achievements in Beethoven's oeuvre, perhaps no single genre has endured a more turbulent existence than the overture. Of the eleven he produced only one - Fidelio - is still performed with regularity in the context for which it was intended. A further three were by-products of its convoluted gestation period. Two were written to celebrate theatre openings, another was a stand-alone piece that has languished in obscurity, and the remaining four were composed for musical theatre productions which have long since fallen out of favour. Yet, the volatile ontology experienced by these works is not for lack of musical worth, as many of them continue to enjoy appearances both in the concert hall and on record.
Enter the latest re-issue from Telarc Classics of Yoel Levi and the Atlanta Symphony Orchestra, whose disc of seven Beethoven overtures initially appeared in 1997.
The Egmont Overture, Op. 84 proves to be an admirable opening gambit, marked by intense strings and raucous, brassy horns. Far from being pretty, this is a deliciously earthy and limivorous approach to Beethoven. Though one might argue that the performance is too metronomic - admittedly, very little space is granted to the lusciously-toned woodwind - the momentum that Levi induces is electric, and builds to a thrilling, edge-of-your-seat finale.
The Creatures of Prometheus Overture, Op. 43 does not quite match this level of success. This work is perhaps the most ordinary of Beethoven's overtures, which makes it even more imperative that it is a given truly extraordinary performance. Yet, despite the charismatic woodwind section and a delightfully rambunctious finale, Levi's account lacks sparkle. The same cannot be said of the Coriolan Overture, Op. 62, the performance of which fully encapsulates the drama of the legend behind the notes. The haunting 'cellos in the work's coda are particularly effective, and the balance between brass and strings is nothing short of ideal (aided in large part by the excellent work of recording engineer Michael Bishop).
A more sensitive side to Levi and the ASO is revealed in the Fidelio Overture, Op. 72. The horns that so vigorously declared their presence in Egmont assume a new, soft-edged identity, and the woodwind (particularly the first flute) are allowed time for affectionate rubato upon returning to the music of the introduction. The gravity of the performance is such that it exudes an aura which suggests its role as the mere beginnings of something much greater.
The Fidelio Overture's predecessors pose a challenge when presented on the same disc, as they share not only the Leonore label but also significant portions of their music. Yet Levi manages to craft three fine performances, each with their own individual qualities. Despite having the most in common musically, Leonore Nos. 2, Op. 72a and 3, Op. 72b both sound remarkably fresh. No. 2 is most notable for a highly agreeable account of Florestan's second-act aria 'In des Lebens Frühlingstagen'. The Allegro is welcomingly energetic, with brilliant interplay first between 'cellos and bassoons and dynamic entries from the timpani during the off-beat passages. Leonore No. 3 is, at the very least, equally triumphant. The atmospheric and delicately-phrased introduction, the rousing crescendo into the first climax of the Allegro (slightly delayed so as to increase dramatic effect), the driving undercurrent produced by the double basses before the recapitulation, and the vivacious flute and bassoon duet at the return of the first subject are amongst the many attributes that add up to a terrific account.
Curiously, Leonore No. 1, op. 138 is presented before its two counterparts, even though the booklet notes cite musicologist Alan Tyson's research showing that it is the last of the three. Nevertheless, this is another exquisitely characterised performance, from the sincerity of the violins in the introduction to the beautifully sonorous horn solo in the central Adagio. Furthermore, superb balance is maintained between strings and woodwind during their forte exchanges.
Levi's no-nonsense and generally forward-moving approach to these works occasionally comes at a price. Pauses before major musical events (such as prior to the codas of both Leonore No. 3 and Fidelio) are liable to sound a tad hurried; and the spirited gallops through some of the overtures' finales have the tendency to rob them of decisiveness. However, despite these minor foibles, these interpretations have also yielded some truly exhilarating results that fully deserve investigation.