BEETHOVEN. Symphony No. 3 in E fiat major, Op. 55, "Eroica". Berlin Philharmonic Orchestra conducted by Rudolf Kempe. H.M.V. Q ALP1854: 0 ASD426 (12 in., 30s. 2c1. plus 10s. 10d. P.T.).

Selected comparisons:

V.P.O., Kleiber (5/59) Q ACL35

N.B.C. SO., Toscanini (7/54) (7/58) (R) Q KB16102

Philh., Klemperer (7/56) Q 33CX1346

Cleveland SO., Sze11 (1(60) 0 SCFL100

Columbia SO., Walter (3/61) Q ABL3347: (5/60) 0 SABL132 Czech P.O., Matacic (10/60) Q PLP129: Q PLPS129

It has always seemed to me one of the most astounding facts of musical history that the Eroica symphony could ever have been conceived in 1803. Yet in this performance Kempe shows clearly that it is not so impossible after all. This is as near as one is ever likely to get to an eighteenth-century performance: it is polished, it is civilised, it has little of the heightened drama which the eighteenth century so mistrusted. The sharp chords of the opening do not command attention forcibly as they do with Toscanini, the main theme appears over repeated string quavers trotting as neatly as they ever do in Mozart or Haydn, the scherzo has no sense of headlong rush and as for the finale the elaborate variations on so courtly a theme naturally produce the most poised refinement. It is not that Kempe and the Berlin Orchestra are cold; rather lyrical and restrained.

I dare say that some will welcome this approach, but frankly I am not one. The Era/ca is one of the great monuments of music which must stand up more rock-like and impressive even than the Emperor who played some part in its inspiration. Such a performance as this brings home the historical facts, but it is surely not recommendable for repeated gramophone listening, when the idiosyncrasies of a performance so easily become ingrained. The recording has the additional disadvantage of breaking the Funeral March (taken very slowly and gently) in the middle. The recording, both stereo and mono, it: warm and rich in the Berlin manner but without excessive reverberation. E.G.