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Solid introduction to the art of Sir Thomas Beecham

Steven A. Peterson | Hershey, PA (Born in Kewanee, IL) | 04/19/2009

(4 out of 5 stars)

"This is yet another component in the Artone series, in which a performer/artist is spotlighted on a 4 CD set (and the price is right!!). Sir Thomas Beecham was one of the more renowned British conductors of his era. This product traces his repertoire--from Handel to Mozart to Berlioz to Mendelssohn to Debussy to Sibelius.



Some of the works on this set: Handel's "The Great Elopement," Schubert's Symphony # 6, Wagner's "A Faust Overture," Debussy's "Printemps," R. Strauss' "Ein Heldenleben," Sibelius' Symphony # 4 and "The Bard," among others.



Let me briefly describe two of the works to exemplify Beecham's art--Mozart's "Prague" Symphony and Berlioz' "Roman Carnival Overture."



Mozart's Symphony # 38 is one of his finer works in his symphonic catalog. Here, Beecham conducts the London Philharmonic Orchestra in a 1940 recording. The first movement begins in stately fashion (perhaps too stately? Although this is labeled Adagio). The London Philharmonic plays well. As this movement moves to its allegro segment, the pace does pick up nicely. It becomes, if I dare say it, something of a toe tapper at that point. The second movement starts with a sense of gravitas, a bit on the stodgy side. The movement does not, in my view, really reach the "andante" called for by Mozart. It is very musical--but slow. Klemperer's version, for instance, took three minutes less! The third movement, labeled presto, moves quickly (and takes less time than Klemperer's version!). It appears that Beecham's slower movements are slower than some of his peers and his faster movements are somewhat faster. Make of that what one will!



Berlioz' "Roman Carnival Overture" begins a bit slowly (again, Beecham works with the London Philharmonic Orchestra in a 1936 recording). Although a bit slow at the outset, it is animated as the work develops. The orchestra plays well, but the pace seems a bit too mannered to me. The work closes, however, in a very energetic fashion and leaves one breathing hard!



In the end, this is a fine introduction to the work of Sir Thomas Beecham. If you want to get acquainted with his art, this should suffice.

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