In the world of Charles Schulz's Peanuts, it's not Schroeder who's most like Beethoven, but the fussbudget Lucy. Beethoven had a lot to moan about in his difficult life, but even when things went well, there was always something to complain about.
His Septet of 1799, scored for clarinet, horn, bassoon, violin, viola, cello and double bass, was a big hit, a very big hit. This irked the composer, since he felt that the serenade-like work was far eclipsed by his more important works, which at the time included his First Symphony, his first two Piano Concertos, his op. 18 String Quartets and a fair number of Piano Sonatas, including the Pathétique. I think what upset him most about the success of the Septet, a work of great charm and considerable ingenuity, was that it represented what he considered an obsolete role for the composer. Even today we connect the serenade with musicians playing on demand, often in the open air, for aristocrats. In this ancien regime scenario the be-wigged composer beating time is little more than a servant providing entertainment for courtiers.
In a controversial essay in the New York Times, Martin Scorsese posited that "cinema is an art form that brings you the unexpected. In superhero movies, nothing is at risk." Beethoven's Septet was a kind of Marvel Movie for the musical consumer of the turn of the 19th century, a safe source of entertainment that didn't tax the brain or emotions too much. Everything that Beethoven truly valued in his own music, as well as the music of others, was based on a much more radical and unsafe point of view.
I know the Wigmore Soloists from their very fine 2021 recording of an undisputed masterpiece, Schubert's Octet. Here they navigate the tricky line between popular and erudite music, and come up with the perfect compromise. Their Septet is, quite properly, not treated as the Eroica, but neither is it tossed off with little regard for its true merits. The result is, I think, as fine a Beethoven Septet as I've heard.
Franz Berwald's Septet seems like the perfect pairing for Beethoven's Septet, since it was written in 1828, the year after Beethoven's death. But this is, I believe, only the second time the two works have appeared together on one disc; the other was in a 2017 CD from the Uppsala Chamber Soloists. That was a well-played recording, especially the Berwald, but it's completely outmatched by the new Wigmore Soloists disc. Everything about this new BIS recording is perfectly judged, from the splendid, authentic, joyful performance to the always impeccable BIS engineering, and the fine liner notes by Philip Borg-Wheeler. Very highly recommended.
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