Beethoven Symphony n. 7
January, 2022
Seiji Ozawa, the legendary Japanese director, celebrates his 85th birthday with the release of a new live work dedicated to Beethoven on his 250th anniversary. Conducting his beloved Saito Kinen Orchestra, considered one of the 20 best orchestras in the world.
The maestro’s virtuosity has been recognized by artists and the critics around the world: “Ozawa is perhaps entering a glorious Indian summer of creativity” – Gramophone
“Animation, dynamism and joy … he is among the luckiest creatures of God who are nourished and sustained by the love of what they do”- John Williams.
The unyielding energy and dedication from the now-eighty-five-year-old maestro is highly admirable: The rhythmic punch and sharpness in the Leonore Overture are undeniable, although some might argue that it feels a bit restricted tempo-wise. Special mention deserves the series of admirable woodwind solos and Saito Kinen Orchestra’s principal flute, in particular.
Ozawa’s Seventh Symphony, first movement is marked by a gracious introduction and a neatly balanced main body. In many occasions Scherzos are skipped by the director, while the vigorous finale leads to a cathartic climax.
The Symphony also rewards us with an exquisite woodwind playing, especially in the middle movements this can be easily spotted on the famous second movement which is masterfully performed and fully lyrical.
Third movement develops with dance-like fluidity and great majesty. Wagner called this symphony ‘the apotheosis of the dance’, something which Ozawa has in mind. But the meticulosity in the performance sometimes turns against us and makes us loose the breathtaking effect of the piece.
Some critics point out the lack of intensity of the Adagio, in which, without really languishing, Ozawa makes strings and woods vibrate, in a call to resignation accompanied by tears on the violins. It certainly lacks the intensity and heady scope of other versions.
Even if it is true that the recording is been done may times before, no one can deny the greatness of this recording full of expertise, colour and exemplary interpretations
– Paul Thomas
