Breadth, flexibility, wit and an all-pervading sense of musical line are among the many virtues that distinguish Peter Maag’s immensely likeable Beethoven cycle. There are minor faults, to be sure, though few are worth troubling over. The Orchestra di Padova e del Veneto is a modest-sized band with a lean but expressive string sound, and the four chosen recording venues offer as many slants on its pooled sonority. Symphonies Nos. 2 and 4 were taped in Vicenza and reflect a small-hall acoustic: string choirs are closely balanced, and certain wind lines – the horns, for example – tend to dart out of context. The remaining works are shared between the ambient Auditorium Pollini (Nos. 5 and 6), the drier Auditorium Modigliani (Nos. 1, 3, 7 and 8) and the acoustically ample Basilica de San Antonio, Padua (No. 9). Symphonies Nos. 5, 6 and 9 were recorded live and are tailed by copious applause.
Maag’s approach to Beethoven might be roughly described as traditional or ‘old school’. Most repeats are observed although, oddly, not the Eroica’s first-movement exposition. The First Symphony is a delightfully affable affair. The opening movement is buoyant yet relaxed, and the Minuetto is elegantly turned; there is an energetic Scherzo (with keenly animated cellos) and an exuberant finale that would have benefited from a more clearly delineated timpani line. The Second Symphony has a supple though measured first movement; the Scherzo’s wistful Trio witnesses a marked dip in tempo and the quick-witted finale is suitably bracing.
The Eroica bears more than a suggestion of Furtwangler’s influence, which is why a certain lack of tonal weight is more conspicuous here than elsewhere (especially in more dramatic episodes of the Marcia funebre). Maag makes riveting work of the first movement’s development section (try from around 7'36'') and employs novel ‘echo’ dynamics in the Scherzo’s horn-dominated Trio (in other words, by dipping to piano for the second statement of the principal theme). I found the Fourth Symphony’s Adagio molto opening a mite plodding, though the Allegro vivace that follows is mostly high on energy and the strongly accented (and perfectly paced) finale teems with pertinent instrumental detail.
The Fifth fares best at the point where the finale shoulders in at the end of the Scherzo, but the recording tends to blur crucial inner detail (especially the lower strings at 4'44'' into the second movement). Recollections of Furtwangler again register in the Pastoral Symphony’s first movement, with its broad speeds and patient first-movement development section. The brook flows freely, the peasants are both personable and excitable, the storm is thrilling and the affectionately distended final chord is unusually sonorous. Maag takes the repeats in both the first and last movements of the Seventh Symphony and exercises great care over dynamic shading. His Eighth, like his Second, makes its points more through eagle-eyed articulation than super-fast speeds and his Ninth provides a majestic climax to the series. In the Choral, the first movement is both purposeful and mysterious, the Scherzo emerges as rhythmically inexorable (more sung than hammered), the lyrically drawn Adagio lasts a generous 18 minutes and the finale conjures a genuine sense of celebration, especially just prior to the closing prestissimo. The soloists are adequate rather than distinguished.
Maag is a clear-thinking Beethovenian, perceptive and warm-hearted, fully au fait with the music’s elevated spiritual plane and always able to inspire a well-focused response from his players. Yes, there are a few ragged edges and the occasional eccentric recording balance; but anyone chancing upon Beethoven’s symphonies for the first time in these recordings will gain an accurate idea of the music’s stature.
As to Maag’s precise status in the league of current low-price digital recommendations, personal taste will, as ever, prove a crucial consideration. David Zinman’s near-complete Zurich cycle for Arte Nova is better played, better recorded and rather more in tune with current views on classical performance practice, being fully up to speed, metronome-wise, and demonstrably respectful of up-to-date Beethoven scholarship. Many will, I think, gravitate towards Zinman’s zest, directness and clarity (virtues that recall his great teacher Pierre Monteux), whereas Maag’s slower tempos and Furtwanglerian interpretative manners have their own attractions. Alternative views from Michael Gielen and Sir Charles Mackerras (both from EMI) are also recommended, but for me Arte Nova’s cycle remains a clear front-runner, although any sensitive listener will surely profit from the many insights that Maag and his players have to offer. Arts Music’s set is without doubt worth far more than its modest asking price.'