In 1930, when these recordings were made, Mengelberg was at the end of a ten-year period as head of the New York orchestra. For three of them he had shared the post with Toscanini, and was losing the inevitable battle of wills with his Italian rival. They were artistically poles apart, as we can tell from the performances here, for they are totally different from Toscanini's pacy, clean-cut Beethoven style.
In the First Symphony Mengelberg's old-fashioned, romantic approach does seem rather too heavy for early Beethoven. There are some pedantic ritardandos in the first movement, and a sedate basic tempo makes the music seem portly and dispirited. Both here and in the opening movement of the Eroica, Mengelberg repeats the exposition which was somewhat unusual in those days, particularly on record. In the First's Andante his tempo is again a little slow, but the playing is very expressive and the Minuet and Trio are more lively, and indeed somewhat courtly in manner. The finale shows the conductor responding to the Allegro molto e vivace marking very readily. In fact, this is a more direct, more 'modern' reading.
The Eroica reveals Mengelberg's greatness much more clearly. His approach to the first movement is monumental in style, which suits the greater range of Beethoven's inspiration very well. Tempo fluctuations are certainly in evidence, but are kept within bounds and enhance the music's dramatic elements. Energy, weight, high voltage and a wealth of expressive content are all present in a most impressive reading. In the Marcia funebre he digs very deeply into the music. His approach is subjectively emotional but still balanced and respectful. The Scherzo, by contrast, is quite swift and straightforward, with an eloquent, well-balanced trio section. The finale is urgently played and here again a more direct style of performance is in evidence.
As a whole, Mengelberg's account of the work has real stature and remarkable individuality. Those who are sympathetic to great interpretations from the past which have their roots in the romantic era should investigate the disc. Mark Obert-Thorn's transfers are excellent.'