For the final instalment of the ‘Resound Beethoven’ series, recorded in Viennese venues that survive from the composer’s day, Martin Haselböck and his period-instrument orchestra return to the resonant acoustic of the Landhaus Hall in the Palais Niederösterriech where the series began. Alpha’s engineers seem to have placed the microphones a bit further from the orchestra this time, so at the very opening of the Fifth, for example, the octave D held in the second fermata hasn’t even time to die away before the second violins begin their breathless chase. I believe this aural remove also accounts, at least in part, for the gaunt tone of the Vienna Academy’s strings.

As for the performances themselves, there are moments of rhythmic instability here and there, as well as some odd interpretative choices on Haselböck’s part, as when the strings enter under tempo following the oboe’s cadenza in the first movement, or in the finale, where the return of the Scherzo is played considerably faster than in its original context. There are admirable attributes, too, certainly. The Scherzo’s Trio strides ahead with exuberant resolve, for example, and the orchestra dig into the finale with grit and gusto. On the whole, however, I find the Sixth decidedly more persuasive. Haselböck hews close to Beethoven’s metronome marking in the first movement but phrases in long lines (reflecting the slow-changing harmonies), so there’s a surprisingly easy and natural sense of forward motion. The ‘Scene by the Brook’ is tender and exceptionally delicate – note, for instance, the sliver of violin tone at 2'31" that seems to float on the water’s silvery surface – and the peasants make merry with relish. What a pity the final Allegretto lumbers so prosaically.

The Pentatone disc offers interpretations of a more traditional slant. Andrew Manze appears to be unconcerned with the metronome markings, although the performances are hardly wanting for power or propulsion where called for. The finale of the Seventh, for instance, goes faster even than the already zippy metronome mark, and is tremendously exciting. It’s also quite graceful in its way, thanks in large part to Manze’s scrupulous attention to dynamic indications and articulation. Indeed, there’s an exceptional lightness of touch in much of this Symphony – sample the spring and sparkle of the dotted rhythms in the first movement’s Vivace or the nimbleness and unexpected delicacy of the third-movement Presto.

The Fifth has similar attributes in terms of clarity, balance and rhythmic verve but is in no way ‘Beethoven light’, as some historically informed performances have been labelled. Note, say, how the distinct sense of monumentality Manze brings to the opening Allegro con brio comes without any sacrifice of its essential impetus, and also how the space he gives the music to breathe allows the orchestra to play the second theme at a true dolce. I like very much, too, how expressively he highlights the shift of metric emphasis in the slow movement’s melody, and the lyrical strain he finds in the granitic veins of the finale.

Honestly, it’s been a while since I’ve heard interpretations where everything seems to be in its right place. The NDR Radiophilharmonie play superbly for Manze, with characterful woodwind solos, welcome hints of period bite from brass and timpani, and a string tone of substantial body and lustre. The engineering, too, is beyond reproach. Enthusiastically recommended.