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36 of 40 people found the following review helpful:
5.0 out of 5 stars
Brilliant, December 22, 1999
This review is from: Beethoven: 9 Symphonies - Orchestre Révolutionnaire et Romantique / Gardiner (Audio CD)
I have never heard Beethoven played with such verve and excitement. While the Karajan and Furtwangler Beethoven symphonies are majestic and stately, like a top-of-the-line Mercedes Benz, Gardiner's purrs, roars and sings like a Porsche. The Third simply rocks. It's as if Gardiner re-interpreted the young Beethoven as the enfant terrible his contemporaries took him for. The fifth, particularly in the transition from the third to fourth movements, conrtains everything anyone needs to know about music. Gardiner finds awe in thr Pastoral, mischievous humour in the seventh. And the ninth, shorn of a century of German romantic bombast, sounds like the revolutionary anthem Beethoven likely intended. The problem with Beethoven symphonies, though, is that you have to listen to several interpretations to really appreciate the transcendent Genius of Beethoven. Get this one. Byut get Furtwangler's and Karajan's first set as well.
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53 of 62 people found the following review helpful:
5.0 out of 5 stars
The Beauty of the "Bloodthirsty" Beethoven, November 21, 2000
This review is from: Beethoven: 9 Symphonies - Orchestre Révolutionnaire et Romantique / Gardiner (Audio CD)
The many recorded cycles of Beethoven symphonies have been reckoning up by dozens, like Sir Joseph's female relations, but I feel the fondest of this entire cycle among the historically-informed versions. Sir John Eliot Gardiner and his period-instrument forces have brushed these works clean of cobwebs, such that they sound fresh, clean and in line with what Beethoven would have wanted us to experience. To be sure, some listeners who favour the anodyne Karajanesque or Furtwangleresque approach applied to these works would be upset with the fast speeds, but these readings hardly sound wooden and mechanical. Rather, open-hearted listeners can find that Sir John shapes the music and allows articulate detail to mingle with the emotions in these works, helped by DG's transparent and luminous 4-D audio recording.
Throughout this cycle, Sir John brings out the "bloodthirsty beauty" of Beethoven's symphonies, keeping us on the edge with the well-articulated and heartfelt interpretations of the major symphonies. Yet there is still Mozartian-like charm in the early symphonies, especially the First and Second. In the longer symphonies Sir John's classical approach still allows us to feel Beethoven's emotions, and the nuances of the music are keenly and cleanly fleshed out. You can feel the Olympian power of the Eroica in a relentless and fierry performance, and the relentless drive of the Fifth that can well resonate with human conditions. The rhythmically-driven renditions of the 7th and 8th bring out the bucolic charm and character of the piece. The brisk speeds of the Pastoral don't sound rushed, but still allow for a warmly affable, cheerful and open-hearted reading that sounds welcoming of the open countryside that so influenced this music, aided by keen and detailed woodwind playing. And then there is the monumental Ninth, the crowning achievement in this wonderful cycle with new delights to explore. It's true that this approach to this music is iconoclastic to the established grandiose way of performing this music, but this version is the most successful in integrating an emotional approach to the music with a keen sense of accuracy. The finale truly sounds like an affirmation of joy that binds us all humans, and the bucolic Scherzo has a natural spring to it, similar to what many modern performances would capture. It's true that the first and third movements are twice as fast as we are used to, but we can feel that these performances successfully integrate structure and feeling to depict the Titanic struggle that Beethoven wanted this music to portray. But this is still a keen crowning achievement to this fresh and cohesive cycle of Beethoven symphonies.
In short, I feel compelled to count this historically-informed cycle of unexpurgated Beethoven a cycle that should eventually suit all tastes. Although some older-generation listeners would recommend springing for Karajan's box, this cycle allows for a cleaner approach to the music that benefits Beethoven and ourselves. Maybe in time this historically informed cycle will allow more people to discover the bloodthirsty beauty in Beethoven's music, but its great merit is that it successfully infuses the cerreberal (scholarly) approach with the anodyne approach, and gives new life to these well-worn works.
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17 of 20 people found the following review helpful:
5.0 out of 5 stars
Everybody should listen to this, October 23, 2000
This review is from: Beethoven: 9 Symphonies - Orchestre Révolutionnaire et Romantique / Gardiner (Audio CD)
If you've already got favorite versions of Beethoven's symphonies, Gardiner may not convert you, but he gives you plenty to think about with these very interesting alternative performances. With all the scholarship and hard work that went into this cycle, perhaps this version IS closer to what Beethoven intended (though who can say for sure?), but a happy surprise is the verve and brio of these 'period' performances. It used to be that so-called 'period instrument' versions of classical music came off sounding bloodless and dessicated. Not so here! Partly this is due to the rethinking of the tempi involved; this is the FASTEST set of Beethoven symphonies that you're ever likely come across. But the musicianship is both gutsy and sensitive---just top-notch throughout. While I must admit, these will probably never be my favorite versions of the Third, Fifth, or Seventh, I can live very happily with the First, Second, Fourth, and Eighth here. But this entire cycle should be heard several times by any Beethoven fan, and the CD of commentary by Gardiner is fascinating and illuminating (and persuasive). The sound quality is great, too. Well worth the price.
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