Customer Reviews

Beethoven: Symphony No. 9

5 star:		(5)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(2)

 

 

Harmonia Mundi has a real knack for taking old, oft-recorded classics and breathing new life into them. This is largely thanks not only to HM's marvelous sound quality, but to the artists who the people at HM employ on the label's roster. For HM, Rene Jacobs has interpreted old-favorite Mozart operas with unmatched vitality, Konrad Junghanel has done it with Bach cantatas, Andrew Manze with Mozart's instrumental works, and Phillipe Herreweghe with the larger scale choral works of Bach.

But what Herreweghe has done here with Beethoven prooves that he is capable of interpreting for any period, just like (if not better than) John Eliot Gardiner.

Just like many other music students/enthusiasts, I have many recordings of Beethoven's Ninth Symphony, but none other has attracted my ear more than Herreweghe's, not even the classic Karajan on DG or the new Zinman on Arte Nova. Yes, Herreweghe uses period instruments, but the Orchestre Des Champs d'Elysees packs just as much punch as any full size symphony orchestra.

Mr. Herreweghe really does keep things moving too, and takes full advantage of the orchestra's dynamics. While conductors like Zinman (who's interpretation I love nontheless) will utilize sheer speed to convey drama, Herreweghe really brings out the passion from each of his players.

What I love most about Herreweghe's Ninth Symphony is the "Turkish" themed march in the middle of the fourth movement. The conductor's use of dynamics is excellent here, as the simple beat of cymbals and bass drums swells from pianissimo to forte, and becomes "high art" with full strings and chorus. Herreweghe thusly cannot be merely portrayed as an excellent conductor of sacred works, but as a real dramatist.

Each vocal soloist is excellent and Herreweghe's choir remains my all-time favorite (they are just so uniform, and they sing from the heart, and not to be showy... "vom Herzen," as Beethoven often said). I am especially impressed with the tenor. I am so used to tenors singing the "Froh, wie seinen Sonne (etc..)" during the Turkish tinged march sounding the same and uninspired with each recording. But not here. Listen to it, and you'll see what I mean.

Beethoven's score is beyond words, and Herreweghe's conducting really does it justice. Listen for yourself.

The recording is immaculate and clear, only enhancing the timbres and colours of the period instruments, which is good. The speeds seem to be correct, as indicated by Beethoven's own metronome markings, which is also refreshing. The 'gravitas' many may have come to expect from this music - enhanced by the bigger modern orchestra, more powerful modern instruments and (more so) by the style of conducting - is missing here, the result of the 'leaner' character of the period instruments used, and the (often notably) faster speeds than those which have been the norm for many decades. But when one considers all this, one has to admit that the playing here is full of power and replete with character.
As the general aim of using period instruments is to recreate the vitality of the original performances, this recording should convey this. To me at least, it does. For many other people, I can imagine it may all just take a while to get used to (or maybe never?), but when one is prepared to listen to this performance with an open mind, one has to admit that this view is at least as legitimate as any other, especially because it stays true to the source material, even if one may ultimately be missing the extra 'oomph' given by a rendition with modern instruments. But then again, in the end, everything depends on the quality of the playing and conducting, whatever the type of instruments used (please try Sir Charles Mackerras' absolutely gorgeous, freshly inspired recordings with modern orchestra as proof of this (The Beethoven Symphonies Live from The Edinburgh Festival [Box Set])

3 stars average?
And the guy before me gave it only one star.
?
This is without a doubt the best Beethoven 9, in my opinion ofcourse.
This recording is breathtaking.
My favorite piece of this symphony: the opening movement is at last given the right speed, drive and rhythm.
I do not exaggerate when I claim that this is very likely the best possible way to perform this piece.
Brilliant.
Needless to say that the singing is excellent, what you'd expect from Herreweghe.

Please do me a favour and listen to this disc, don't believe those editor remarks: the spirit and mystery is greatly served by Herreweghe.

The sign hanging over most period-flavored Beethoven reads "Non-members Keep Out." The Baroque sound that suits Handel and Bach has developed a new timbre that multitudes of fans enjoy. To them, taking the mighty Beethoven Nnth and subjecting it to the same sound feels unobjectionable -- more than that, they positively relish it. Mostly I feel that they should enjoy themselves. There are copious opportunities to hear traditional Beethoven. I am content to peer into the HIP clubhouse once in a while, however, even though my resistance to the clipped, zingy, paltry-sounding Beethoven from pioneers like Norrington and Gardiner remains powerful.

Not so with a second generation represented by excellent musicians on the order of Philippe Herreweghe. While adhering to period conventions about a smaller orchestra, no vibrato in the strings, and quick tempi that are close to Beethoven's controversial metronome markings, Herreweghe delivered a powerful, strong-voiced Missa Solemnis. His Ninth Sym. is just as compelling in its strength. The first movement begins unpromisingly, because the mystery of the hushed strings is greatly diminished with only a few musicians to a part. But within a few bars Herreweghe delivers us into true Beethoven territory with a propulsive sense of drama that is unflagging (like Toscanini, e employs almost o rubato).

The Scherzo keeps the promise going -- there are no bullet-like thwacks on the timpani and runaway tempo. A Toscanini or Szell would feel comfortable at the same urgent pacing, and Herreweghe's phrasing is truly felt, not a mechanical run through. One is aware, here and elsewhere, that the Orchestre des Champs Elysees is admirable rather than astonishing. I believe that the woodwinds and brass are modern instruments; they certainly sound like it, which for me is to the good. The Adagio is the crown of the Beethoven Ninth, the most profound slow movement in the orchestral repertoire, perhaps. Unfortunately, Herreweighe favors Beethoven's once-though-impossible metronome marking, which results in an impatient rush to the finish line in just over 12 min., robbing the music of emotional depth. I've heard half a dozen period readings that try to convince us to hear this movement in a new way, but for me they have never even come close. Herreweghe applies suitable intensity and expressivity, however. If you must have the Adagio tis way, he's the best.

The jackrabbits are still on the run at the outset of the finale, and the buzzing cellos and double basses are far from the sound I want here. But Herreweghe slows down reasonably once the bass enters with his invocation to joy -- only in tis case the singer, David Wilson-Johnson is a fairly light baritone. The whole vocal quartet is accomplished, and the conductor, whose specialty is voices, knows not to push the in their taxing parts. The chorus sounds gratifyingly large and imposing. Herreweghe leads them with passion and conviction, just as he does in the Missa Solemnis that I so admired. In all, the finale is as joyous and triumphant as any I've heard. Only the Adagio keeps me from giving this impressive Ninth five stars. If you aren't bothered by a fast tempo in that movement, there's no reason to hesitate.

I just received this CD and it is absolutely wonderful! I have heard many 9th interpretations : Harnoncourt, Solti, Karajan, even the great Berstein in Berlin, but this one is my favorite.

The first movement is at a great tempi, this is a 9th start with no pendantic feeling. The second movement is more like the other versions, quite perfect. The third movement has something magical with the soft and rich sound of the authentic timbal. It ends so gracefully you even feel rushed by the beginning of the 4th movement. This last movement is something you don't want to miss. Although the first 5 minutes are nothing new, when you hear the first call of the baryton "O Freunde", you know you are in something entirely new and completely beautiful. The best part is definitely the great finale, especially the last two minutes. The march tempo is so well rendered, with perfect accents on the right notes, with the Picolo rising above all, you can hear the army fanfare walking in the city singing the joy of the liberty.

This is the one that I have been looking and waiting for all these years. Maestro Herreweghe's understanding of this music is so fresh and crisp it finally quenched my thirst. This recording brings 'joy' back into the Beethoven Symphony No 9. Listen to it and you will know what I am talking about.

Tight, clean, upbeat, and unpretentious is the best way to describe this rendition of Beethoven's 9th. The period insturments and intended tempo are a noted contrast with most modern renditions, whose plodding tempo and romanticized flourishes of the conductor's ego beat the piece into a soulless submission. If most interpretations have the esthetic appeal of classic marble statuary, this one goes back to the painted garishness of the originals. This version has a toe-tapping beat to carry the melody, like the 19th century pop music it was intend to be.

I've just downloaded and listened to this version of Beethoven's Ninth. All you need to know is that the prestissimo, which is the exclamation point of the greatest symphony ever written, is a disaster. It almost sounds as if the orchestra is about to fall asleep. How Herreweghe thought this tempo was appropriate is puzzling. And the timpanist plays like he is struggling with the last drum roll. And I've enjoyed Herreweghe's recent Beethoven symphonies on Pentatone. They are really first class. But for the Ninth, you'd be better off getting the recent Dausgaard with the Swedish Chamber Orchestra on Simax or the Skrowaczewski with the SRSO on Oehms. But stay away from this unless you want to sleep through the ending.

Although HMC is a highly respected record company, I really have some trouble with their recordings. I tried to listen to it three or four time after I bought the CD and I cannot continue after 5 minutes no matter which movement I was listening. The sound seems to be highly restricted and unreal. I wouldn't recommend it to anybody.