Customer Reviews

Beethoven: Symphony No. 9

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

 

 

Roger Norrington clearly has done a significant amount or research in preparing for this magnificent performance. Of note is his focus on the tempi - to try to approximate what Beethoven might have had in mind while composing the music. For ears more used to the romantic/orchestral sound of Ormandy, Bernstein, Stokowski, et.al., this is a refreshing change. Additionally, the typical 100 piece orchestra, as the above mentioned conductors were wont to conduct, make the music loud rather than powerful. Mr. Norrington's use of a smaller orchestra allows the music to sing rather than bellow. What Mr. Norrington has achieved here is magic rarely heard - a performance so compelling that the music transcends the performers; rather than hearing artists performing, you hear Beethoven's music.

I could only laugh when I read the amazon.com editorial review. It really is a wonderful bit of evidence that we live in a world in which a complete ignoramus, with a little hard work and some put-downs, is capable of rising almost to the middle of the field of music criticism.

While perhaps Norrington is going too far in implying that this is the way Beethoven "must" be played, it is difficult to argue with his tempi, since he is following Beethoven's metronome markings. It is certainly jarring to hear the trio of the scherzo and the turkish march so much slower than we're used to, and the recitatives and the entire third movement so much faster than normal, but it doesn't sound *wrong*. Just different. And very interesting. And by the end, exhilirating. The orchestra has a beautiful sound, and if not perfectly in tune at all times, it's close enough to not be overly bothersome. Some lines come out more than they would in a modern orchestra, in particular the horns and timpani, but they both sound great. My one quibble is with the soloists, whose consistently wide vibrato is irritating and doesn't fit in. Nevertheless, for all the (quite legitimnate) raves about Szell, I'd take this recording over his anyday.

I demand a second opinion! David Hurwitz's review is an injustice, not only to Roger Norrington, but to Beethoven as well. Fast and fierce the performance is - and a more natural interpretation I have never heard. A century's worth of slow, maudlin romanticist interpretation has unfortunately coloured many eyes. But Beethoven was not a romantic, he was a composer of early music. His music, truly played, instills a sentiment of joy, Beethoven's favorite emotion, and mine as well, I am happy to say. Those who harken back to before Norrington or Harnoncourt would reduce the Ninth to mushy movie music, because it is what they are used to hearing, via tradition.

This version of the 9th is a recreation using original tempos and orchestration. This succeeds magnificently and may well prove to be one of the definitive versions of the 9th ever made. You can almost dance to it! Mr Norrington has done a tremendous study of the music and it may be as close to what Beethoven actually intended for us to hear as any other version. I disagree with the amazon.com review wholeheartedly.

The whole series of Norrington/Beethoven is nothing more or less than an accurate portrayal as far as we can know, of what Beethoven knew. Having been swamped for decades by more Romanticised versions which were always overblown, it is wonderful to hear this music stripped to its reality, and played on period instruments, at the marked tempo and with the original balance between forces. Yes to many these will shock, the sheer raucousness, and speeds are bound to surprise, but the recordings are very representative of what was heard, not what some would LIKE to hear. There is a difference. The difference is the Classical orchestra, as against the modern Symphony Orchestra. The former wins, hands down. I wish to hear Beethoven, a sheer genius, and now I can, realised by another Genius in the guise Of Sir Roger. I would recommend these discs to anyone, they are gold dust, musical, accurate, not exaggerated, not forced. We should all have them on our shelves and learn, as difficult to some as it may be.

I agree that Hurwitz's criticism of this recording is extreme. Norrington, of course, is a champion of the "authentic" performance. His band, the London Classical Players, uses original or original-style instruments, and their style of play is more authentic early 19th century, e.g., a drier string sound with less vibrato and more prominent winds and percussion. Norrington also tried to use Beethoven's own metronome markings. This approach has been described as viewing Beethoven through the lens of Haydn, and it contrasts with the more conventional mid- to late-20th century approach of viewing Beethoven through the lens of Wagner and Mahler.

But Beethoven's 9th is so transcendent that seeking an "authentic" performance may be misguided--why not take full advantage of the sound a modern orchestra can produce, to bring forth more possibilities from this wonderful music? Also, Norrington himself has admitted that he badly misjudged and misinterpreted some of the tempos; he no longer performs the 9th as he recorded it here. And his soloists sometimes let him down. Still, the style of performance is an interesting contrast to the grand-romantic style that had become conventional.

As an alternative, consider David Zinman's recent cycle with the Tonhalle Orchester Zurich. It's on a budget label, and you can pick up all 9 symphonies for about 20 bucks. Zinman (formerly with the Baltimore Symphony Orchestra) attempts an "authentic" style, but with modern instruments. He also works from a new edition of the score. His 9th includes alternative endings - based on different approaches Beethoven himself used. Zinman shows that an authentic approach can bring out new insights, and he and his Zurich orchestra make some beautiful music.

Who is David Hurwitz? What an arrogant pedant! This interpretation of the 9th is wonderful. Sung and played with feeling.

I bought this disk ages ago and played it a couple of times. While I liked the sound of period instruments, this recording just sounds terrible. I recently bought the complete Gardiner Beethoven. Wow! Lively, clear and intelligent. Gardiner convinces the listerner that he knows what he is doing (i.e. knows how to make this music) in a way that Norrington can't.

Beethoven's 9th is a great piece of music, I cannot imagine anybody arguing that comment. The greatest part of the music, in my opinion, is the slow movement. Most conductors play this movement in about 16 minutes. I like it about 14 so the music moves but still has plenty of expression. Any faster and the music pretty much sounds like a salon piece. That is exactly what Maestro Norrington has done here. His timing is 11 and change, way too fast. The finale lacks power and the chorus and soloists are both second rate. The first two movements are pretty good though, which is why he gets three stars, although

2 1/2 is the correct rating. If you are curious about this rather famous recording, try to locate in your local library. I would not waste any money on it. If you want period instruments, buy the Gardiner version. It is much better.

First of all, let me get one thing straight, I don't believe in authenticity when it comes to how a work of music should be played. I don't mind if they're just trying to recreate how it would've been played during Beethoven's time, but must Roger Norrington say that it HAS to be played this way to be appreciated? I just don't understand. This recording is too ugly to be joyful. Where the tempo should be slow, it's fast, and vice versa. Beethoven would probably turn in his grave if he heard this vulgar performance.

IMHO, the one I would go with is by George Szell, Robert Shaw, and the Cleveland Orchestra and Chorus. It may not be on period instruments, but it blows away this recording. Norrington is no match for Szell's mastery of the orchestra and Shaw's great choral direction. Just listen, and you'll see why.