Beethoven: Symphony No. 9 'Choral' [Hybrid SACD]

Beethoven: Symphony No. 9 'Choral' [Hybrid SACD]

Beethoven: Symphony No. 9 'Choral' [Hybrid SACD]
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CD Details

Composer: Ludwig van Beethoven
Conductor: Bernard Haitink
Performer: Karen Cargill
Orchestra: London Symphony Orchestra
Performer: Twyla Robinson
Performer: John MacMaster
Edition: Music CD
Format: Hybrid SACD - DSD, Import
CD Release Date: 2006-11-14
Music Label: Lso Live UK

Music reviews of Beethoven: Symphony No. 9 'Choral' [Hybrid SACD]

Music Review: Magnificient, Crowning Conclusion to Haitink's LSO Live Cycle in Hybrid SACD Format
Rating: 5 Stars

Distinguished Dutch conductor Bernard Haitink's latest, truly relevatory, traversal of the Beethoven symphonies ends with this triumphant, enthralling interpretation of the 9th "Choral" Symphony in D minor. His magnificient interpretation is unquestionably one of the finest accounts of this symphony ever recorded, and definitely the best I have heard since Claudio Abbado's two distinguished recordings on Sony and Deutsche Grammophon with the Berliner Philharmoniker, using the same Jonathan Del Mar-edited Barenreiter Edition. Although strongly influenced by period instrument practice, Haitink strikes a fine balance between that and more traditional accounts of this symphony, without ignoring the swift tempi required of it from the relatively new Barenreiter Edition, and yet, yielding an awe inspiring, truly magisteral performance (Personally, I've fallen in love with Haitink's interpretation, finding it somewhat more engrossing than either of Abbado's.). Indeed, this latest recording of the Beethoven 9th Symphony may be the most dramatic, most exciting account that I've heard, and one that's worthy of all the critical and popular acclaim it has earned so far. Moreover, the sound quality is exemplary thanks to the superb job in recording this performance live during two concerts in late April 2006 by producer James Mallinson and his team of engineers on behalf of the LSO Live label.

Haitink's interpretation is a no-nonsense, technically brilliant, yet still most mesmerizing, account of this symphony. He opens with a vividly intense first movement (Allegro ma non troppo, un poco maestoso) dominated by exquisite playing from the winds and strings. His treatment of the second movement (Scherzo; molto vivace) is neither as ponderous as any I've heard from the likes of Giulini and Karajan, nor is it as swift as Zinman's or Abbado's, but instead, sounds just right, showcasing once more the exemplary playing from the London Symphony Orchestra's winds and strings. Haitink's interpretation of the third (Adagio molto e cantible) and fourth (Presto - Allego ma non troppo - Vivace - Adagio cantible) movements are the most electrifying accounts I have heard, replete with excellent performances too from both the soloists and the London Symphony Orchestra Chorus in the memorable "Ode to Joy" which encompasses virtually the entire fourth movement (I haven't heard of the soloists before, but their singing is comparable to the finest I have heard in Abbado's and Karajan's recordings.).
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Description of Beethoven: Symphony No. 9 'Choral' [Hybrid SACD]

Beethoven's Ninth Symphony is a landmark in the history of music, changing the concept of what a symphony could be. The use of solo singers and a chorus in the final movement was revolutionary, and the emotional journey to a glorious vision of a world of love and tolerance paved the way for idealistic symphonies to come.
Haitink's integral set of Beethoven Symphonies with the London Symphony has none of the stodginess that sometimes afflicted his earlier recordings with the Concertgebouw. His restudy of the works, and the presence of concert audiences translate into faster tempos, sharper accents, wider dynamic range and an overall sense of energy that imbue these nine masterpieces. Here, the Classic style is wed to Romantic expressivity but not to Romantic excess, Competition is abundant, ranging from Toscanini, Furtwängler, and the 1963 von Karajan to recent sets from the sometimes hyperkinetic Vanska, the more traditional Abbado, and the insightful Barenboim. But this new Haitink set, available in hybrid SACD/CD, is a solid contender.

The early First and Second symphonies benefit from Haitink's leaner, more vivacious approach. The Eroica also sounds fresher. Its slow movement is still a funeral march, but moves a hair faster this time, just enough to be the difference between a pace that drags and a pace that flows and retains interest. In the outer movements, there?s a new spring to the rhythms and clarity in orchestral balances, and this Eroica has the cumulative intensity to make its full effect. Haitink's Fourth is in a grander mold than we usually hear. While never overblown, it has some of the wider scope and heroism of the odd-numbered symphonies. Like the Eroica, it is rhythmically vigorous and the prominent tympani and brass make an impact that sweeps the listener along. The Fifth can suffer from over-exposure but here it has a variety of tonal colors, tempos, and dynamics that make it seem newly minted while no less grand. The propulsive finale, with its pounding tympani and expertly played journey to transcendence, is especially memorable.

The Sixth, the Pastorale, has that same feeling, its flowing tempos and skillful interpretive choices make this one of the best Sixths since Böhm's, with plenty of excitement in the Storm and warmth in the final movement. The Seventh gets a buoyant reading, predominately lyrical without neglecting its powerful rhythms. The driven final movement is exhilarating without being hectic. The Eighth is often considered the slightest of the Nine but Haitink?s brisk tempos make it dance and swagger; the lyrical sections played with engaging warmth. As for the Ninth, it is miles ahead of Haitink's earlier versions. The harmonic mist that opens the work is well delineated, the contrasts within movements carefully marked, the Scherzo bursting with energy, the incomparable Adagio sings at a more fluid tempo, the choral final movement as good as any in the catalogue, its structure crystal clear under Haitink's baton. The major filler in the set is the often scorned Triple Concerto, which gets a performance of warm lyricism that can only elevate its status.

The playing of the London Symphony is phenomenal, especially since these are live recordings. The violins? tone glows with radiance, their precise articulation helps make the rhythms energetic, the winds are uniformly excellent, the brass sleekly powerful, the potent percussion authoritative in climaxes. If a criticism can be made it would be that bass lines are sometimes weaker than desirable, perhaps a function of engineering that varies in clarity from disc to disc but is never less than good. In sum, a major addition to the Beethoven Symphony discography. --Dan Davis

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