Recordings that you enjoy: Beethoven Symphony #9

[Gurn Blanston]

If I must drop some performances from your list, this will be Schmidt-Isserstedt's, Dohnanyi's and Wand's performance. They are all good, no doubt but compare to other performance, they doesn't have enough special quality and vision to be remembered.

I could be content with that, except for the Wand. As you say, the other 2 are very good, but they are surpassed here and there. Actually, I prefer the Maazel/Cleveland recording to the Dohnanyi. But not to throw too many names into the hat. 

[trung224]

I could be content with that, except for the Wand. As you say, the other 2 are very good, but they are surpassed here and there. Actually, I prefer the Maazel/Cleveland recording to the Dohnanyi. But not to throw too many names into the hat. 

I agree with your evaluation about Maazel's performance. Though I don't like this, too fast, underplayed the dramatic quality but at last, it has the "vision". The only recording of Beethoven 9 in digital era can move my blood is Tennstedt's performance on LPO live. Full of passionate expression, heartfelt Adagio , only the last movement is somewhat let  down by the wrong balance of the recording.
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[Gurn Blanston]

  I agree with your evaluation about Maazel's performance. Though I don't like this, too fast, underplayed the dramatic quality but at last, it has the "vision". The only recording of Beethoven 9 in digital era can move my blood is Tennstedt's performance on LPO live. Full of passionate expression, heartfelt Adagio , only the last movement is somewhat let  down by the wrong balance of the recording.
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Thanks for the tip on that, I put it in my basket. I like Tennstedt, and haven't noted a recording before of his.

Yes, 'the Vision'. That inexpressible quality that, with this music, must be there to make it work. But also a subjective thing which exists upon one listening, and yet not in every one.  0:)

[Carnivorous Sheep]

I love the Tennstedt live ninth. Definitely one of my favorite recordings of this work.

Regarding Kletzki: It's such a distinctive recording that I would not drop in favor of the Wand, even though I enjoy the Wand very much also.

[Wakefield]

A first time listen this morning. As I understand it, Peter Maag was loathe to record any Beethoven due to political reservations (I'm sure that phrase isn't strong enough) over the Nazis in general and Furtwängler in particular. In any case, near the end of his life he realized, I think, that it wasn't Beethoven's fault, and indulged himself an opportunity to record the entire symphony cycle. I only have the 9th, it is recorded in a way that is certainly different from Furtwängler (except for being 'live'). I'm well into it now and quite enjoying. Maag has a unique way of phrasing that brings out the meat of the dish, so to speak. I'll be back....

It's a great cycle, indeed. I was prompted to purchase it after reading this superlative review by the great harpsichordist Peter Watchorn:

5.0 out of 5 stars Peter Maag's Magnificent Legacy April 3, 2003
By Peter G. Watchorn
Amazon Verified Purchase

For those who wonder what Peter Maag was up to in the many years since his classic recordings for Decca in the 1950's and (early) 1960's, here is perhaps the "last will and testament" of this uniquely great Swiss conductor, who, to the incalculable loss of all music-lovers, passed away in November, 2001. Maag's accounts of the nine symphonies of Beethoven constitute one of the very finest sets, a genuine "sleeper" which is destined (especially in view of Maag's departure from us) to become a classic. Perhaps only Nikolaus Harnoncourt's exemplary readings with the Chamber Orchestra of Europe can truly match the present set in fire, verve and imagination.

Maag, a one-time piano student of Alfred Cortot, and disciple of Wilhelm Furtwaengler, was one of the most impressively sensitive conductors of his era, noted for his beautiful and searching interpretations of, especially, Mozart and Mendelssohn, whose spirits, he clearly felt, were closely related to one another. His complete recording (with the London Symphony) of Mendelssohn's "Midsummer Night's Dream" has been rightly revered for forty years, and his more recent achievements with the Orchestra of Venice and Padua are no less impressive. In addition, the recordings are remarkably well engineered (fine ambience, excellent attention given to matters of balance).

The orchestra should also be singled out for praise - wonderfully warm string tone, and some of the finest wind-playing to come out of Europe in recent times. It is damning with faint praise to characterise this set as the work of a major conductor directing a minor league orchestra. There is nothing second rate about these musicians and Maag's presence lends an authority and assurance that places the results well beyond the goals and achievements of many so-called "star" conductors. Simply put, Maag was one of the great musicians of the century and these recordings are a worthy testament to his extraordinary gifts. Those interested in discovering details in the Beethoven symphonies that they didn't imagine existed should invest in this set forthwith. Contributing strongly to the overall effect is Maag's decision to reduce the size of the string section. Far from representing any handicap, this results in a satisfyingly "classical" Beethoven, with winds and brass suitably prominent, and with plenty of fire and drama where and when it's called for.

Has any other conductor better realised Beethoven's cautionary designation "non troppo", attached to the opening Allegro of the Pastoral? Or summoned more energy in the great seventh symphony? Or shaped the opening of the slow movement of the same work so tellingly?
The delights which await the listener are far too numerous to enumerate in any detail here. Suffice it to say that those wise enough to invest in this set (knowing Maag's reputation) will be rewarded by performances of almost transcendental beauty, conducted by an undisputed master, in state-of-the-art recorded sound. At one time, Peter Maag removed himself from the professional conducting circuit to devote his life to Buddhist study, in part to reclaim his "humility" as an interpreter. What is presented here (as well as in Maag's equally fine set of Mozart's later symphonies, also recorded with the Italian orchestra, of which he was chief conductor) is music-making of the greatest power, insight and humility by one of the most fascinating and satisfying conductors of the twentieth century. Strongest recommendation. Five stars.

[Gurn Blanston]

This Sunday, a version that also has had its share of love/hate, one I have always liked a lot though;



Harnoncourt seems to have the measure of these works throughout the cycle, and his 9th is no exception. I'm thinking that waiting until later on in his career to record it was not a bad thing at all, he may have done it 100 times before, but it still sounds like he has a fresh attitude about it, which shows through. Definitely a nice one to have! 

[Gurn Blanston]

It's a great cycle, indeed. I was prompted to purchase it after reading this superlative review by the great harpsichordist Peter Watchorn:

Thanks for that review, Gordo, it was interesting and informative. I quite agree with Watchorn over the playing of the (smallish) orchestra; rather than being a drawback it is a plus. Very nice!

[Reverend Bong]

It's a great cycle, indeed. I was prompted to purchase it after reading this superlative review by the great harpsichordist Peter Watchorn:

Thanks from me too.  I've been listening to these on Spotify and I think I have to have them.  Just listening to the 8th, splendid precision and definition and authority to it, and even on the lower quality of free spotify, very good recording indeed.

[Gurn Blanston]

This morning, just got back from golf in record high temps for the date, now listening to;



This is an excellent version of this work, also the 3 pieces of the Missa Solemnis which Beethoven was allowed to premiere at the same time under the title "Three Hymns". Spering and New Orchestra are very skilled players (the timpanist is ass-kickin'!!) and the singing is very fine. I haqve always like 'theme' albums, and this one's is, of course, May 7 1824, the World Premiere of the 9th + the Vienna Premiere of the Missa. Very satisfactory.

[Karl Henning]

This morning, just got back from golf in record high temps for the date....

Good on ya!

[Gurn Blanston]

Today, a little contrast with last week's selection!   



This is the version that America grew up on, the Scherzo was the theme of the NBC Evening News  for many years. And it still sounds so familiar! This is one of the great versions to come out of America, IMO.  In the first movement, Reiner does some little tempo things, unexpected slowing down and speeding back up again, not sure what he is trying to say there. It isn't off-putting, just different. The 2 inner movements are as good as it gets in classic performance.  We're just getting to the Finale now; I can't wait!

[trung224]

Today, a little contrast with last week's selection!   



This is the version that America grew up on, the Scherzo was the theme of the NBC Evening News  for many years. And it still sounds so familiar! This is one of the great versions to come out of America, IMO.  In the first movement, Reiner does some little tempo things, unexpected slowing down and speeding back up again, not sure what he is trying to say there. It isn't off-putting, just different. The 2 movements are as good as it gets in classic performance.  We're just getting to the Finale now; I can't wait!

Gurn, I have this performance. Fritz Reiner is one of my favorite Beethoven performer (especially his exceptional Fifth). Like you say, Reiner did many fluctuation of tempo in first movement, something reminds me of Furtwängler, but IMHO it doesn't create the same impact because the playing is so clean, so cold, lacks the wildness and weighty. Other movement is lively, songfullness, well-played and well-sung. Soloist in forth movement is only adequate, not distinctive.  Overall, it is an enjoyable performance, but not Reiner's best effort

[Gurn Blanston]

This week I decided to continue with that little cluster of great performances that ranges from '58 to '63. Following last week's Reiner with the wonderful, warm performance of the Orchestre Suisse-Romande / Ansermet.



The horns in the Adagio on this recording are superb. In fact, all of the winds really put together a standout performance that was well-captured by the original engineers. Ansermet seems to have been a forward looking conductor, since he takes the tempos at a bit of a more brisk pace than do some of his contemporaries. Overall, I really like this version.

Just to savor the goodness of this group, I will spend the 10 weeks it takes to listen to all of them.

1958   Berlin Philharmonic   Cluytens, André
1958   Berlin Philharmonic   Fricsay, Ferenc
1958   Boston SO   Munch, Charles
1959   Orchestre Suisse-Romande   Ansermet, Ernest
1960   Leipzig Gewandhaus   Konwitschny, Franz
1961   Chicago Symphony   Reiner, Fritz
1961   Royal Philharmonic   Leibowitz, Rene
1962   Berlin Philharmonic   Karajan, Herbert von
1962   London Symphony   Monteux, Pierre
1963   Cleveland Orchestra   Szell, George

[Gurn Blanston]

And now, another from the list. Berliner Philharmoniker / Cluytens. If I don't mention that the Berliners play beautifully throughout these performances, you can take it as given. These 3 performances from a period only 4 years apart, Fricsay, Cluytens and von Karajan are a lasting monument to a truly great band.



Cluytens has a bit slower tempo in the first movement, but he does a great job of imparting that air of mystery that should accompany that movement. The Scherzo and Adagio are both pretty well mainstream (which isn't a bad thing at all!). The Adagio has a lot of clarity though, and even though taken a bit more slowly than some, it doesn't suffer from it.

The Finale is one of the earliest that I've heard where the double basses actually seem to understand what playing recitativo entails. They do quite a splendid job of it. Although the initial presentation of the 'Joy' theme is lacking a bit in Lebensfreude, overall the entire choral section is pretty kickin'! The lady soloists are superior to the men, but overall it's not bad at all. A nice start to my personal 'Golden Age'.

[Gurn Blanston]

Continuing on with the cream of the early stereo era, this morning we will slide over to the former East Germany, where pride of place, despite the political upheavals of the time, remains with the Leipzig Gewandhaus Orchestra, and their leader at the time, an all-time great, Franz Konwitschny;



Despite being in less than state-of-the-art sound (but it is quite acceptable), Konwitschny makes one rapidly forget all that and fall into the unique sound-world of the Beethoven Era. As in 'this was OUR guy'.   A nicely uptempo performance without a lot of personal idiosyncrasy. I've liked this performance since first hearing and it has worn well. Plus, you get extra bonus points on your lifetime score if you can figure out what the balloons mean. Double that if you share the solution with me... 

[mszczuj]

Balloons fly higher and higher just like the mind which rises above the tent of the stars in the seeking of the God?

I have got Konwitschny on LPs (all symphonies) and I like it.

[Lake Swan]

Continuing on with the cream of the early stereo era, this morning we will slide over to the former East Germany, where pride of place, despite the political upheavals of the time, remains with the Leipzig Gewandhaus Orchestra, and their leader at the time, an all-time great, Franz Konwitschny;



Despite being in less than state-of-the-art sound (but it is quite acceptable), Konwitschny makes one rapidly forget all that and fall into the unique sound-world of the Beethoven Era. As in 'this was OUR guy'.   A nicely uptempo performance without a lot of personal idiosyncrasy. I've liked this performance since first hearing and it has worn well. Plus, you get extra bonus points on your lifetime score if you can figure out what the balloons mean. Double that if you share the solution with me... 

I will try this one, Gern. Thanks!

[Gurn Blanston]

Balloons fly higher and higher just like the mind which rises to the tent of the stars in the seeking of the God?

I have got Konwitschny on LPs (all symphonies) and I like it.

Oh, that's good! It would even explain this one (Krivine), which I (coincidentally) bought at the same time;



Are those LP's like original pressings from ~1960? Or later on reissues? I know nothing about LP's, but always curious.

[Gurn Blanston]

I will try this one, Gern. Thanks!

I think you'll like it, Dive. Y'er welcome.

[Lake Swan]

I think you'll like it, Dive. Y'er welcome.

I can't help that you've misspelled your forum name.