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Beethoven: Symphony No.9 in D minor, Op.125 (CD)

 

  

“Canadian baritone Gerald Finley is outstanding.” Scena Musicale

 

Composer: Ludwig van Beethoven

Conductor: Bernard Haitink

Performers:

Recorded live at the Barbican, 29 & 30 April 2006. Click here for details

Released: November 14, 2006

Number of Discs: 1

Label: Lso Live UK

ASIN: B000HDR7GK

Beethoven: Symphonies Nos. 1-9 [Special Edition]

 

Composer: Ludwig van Beethoven

Conductor: Bernard Haitink

Performer: Gerald Finley, Timothy Hugh, Karen Cargill, Lars Vogt, Twyla Robinson, et al., London Symphony Orchestra

Releas ed: September 12, 2006

Number of Discs: 6

Label: Lso Live UK

ASIN: B000GUJYRE

 

What the critics say



Anthony Holden for The Observer, September 24, 2006

http://arts.guardian.co.uk/reviews/observer/story/0,,1879464,00.html

Elderly conductors do bring a unique authority to Beethoven. It was true of Charles Mackerras's cycle of the symphonies in Edinburgh this summer; and it is true of Bernard Haitink's continuing cycle for the LSO's own label, each recorded live over two concerts at the Barbican. With fine soloists in Twyla Robinson, Karen Cargill, John MacMaster and Gerald Finley, Haitink brings a lifetime of visionary music-making to this supreme masterwork, reserving a special intensity for the adagio that leads to a climax the moving optimism of which bears not a hint of irony.

 

 

Reviewed by Colin Anderson for Classicalsource.com

http://www.classicalsource.com/db_control/db_cd_review.php?id=3743

It takes a while for this ‘Choral’ to establish itself – a lack of mystery at the opening tends to make the music ‘ordinary’ rather than ‘extraordinary’, but once into its stride, the first movement, convincingly paced regarding clear articulation, is among the more expressive versions of this Allegro ma non troppo, un poco maestoso (a direction that Haitink mirrors unerringly). It’s not as galvanic as some interpretations, though, therefore the timpani outburst in the central climax, while thrilling, is somewhat unexpected and even over-emphatic in the context of the performance. But Haitink’s sense of direction is patrician, so too his detailing (aided by antiphonal violins, the double basses being left-positioned) and the recording – once a louder than usual setting has been found to get everything in focus (better this, though, than one of those ‘disco’ transfers that are always too loud even when turned right down and which also smooth out dynamic contrasts) – does have plenty of impact and air around the instruments. The sound is lucid, yes, but it lacks a bit of heft.

Perhaps, though, Haitink’s civilised and spruce way with Beethoven is ideally recorded (and transferred) – in that both have something lacking while being otherwise admirable. It’s difficult to quibble with any of Haitink’s choices of tempo; and the phrasing is equable and detailing is vivid, the LSO playing with consummate professionalism and much sensitive and sassy input. The scherzo could be more driven, yet it has a playful quality that is likeable – and Haitink observes the long, second repeat (relatively few conductors do; yet it seems so important to retrace these steps) – and the trio is Elysian. It’s during the scherzo that Haitink’s sense of rhythm really comes into its own; as in the first movement, he is not one to intrude, and one becomes aware of a potent, but not forced, sense of momentum.

A few more seconds’ gap between scherzo and slow movement would have been welcome, also some ambience before the bassoons intone the opening of the Adagio. Haitink’s initially spacious view of the music is rather beatific; such radiance is affecting – so too the manner in which Haitink introduces faster tempo contrasts – but this movement can carry a depth of purpose that here, for all the feline playing of the LSO (solos and ensemble magically achieved), gives way to beauty and grace, itself interestingly prophetic of Berlioz’s ‘Scène aux champs’.


The finale’s tempest should crash in – it doesn’t: tension is lost – but ‘embracing’ power is soon found, and Haitink’s handling of the lower strings’ recitatives is reassuringly rhetorical (no ‘historically informed’ clipping of notes for him). Haitink is up-to-date by using the ‘corrected’ Bärenreiter Edition (although he’s not a ‘dirty’ conductor anyway) and his view of the ‘Choral’ is ‘traditional’ and lucid, rather than earth-shattering and explorative. Come the ‘Ode to Joy’, to Schiller’s text, Haitink finds exultance and Gerald Finley does a nice cameo in requesting a change of direction. The London Symphony Chorus is typically outstanding in its lusty outpouring – and its response to dynamic changes is exemplary, too – and the recording now fills out to impressively accommodate the vocal soloists and chorus (yet that leaves a sonic vagary across the four movements: the finale needs to be turned down!).

Bit by bit, one has become enthralled by the LSO and Haitink’s traversal, and if Otto Klemperer’s live version (1957, London, now on Testament SBT 1177) is even more incandescent (and in excellent stereo sound), Haitink, really getting under the music’s skin in the latter stages of the finale, and becoming quite heady, is also one for the shelves; an investment of impetuosity and grandeur that is very satisfying. LSO Live has a policy to eschew applause: on this occasion, it would have been welcome!

 

 

 

 

Joseph K. So, Scena Musicale

Rating: performance ****** / value for money $$$$

 

There have been so many superlative recordings of Beethoven's Ninth Symphony over the years that one wonders if it is still possible for any conductor or orchestra to equal or surpass previous legacies. To my ears, this new release from the London Symphony "house label" under the great Bernard Haitink may just be the one contemporary recording that can measure up to the great ones that came before it, a few minor caveats notwithstanding. Haitink is considered by many to be the current conductor of choice in the central Germanic repertoire, and this disc builds a strong case to support that view. Recorded on April 29 and 30, 2005, at the Barbican Centre, this is part of Haitink's Beethoven cycle with the LSO. Rarely does a conductor succeed as Haitink in balancing power, passion, intensity and urgency with precision, nuance, and a spiritual profundity that is so rarely encountered. Yet it is that extra something that makes a performance great. The juxtaposition of ecstasy and poetry is quite breathtaking.

 

The quartet of soloists is very fine, their voices blending beautifully, not often the case in some recordings of the Ninth. Canadian baritone Gerald Finley is outstanding. As a bass baritone, he doesn't possess the booming low notes, but his all-important opening phrases are sung with unfailing musicality and beauty of tone. The other Canadian, tenor John Mac Master, offers heroic if not always sweet tone. Of the two women, American Twyla Robinson has the more showy soprano part and she resists the temptation to force her lyric voice to achieve a bigger sound-the rise to the high B near the end is lovely. British mezzo Karen Cargill makes the most of the inner melodies of the alto's music. The chorus sings stirringly but never coarsely. The recording benefits from superb sonic technology-this is a hybrid multichannel disc playable on all SACD and regular CD players. The booklet has two short essays on the work, text to "Ode an die Freude" in German and English, plus artist bios. This represents an important addition to the discography of Beethoven's Ninth and is a strong contender for best symphonic recording of 2006.