Symphonie No. 9 Op.125: I. Allegro ma non troppo, un poco maestoso
Symphonie No. 9 Op.125: II. Molto vivace
Symphonie No. 9 Op.125: III. Adagio molto e cantabile
Symphonie No. 9 Op.125: IV. Finale. Presto
This is a handsomely played period-instruments version of the Ninth, joyous from the outset, with little italicizing or exaggeration. The articulation of the brass and woodwind is spotless and crisp without being what is o... more »ccasionally (and derogatorily) called "Germanic." The second movement dances and the third is beautiful and songful, if decidedly without the gorgeous introspection one wants in it. The big melody of the 4th movement is flowing and rich and the light soloists (the bass is almost tenorish in timbre) are in keeping with the overall conception--and it's nice to be able to hear every thread of the vocal texture. What's wrong? Well, it all seems a bit bloodless--this is a work filled with mystery and cosmic implications, and you'd never guess it from hearing this. It's a beauty, to be sure, and musicians and those already familiar (and in love with) the Ninth will want to hear it for its cool, unexaggerated charm, but most will find it too clinical and just a bit shallow. --Robert Levine« less
This is a handsomely played period-instruments version of the Ninth, joyous from the outset, with little italicizing or exaggeration. The articulation of the brass and woodwind is spotless and crisp without being what is occasionally (and derogatorily) called "Germanic." The second movement dances and the third is beautiful and songful, if decidedly without the gorgeous introspection one wants in it. The big melody of the 4th movement is flowing and rich and the light soloists (the bass is almost tenorish in timbre) are in keeping with the overall conception--and it's nice to be able to hear every thread of the vocal texture. What's wrong? Well, it all seems a bit bloodless--this is a work filled with mystery and cosmic implications, and you'd never guess it from hearing this. It's a beauty, to be sure, and musicians and those already familiar (and in love with) the Ninth will want to hear it for its cool, unexaggerated charm, but most will find it too clinical and just a bit shallow. --Robert Levine
"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."
Very good
Arnout Koeneman | the netherlands | 09/10/2003
(5 out of 5 stars)
"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."
Finally! Beethoven can rest in peace now.
V. Bouret | 05/27/1999
(5 out of 5 stars)
"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."
Clean and fresh period instrument rendition ...
Pater Ecstaticus | Norway | 02/05/2006
(4 out of 5 stars)
"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])"
Best 9th symphony ever
V. Bouret | Montréal, Québec | 07/25/2006
(5 out of 5 stars)
"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."