Cheap Beethoven: Symphony No. 9 (Music) (Ludwig van Beethoven, John Eliot Gardiner, Gilles Cachemaille, Anthony Rolfe Johnson, Luba Orgonasova) Price
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| ARTIST: | Ludwig van Beethoven, John Eliot Gardiner, Gilles Cachemaille, Anthony Rolfe Johnson, Luba Orgonasova |
| CATEGORY: | Music |
| MANUFACTURER: | Archiv Produktion |
| MEDIA: | Audio CD |
| TRACKS: | Symphony No.9 In D Minor: I. Allegro Ma Non Troppo , Un Poco Maestoso, Symphony No.9 In D Minor: II. Molto Vivace (Scherzo), Symphony No.9 In D Minor: III. Adagio Molto E Cantabile, Symphony No.9 In D Minor: IV. Presto, Symphony No.9 In D Minor: 'O Freunde, nicht diese Tone!' Allegro Assai (Final chorus from Schiller's Ode To Joy) |
| UPC: | 028944707427 |
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Customer Reviews of Beethoven: Symphony No. 9
Interesting, but not inspiring As I listen to this recording of Beethoven's incredible 9th, the words that pop into my mind are "wooden," "stiff," "rigid," "musty," and "academic." Unlike von Karajan's recordings, the word "Olympian" never springs to mind - as it should. Gardiner's is a decidedly uninspired performance, of interest entirely for its use of period instruments and fidelity to Beethoven's tempi indications. As for the period instruments, one can easily sympathize with Beethoven's desire for sonically improved instruments. Before the modern listener gets used to the sound of these instruments, they sound like tin toys. I far prefer the sound of modern instruments, and I think Beethoven would too. As for the tempi, the extremely fast speed of the Turkish March in the fourth movement is the most startling, though apparently Beethoven wanted such a speed. One final note: The packaging of this CD is monstrously gauche. The record company clearly decided to push the "revolutionary" angle in selling it. Thus one sees the word "revolutionary" all over the place, to the point that one would be forgiven for thinking that the title of this piece is "The Revolutionary Symphony" rather that the 9th. The music speaks for itself. It doesn't need this claptrap. One more thing: The text inside actually has the audacity to mention Kurt Cobain - Kurt Cobain, a cheap nihilist! - as a revolutionary in line with Beethoven. This is clearly a pathetic attempt to broaden the appeal of Beethoven, and aside from being completely ridiculous, it's totally unnecessary. Again, Beethoven's music speaks for itself. It doesn't need any nonsense. Von Karajan's 1977 recording is far, far superior to this one on every level.
Outstanding Choral Direction
The problem with several of these reviews are that they are clearly done by Beet(hoven)-niks (compare the Mozarteans) many of whom are apparently period-instrument haters as well. Their irrational dislike for the style leads one to wonder whether Gardiner or Hogwood bullied them in school or stole their best girl at university. But I digress.
What Gardiner brings to the 9th, in addition to a passion for authentically revolutionary instrumental performence, is great skill at directing voices. My complaint about many of the recommended recordings of the 9th is the mediocrity of the choral recording and direction. Most Beet-niks don't seem to care though, more accepting of a muffled, wayward chorus than any deviation in the tempo of a single passage from that of their pet performance. Choral direction involves a different set of skills than instrumental direction and Gardiner is one of the only conductors who can do both exceptionally well. He is able to get the best out of all parts and soloists and to keep them focused in the presence of the monster that is Beethoven's ninth, something that has eluded otherwise great conductors like Hogwood, Karajan and Bernstein for whom the chorus has sometimes seemed an afterthought.
Is this the best performance possible? No. But the 9th is such a transcendent piece of music it is hard to imagine it could ever be captured perfectly. That said, Gardiner and Orchestre do a fine job. I would give it a 4, but given the amount of star-inflation on Amazon, I think a 5 is more fitting. I highly recommend this CD.
Who cares about period instruments??
Why is it that people praising this CD seem to be coming from a moral high ground about Gardiner's use of period instruments, as opposed to concentrating on the quality of the performance? I heard this on the radio today and it is, well, OK. I had particular problem with the final movement. His use of rubato is quite shocking (not in a good way). The opening is catatonically slow, and then the baritone launches into his solo at breakneck speed. This fast tempo is retained throughout, giving the singing (both choral and solo) an unpleasant, unharmonious stacatto feeling. The speed only abates in the final few bars, so why does he change the tempi so dramatically? In general the singing is enthusiastic but not of the highest standard. Compare this if you will with Karajan's '63 recording which benefits from hugely superior soloists, choir and orchestra, and a sensible attitude towards the use of rubato. There really is no comparison, and please stop harping on about period instruments.