| Site review by Polly Nomial September 21, 2006
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Performance: Sonics (MC): |
This superlative account of the "Choral" symphony must surely, good or great as the rest of the cycle is, be the jewel in this wonderful crown of the Beethoven symphonies from Haitink and the LSO.
Opening with a pulse that is strongly reminiscent of Karajan's 1970's recording (Beethoven: Symphony No. 9 - Karajan (1976)), this is a very different beast - at once more refined in the recording aspect but much more vivid in the drama of the music. At one climax, one can almost imagine that the timpani needed new skins after each performance! One feels the steely firmness of the LSO under Haitink with almost frightening intensity and it is no small relief when the final blows of this titanic struggle are over. For all the number of strings, the sound is gratifyingly lean (not undernourished) and allows all details to be clearly heard and further enhance the emotional impact of this astonishing symphony.
Any such similarities with Karajan are quickly forgotten in the Scherzo where the "extra" notes of the (repeats included) Barenreiter tell marvellously. The articulation is very sharp and biting which only serves to highlight the more pastoral nature of the trio section of this highly contrasted movement. The woodwind are at once brilliant and relaxed with the strings providing a lovely carpet of sound to play over.
In the great slow movement, the tempo is flowing but combined with a great sense of line. One might draw a parallel with the Adagietto from Mahler's 5th symphony and current thinking suggesting that it should be played as a love song rather than a funereal outpouring of grief; this is the comparison with older recordings that Haitink brings - a real labour of love (for humanity?) from all concerned and is very, very touching.
Somewhat unusually, the Finale is only granted one track (which I happen to think is a good thing when the playing of the introduction is of this quality). Haitink manages to completely capture Beethoven's evocation of the first 3 movements in a snapshot before ushering in the great melody which is then treated to a staggering set of variations. The LSO Chorus and soloists match all that has gone before and soon one can almost "see" the stars referred to by Schiller. Unlike some modern interpretations set down on various media, there is no headlong rush into the concluding outburst but a carefully managed, yet joyously triumphant explosion of sound.
The LSO Live team also deserve every praise as this is by far the best sound from the Barbican that I have yet to hear. Even though the sound is dry, it is not distracting and is very clear - just like being there & what could be a better compliment than that? In any event, such is the quality of the performance that one could still enjoy it tremendously even if you were hearing it in mono!
Hugely recommended & as Edvin has said about other issues - this is Beethoven for *all* times; a modern classic.
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Copyright © 2006 John Broggio and SA-CD.net
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| Review by Celebidache2000 December 22, 2006 (6 of 32 found this review helpful)
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Performance: Sonics (S): |
| DISAPPOINTING...I expected so much better than this from this conductor. This music deserves so much more. Haitink is merely sleepwalking here. The performance is forgettable and undistinguished in a very crowded field. I would avoid this one. It's underpowered, uninspired and uninspiring. Where's the fire? Where's the passion? Where has the emotion gone? This is a curiously emotionless record. Ughh. I'll check out the Vanska next.
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| Review by Ian Xavier Roskell July 26, 2012 (4 of 9 found this review helpful)
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Performance: Sonics (S/MC): / |
The Definitive Beethoven 9th Audiophile recording...
I bought this 9th along with the LSO's complete Beethoven cycle (besides the point the every work of the cycle is performed with excellence.)
I turned to the famed 9th first, what is within this recording is a powerful performance with all players on their game a problem that destroy even the greatest conductors attempts to make a 9th is that each soloist part is very high and demanding but here each one prevails with smooth tone and color. I must make not of the great tenor in this recording, John Mac Master what a Job of wonder it feels almost that his singing is contained he is so strong, as with Gerald Finley but above them leading them on a very powerful take is Haitink, behind him all forces follow with power.
Much unlike his previous recording Haitink approaches the work with not a romantic light, but Modern one emphasizing a "Solti-esque" calculated journey though uncertainty in human love till the final movement of hope and joy. Even with the detail paid to the sublime intellect of Beethoven's music, the romance of it all is always on the surface, flowing possessing each note but it's both the heart and the brain that give this tamed beast it's gleam. If one simply wants the joy and feeling of it all you will still like this, but it's just not surface emotion so if one listener wants a simply emotional ride go listen to the equally great bernstien or tennstedt.
the recording is the greatest SA-CD Account of the 9th, perhaps even the greatest matched only by the immortal but forgotten Hans schidmt-Isserstedt recording with the Vienna Phil, that is the greatest recording by far but there are times where I think Haitink and Isserstedt are matched. Why? They achieve something that Beethoven and few others can put into music, emotion in its purest form, in the case of the 9th symphony an explosion of joy. On the technical side of thing the so called "dry" sound
is possessed with some of the richest instrument and singer timbres I have heard in all aspects of music, the richest part of the ensemble the soloists and the woodwinds such detail is heard in their voices both quiet and loud. I can write bluh and bluh about the great things but I can do that easy, getting the meat and bones of it the one flaw one will hear is the less emphasis on upfront emotion and power (As explained) so this recording really rests on wether or not one prefers to be showered in the beautiful moments of joy that follow darkness, or the intellect of Schiller's and Beethoven's Art.
Not too much too worry though this recording has both. Rephrasing on a technical level it's almost perfect the surround channels are used in a great construction of space, but it's more balanced not every channel is utilized . In stereo both channels are balanced with less construction and more of a studio mixed feel.
I loved this recording and put it right next to the isserstedt recording but like all great pieces it necessary to have multiple versions and perceptions.
This deserves a place in a Classical collection and if your coming to Beethoven for the first time i would point you here or Issersredt. 5/5
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| Review by ruxtonvet August 2, 2012 (3 of 13 found this review helpful)
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Performance: Sonics (S): |
| Whenever I see LSO Live I know the sound quality wiill be awful but then I read a good review and I buy the disc. It is not the halls fault. I have been in Barbican and the sound quality was magnificent - not at all dry. This disc in two channel was totally two dimensional. No depth at all. No ambience. It sounds like multitrack mono. The performance- it is hard to kill the ninth but Haitink gave it a try. Pedantic. This along with the sixth are my favorite pieces of music. For sound quality I would go with Solti CSO on the Mobile Fidelity vinyl pressing. For performance Karajan Berlin Philharmonic. DGG 138 808 on vinyl is hard to beat.
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