Ludwig van BEETHOVEN (1770-1827)
Symphony No. 9 in D minor, Op 125 ‘Choral’
Twyla Robinson (soprano), Karen Cargill (mezzo-soprano), John MacMaster (tenor), Gerald Finley (bass), London Symphony Chorus, London Symphony Orchestra / Bernard Haitink
rec. live April 2006, Barbican Hall, London
ALTO ALC1387 [68:05]
In the mid-2000s Bernard Haitink conducted a Beethoven symphony cycle with the LSO and the performances were subsequently issued on the orchestra’s own label. I reviewed two of the instalments: Symphonies 2 and 6 and Symphony 7 coupled with the Triple Concerto. On the strength of having enjoyed those releases I acquired the couplings of the Fourth and Eighth symphonies and of the First and Fifth, as well as Haitink’s traversal of the ‘Eroica’. For some reason, though, his version of the Ninth has eluded me until now. Though the remainder of his cycle remains available on LSO Live, the label has licenced this performance of the ‘Choral’ to Alto.
Haitink leads a fine performance. The first movement, over which he has a clear-eyed structural grip, is delivered with drive and energy, the LSO on top of their game. I particularly admired the trenchant urgency in the development section. The playing of the LSO timpanist is very dynamic and though it’s exciting I did wonder if the volume was not a bit excessive at times.
The timpanist also makes an incisive contribution to the Scherzo but here the drums are completely in scale. The Scherzo is crisply articulated while in the Trio there’s just the right degree of relaxation. For me, the slow movement is the pinnacle of the Ninth and Haitink does not disappoint. On the back of the jewel case Alto quote from a Sunday Times review, which refers either to the concert performance itself or the subsequent LSO Live release. The reviewer comments that “the slow movement….moves along at a pace few conductors would have employed fifty years ago. Yet it never sounds hurried….” I agree, especially with that last element. Haitink achieves an excellent flow and, supported by burnished playing from the LSO, he brings out the lyrical vein in the music in a most satisfying way.
His reading of the finale is excellent, with tempi finely judged. As has been the case in the preceding movements, the LSO plays marvellously for him and their colleagues in the London Symphony Chorus are on equally fine form, offering singing of great accomplishment and commitment. Haitink has a very good solo quartet at his disposal. All sing well, but the pick of them is Gerald Finley who is splendidly authoritative in his opening solo; the sheer quality of his vocal production gives great pleasure. His fellow Canadian, the tenor John MacMaster makes a good job of his challenging solo.
Haitink brings the symphony to a blazing conclusion and I wondered how on earth the people responsible for the recording – Classic Sound – managed to edit out the ovation which I’m sure followed. They were successful in that, however, and also in providing good sound which has plenty of presence. James Murray’s booklet note is very useful.
I’m very pleased that at last I’ve caught up with this excellent Beethoven Ninth from Bernard Haitink. It sets the seal on a cycle from LSO Live that I’ve found very rewarding.
John Quinn
