Philippe Herreweghe, Royal Flemish Philharmonic. PentaTone Classics PTC 5186 372.
The Ninth Symphony of Franz Schubert (1797-1828), the "Great" and final numbered symphony, which the composer dated 1828, has an oddball history because, of course, he didn't really write it in 1828, and it probably wasn't really his final symphony. The odds are he wrote it much earlier than the year of his death, which probably makes little difference since, as with the rest of his orchestral music, he never published any of it, anyway. The Ninth didn't even see a public performance until 1839, a full eleven years after Schubert's death. Yet today it is one of the basic components of the classical repertoire. Such is fate.
It's nice to see conductor Philippe Herreweghe giving it a shot, especially since Herreweghe just finished up his Beethoven cycle and what better a work to follow it up than the Schubert Ninth, with its obvious Beethoven connections. Herreweghe is one of those conductors who perhaps never pops to mind as among the absolute greatest conductors of our day but who never disappoints with his recorded performances. While he's neither foursquare nor revolutionary, he never takes an easy route, either, as this recording demonstrates.
In the opening movement, Herreweghe creates the proper dimensions, meaning he plays it big and grand. At the same time, it is not overpowering, the conductor maintaining Schubert's characteristic lilt in its gait. When the Andante section turns into a full-fledged Allegro, Herreweghe isn't hesitant about cutting loose. Yet despite there being much energy here, it is not always at the service of the music. It's not exactly like the famous Krips-Decca recording, which continues to set the benchmark for total delight in the work, making each transition seem perfectly natural. Herreweghe does his best in a vigorous interpretation of the first movement that doesn't quite capture all of the composer's robust charm.
In the second-movement Andante, however, Herreweghe seems more at home, taking the combined march and lamentation at a brisk and lively pace. It's a neat trick to make what can be a dirge into something more exciting. Perhaps, though, the conductor does miss a little something in terms of emotional charge by doing so, and maybe the shifts into the middle section's sweeter tones and back are a bit abrupt as a consequence. It's a small matter.
The third-movement Scherzo sounds a touch heavy to my ears, losing some of the Schubertian bounce in its step but making up for it with a good deal of passion. Then Herreweghe produces a finale of truly "Great" proportions, the transitions and tempos by now sounding just right. The very end, the closing note, does appear a bit odd in the way it cuts off, but it's the only distraction.
Although this may not be a Schubert Ninth for the ages, Herreweghe certainly offers for the most part a well-considered interpretation and a well-produced one.
Recorded in Queen Elizabeth Hall, Antwerp, Belgium, 2010, the sound on this PentaTone hybrid stereo/multichannel disc is ultrasmooth, warm, and a tad soft, at least played through two speakers as I played it. Perhaps the small degree of midrange veiling I heard disappears when four channels come into play, I don't know. Nevertheless, the timpani shine through with clarity, and the dynamics are wide. Impact is good, too, so while some of the orchestral sound seems a tad tame, other portions impress one with their quick transient response. If you've heard previous recordings by Herreweghe on PentaTone, this one is unlikely to let you down.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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