Beethoven: Symphonies Nos. 1-9 (CD review)

David Zinman, Tonhalle Orchestra Zurich. Arte Nova Classics 74321-65410-2 (box set).

Because the nine symphonies of Beethoven form the core of any classical library, all interpretations of them are welcome. When they are as good as these and at such low cost, the prospect is nigh-well irresistible.

Conductor David Zinman leads the Tonhalle Orchestra Zurich in performances that adhere as closely as possible to Beethoven's designs. The orchestra is much the size of Beethoven's, Maestro Zinman tries to adhere to Beethoven's metronome marks, and the scores are among the most authentic and up-to-date, the Barenreiter editions. The only difference is that the orchestra plays on modern instruments. So the idea is obtain the best of the old and new worlds: Historically informed performances and modern sound. Nikolaus Harnoncourt attempted a similar approach with the Chamber Orchestra of Europe, but Zinman, I think, is even more successful, and the results come at a price almost anyone can afford. Arte Nova present the discs in a boxed set, or singly if one chooses to experiment. What's more, the works are sensibly paired two symphonies to a disc consecutively, with Nos. 1 & 2 occupying the first disc, Nos. 3 & 4 the second disc, etc., and No. 9 on a disc to itself. Thus, only five discs are needed to accommodate the complete cycle.

Zinman starts things rolling with a lively rendering of the Symphony No. 1. The tempos are much quicker than even Norrington in his period instruments' version. There is good attack, particularly in the first movement, which is taken at almost breakneck speed. Then things settle down, the second movement Andante having a wonderful lilt. Paired on the same disc is the Symphony No. 2, which again has quick tempos, although they don't seem as noticeable. The reading is invigorating and enlivening, yet the articulation is always precise. I question if the joy of this interpretation has as much to do with the conductor's following the new performing edition as it does simply with Zinman's own personal vision. Whatever, it works wonderfully. The sound in both pieces has good bloom; the timpani, apparently struck with hard mallets, are solidly pronounced and most realistic; and the relatively small ensemble, under fifty players, is clearly delineated. My only quibble is that the overall sonic picture is somewhat dark, with not a lot of high-end sparkle. But one hardly notices such trifles when caught up in music making of this caliber.

Symphony No. 3, the "Eroica," is one of the highlights of the set. It is the first of the "major" symphonies, a departure from Beethoven's earlier environment of Haydn and Mozart and a step into big-time orchestral surroundings. In its day the size and shape of the "Eroica" were unlike anything audiences had heard before. One is again aware of the brisk tempos, but this time they are not nearly so breathtaking, though still exhilarating. Accordingly, the piece does not have the expansive grandeur of Sir John Barbirolli's approach or the nobility of Otto Klemperer's or Karl Bohm's, but it does demonstrate a passionate forward momentum that rightly conjures up heroic images of the Napoleonic era. The second movement funeral march is quicker than we are accustomed to, certainly not a slow dirge as is usually the case, but undoubtedly what Beethoven had in mind. And I especially liked the finale, which gallops along in fine style. The sound here is very much together, of a whole, and somewhat cleaner than in Nos. 1 or 2. On the same disc is the Fourth Symphony. Generally speaking, it sounds a little too rushed for my taste, particularly the first movement, which misses some of the composer's lighter touches. Nevertheless, it is surprisingly poetic and cheerful in Zinman's hands. Utilizing an orchestral force about a third smaller than the works on either side of it, it makes a delightful contrast to its more serious neighbors.

David Zinman
Traditionally, the middle symphonies, Nos. 5-7, have been among the most popular. Yet it is with Zinman's performances of these works that I have the most trouble. The third disc includes the coupling of Nos. 5 and 6, possibly the two most famous symphonies ever written. Beethoven composed the pieces almost simultaneously and premiered them during the same concert in 1808.  What would you have given to be at that historic event? Anyway, unlike his Fourth, Zinman's Fifth is not particularly rushed and is characteristically vibrant. All the same, it doesn't crackle with pent-up energy as Carlos Kleiber's reading does nor hurl forth headlong with relentless momentum as does Fritz Reiner's. And there is not the same triumphal burst at the end that we find with either of the other conductors I mentioned. Furthermore, Zinman's avoidance of anything but the most subtle rubato--he directs only very small contrasts in tempo--is here much in evidence, and before long an air of sameness sets in. For all that, it is a reasonably exciting performance, and those timpani are fun, banging away all along. The sound is curiously less dynamic and a bit more spotlighted than in the big Third Symphony. A year's difference in their recording dates may be responsible.

The first movement of Zinman's "Pastoral" Symphony moves along in bouncy style, giving way to a much gentler "Scene at the Brook" than I expected. The counterpoint in the second movement's closing moments is exceptionally affecting. But the merrymaking that follows is more perfunctory than merry, the storm less menacing than it should be, and the final thanksgiving less than revelatory.  Scored for the same orchestral forces as the Fifth Symphony and recorded on back-to-back days, the Sixth also sounds a little darker than the others in the set. However, there is a greater sense of space and depth to the presentation, especially during the storm. For all this, neither Zinman's Fifth nor Sixth would be close to any of my first choice recommendations in these works--Kleiber, Bohm, Reiner,  Klemperer, or Bruno Walter.

Disc four brings us Nos. 7 and 8. After hearing Zinman sometimes follow Beethoven's tempo marks overzealously in the first six symphonies, I was quite prepared for a hasty rush through the Seventh.  Not so. In fact, Zinman's pace, while appropriately quick, is relaxed and buoyant, the joyous dance melodies compromised only slightly by the heaviness of the sound and the hardness of the drums. Then, with an orchestra slightly pared down from the sixty-odd players in the previous three symphonies to a little over fifty in the Eighth, the sound takes on a greater clarity and lightness of spirit, enlivening this work even more. It is one of Zinman's most delightful interpretations, with special attention given to the second movement's little tiptoes tune. Only in the final Allegro does the music seem at all hasty, yet not enough to dampen the work's overall high spirits.

As befits the crown jewel in Beethoven's cycle, the Ninth Symphony is Zinman's own crowning glory. It appears smaller in scale than those from other conductors, to be sure, but one of the most exceptional Ninths on record. As always following Beethoven's metronome, Zinman transforms the Ninth into a new piece of music. Yet the whole structure is rock solid; and as it feels all of a whole, one is never aware that it shouldn't have always been this way. A comparable recording is one by Sir Charles Mackerras and the Royal Liverpool Philharmonic on EMI, which also tries to follow Beethoven's tempo markings and is played on modern instruments. But Zinman's reading is even more lithe and fleet footed, with the advantage, too, of cleaner sound. The second movement Scherzo is specifically fiery. Then, when the finale's "Ode to Joy" bursts onto the scene it is exultant, indeed, even if the staccato pacing of the final minutes takes one slightly aback. Surely, this performance is the way Beethoven would have wanted his legacy to be remembered. Even the sonics are more taut and clear in this last recording.

In summary, one should not miss Nos. 1, 2, 3, 8, and 9 in particular. Nevertheless, at the price we find these discs, the whole box set is a must. This is not to say, however, that there aren't other, good low-cost alternatives available. Overall, I still favor Karl Bohm's more old-fashioned, conventional approach with the Vienna Philharmonic, recorded in the Seventies and issued by DG in three double packages. Bohm's set contains the most treasurable of all "Pastorales," plus highly recommendable versions of Nos. 3, 5, 7, and 9. What's more, they are among the best-recorded Beethoven symphonies at any price. And we can't forget the Philips discs with Eugen Jochum and the Royal Concertgebouw Orchestra, recorded in the late Sixties, very imaginative, reasonably well recorded, and offered at budget price. But neither Bohm nor Jochum boasts the authenticity of Zinman's readings, for which similar sets--Harnoncourt on modern instruments, Norrington and Gardiner on period instruments--will set you back more money.

Needless to say, I am speaking to those of you who already have individual favorites in your collection and are now looking for supplemental material in any case. As for Zinman, the argument seems clear.


To listen to a brief excerpt from this set, click below:

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Meet the Staff

Meet the Staff
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 Jon 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 simpleminded, 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 Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. 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 cell phone. 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.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

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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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa