Search - Ludwig van Beethoven, Peter Maag, Ruthild Engert-Ely :: Beethoven: Symphony No. 9

One of the better ones

Andrew R. Weiss | Raleigh, NC USA | 05/31/2008

(5 out of 5 stars)

"This recording of the 9th, by one of the better and more interesting conductors of the late 20th century, is warm, humane, honest and compelling. Maag was not known for his Beethoven -- he was most closely associated with Mozart, Mendelssohn and Italian opera -- and he admitted in an interview late in life that he had hesitated to record the Beethoven cycle because of its close association with Furtwangler. When he finally got the courage to record these symphonies, he chose an orchestra about as far from those Furtwangler used as possible. Instead of the mega-sized Berlin or Vienna Philharmonic Orchestras, we have the 35-40 member Orchestra of Padua and Veneto, a chamber-group whose usual repertoire is from the baroque and early classical eras. Maag said he did so to create more intimacy and to bring out inner detail.



We do get the detail, from the winds and brass especially. Despite the relatively small size of the string section, balances are generally good, but you won't hear the big, cushion-y string sound you're accustomed to in other modern-instrument performances. Maag's sensibilities are not period-performance oriented, however. Tempi are more in line with the older generation of Beethoven interpreters: To compare with, say, Zinman, the first movement is 3 minutes longer, the third 6-1/2 minutes longer, the fourth 3 minutes longer. The scherzo, however, is a shade faster than Zinman's. We also do not get those hard-mallet, dramatic tympani-thwack. In other words, we have an odd combination of small-scale orchestra, with modern instruments, doing what we could call a fairly old-school-styled performance. The drawbacks of this arrangement are apparent in only a couple of places: there's a lack of heft-in-reserve in one or two climaxes in the first movement; and the chorus has a much larger, more forward sound vis-a-vis the orchestra than normal, which I found disconcerting at first but easily got used to.



This is a live performance, apparently not edited with studio takes to cover over mistakes (although there are very few of those). The trade-off, of course, is the increased intensity and excitement that comes from performing for people rather than a microphone.



The first movement starts a bit unevenly but quickly straightens out. Maag's approach is intense, although not as apocolyptic as Furtwangler's. There are a couple of lapses in Maag's concentration, resulting in occasional phrases which aren't as neatly turned as most, but in balance it's a fine and dramatic reading. The second movement is strongly rhythmic, propulsive, and has an almost playful quality in parts that harks back to Haydn. It's one of the most interesting interpretations I've heard, and fits well with Maag's overall conception of the piece, which is more diverse than most. The third movement is just stunning: evn at 2 minutes shorter than Furtwangler's 1954 version, it floats and soars. Phrasing is immaculate, and there's a sweetness and humanity to this movement that's truly compelling.



The fourth movement starts off a bit rocky, mostly because the orchestra doesn't have the heft to bring off that first chord and Maag chooses a slow-ish tempo, which reveals details but slows the momentum. Things quickly straighten out with the introduction of the themes from the first three movements. Maag's phrasing of the cello-bass recitative is hortatory, in the best German tradition, and the main theme is beautifully simple in its introduction. The rest of the movement is fine, with a powerful first entrance from the choir, a fine vocal quartet, a light-footed march (and a chord just before it that's not only worth of Furtwangler's heritage in its gradiosity but even outdoes the master), and an operatic feel that revels in the different textures and paces of the different parts of the movement without losing the continuity. There are a couple of moments where the choir and orchestra aren't quite together with each other, but it hardly matters as the movement runs exhileratingly to its conclusion.



In the end, the emotional appeal of this performance is greater than the sum of its parts or even than the size of the orchestra. Maag communicates his essence as a human being through this piece, and while David Hurwitz of ClassicsToday may see that as a flaw, I see it as a virtue. This is not the apocolyptic Beethoven of Furtwangler or Klemperer; it has more warmth and tenderness, even in the major explosions.



Arts' sound is fine: warm and detailed, without the over-resonance that mars many of the other recordings in this series. This is a fine performance, one of the best, and a bargain to boot. Highly recommended."

Maag and Beethoven

Peter G. Watchorn | Cambridge, MA USA | 09/18/2003

(5 out of 5 stars)

"See my review of Maag's complete Beethoven cycle. Strongest recommendation. This one's a live recording, and very vivid and exciting it is, too. Five stars."

One of the great 9ths on record

RaleighObserver | Eastern USA | 02/21/2008

(5 out of 5 stars)

"This supplements my review of Maag's complete Beethoven symphony set.



If the shadow of Furtwangler hung over Beethoven's symphonies for Peter Maag, it probably hung over the 9th more than any other. The 9th was Furtwangler's signature piece, the great communal event he refused to record in the studio.



Maag keeps faith with Furtwangler by recording his version of the 9th in concert as well. The results are outstanding, but they are Maag, not Furtwangler, and if you're expecting to hear Furtwangler you will be disappointed. Maag was a romantic classicist, and I was more aware of the classical structures underlying each movement in this performance than in Furtwangler's. This is not a bad thing, it's just different.



To the performance: Maag's first movement is stirring and dramatic, and in the second movement he captures both the tempestuousness and a boisterous, playful quality that I've never heard before; it's quite marvelous. In the third movement, I don't think anyone, even Furtwangler, has ever phrased the opening melody, in all its passages around the orchestra, with more love and care; it just melts with beauty and sweetness. The pace is faster than Furtwangler's 1954 version and, consequently, more a sacred song than a contemplative hymn - no less spiritual; again, just different. The 4th movement is dramatic, soaring, and, yes, cosmic - Maag saves it for the end. The chorus is fine: their German is good, and they sing with a songful, Italian quality that brings out a lyricism I hadn't heard before. The soloists are all excellent, and although the bass has a bit of uncertainty in his entrance, he straightens out pretty quickly. The orchestra, a small chamber group, sounds like its string sections were expanded for this performance, and to very good effect.



The acoustics in St. Anthony's Basilica in Padua are great; in fact, this is the best-recorded symphony in Maag's whole set. There are a few flubs, and a couple of Maag's pauses in the third movement don't quite breathe, but all in all the technical quality is high and the emotional intensity coming from the live performance makes a big difference.



This is one of the most satisfying, balanced performances of the 9th I've heard. If you aren't inclined to pick up Maag's complete set, at least buy this disc. You may be in for a big surprise."