Classical Candor: Beethoven: Symphony No. 9 (CD review)

Beethoven: Symphony No. 9 (CD review)

Kristin Sampson, soprano; Edith Dowd, alto; Cameron Schutza, tenor; Brian Kontes, bass; New Amsterdam Singers; West Point Glee Club; Young New Yorkers' Chorus. David Bernard, Park Avenue Chamber Symphony. Recursive Classics RC2058306.

If you're like me (heaven forbid), you may view Beethoven's Symphony No. 9 as the epitome of big-scale classical music. So it might give you some slight pause to consider the symphony played by a chamber orchestra. You might have even more doubts to learn that the Park Avenue Chamber Symphony comprises mainly players who do other things for a living (hedge-fund managers, philanthropists, CEO's, UN officials, and so on). They're not exactly amateurs, but they're not full-time, paid musicians, either. Fortunately, one listen to their playing should dispel any lingering skepticism. Everyone involved with this current production deserves praise.

Not that the Park Avenue Chamber Symphony is a particularly small ensemble. It's about the size of a full symphony orchestra. However, in the final movement the solo and choral forces (Kristin Sampson, soprano; Edith Dowd, alto; Cameron Schutza, tenor; Brian Kontes, bass; New Amsterdam Singers, the West Point Glee Club, and the Young New Yorkers' Chorus) seem to outnumber the orchestral players two to one. Nevertheless, the New Yorkers play with enthusiasm, and Maestro David Bernard leads them with gusto.

David Bernard

Did I say "gusto"? I mean, Bernard really has them zipping along. Remember back in the early days of CD, we heard that Philips and Sony, the cofounders of the format, decided upon seventy-five minutes as the limit for content (although some CD's now contain a little over eighty minutes) because seventy-five minutes would accommodate the average length for the Beethoven Ninth Symphony? Well, Bernard's performance leaves plenty of room on the disc to spare. I compared his timings for all four movements to Roger Norrington's historically informed performance, which uses Beethoven's own metronome marks (for better or for worse, depending on your attitude toward the reliability of the markings), and Bernard's sixty-five minute mark is almost as fast. So, yes, this is a zippy reading.

The first thing one notices about the performance is that the fairly small size of the ensemble provides a cozier, more intimate style than many of us may be used to. I still miss the big-scale approach, but the inner detail this one provides compensates in part.

Anyway, the first two (orchestral) movements roll along with a zesty fervor, thanks largely to Maestro Bernard's obvious love of the subject matter and his keen desire to communicate that love to his listeners. The orchestra, amateur or not, respond with equal ardor. They may not produce the lush, rich tones of a bigger group, but they make up for it with their eager (and accurate) musicianship. And the third-movement Adagio is as lyrical and sensitive as you'll find.

Which brings us to the concluding choral movement (the familiar "Ode to Joy"), the moment everybody's been waiting for. Here, the orchestra takes a backseat to the various soloists and choruses participating. In fact, the orchestra practically gets overwhelmed. Moreover, Maestro Bernard lessens the speeds a tad, giving the music a little more chance to breathe, yet the overall impression remains one of intense drive. It's an exceptionally energetic and dramatic interpretation, with the soloists and choruses contributing to favorable effect.

Maybe not everyone will take a shine to Bernard's thrill-a-minute rendering of so well-loved and well-travelled a piece of music, but there's no doubt his is an entertaining ride. You may even find yourself coming back to it more often than you imagined.

Engineers Joseph Patrych and Antonio Oliart recorded the symphony at the DiMenna Center, New York City in November 2016. You'll find a fine sense of orchestral depth, a modest hall bloom, and a relatively wide dynamic range involved, which greatly enhance the realism of the production. Voices elicit a clear, vibrant response, if a bit close. Although stage width is somewhat limited, it has little impact on the recording's clarity. There is also some degree of upper midrange brightness and edge, particularly noticeable in the vocals, but it's not enough of a deal killer to be entirely distracting. While the sound may not be absolutely audiophile, it's quite good and complements the orchestra especially well.

JJP

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

John J. Puccio, Founder and Contributor

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 for 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 Nehring, Editor and Contributor

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings 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 they 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 Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. 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 tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II 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.

William (Bill) Heck, Webmaster and Contributor

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 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. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.

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.

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

Beethoven: Symphony No. 9 (CD review)

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