Ordinarily, when one encounters a period performance of Ludwig van Beethoven's Symphony No. 9 in D minor, "Choral," expectations are that the orchestra will play with a pristine sound and pretty fast tempos, and serious scholarship will be emphasized, demonstrating that the conductor has done the research for a truly authentic rendition. The 1994 performance by Jeffrey Thomas and the American Bach Soloists certainly provides the clean and shiny sonorities of original instruments, a trimmed-down orchestral ensemble, and the ...
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Ordinarily, when one encounters a period performance of Ludwig van Beethoven's Symphony No. 9 in D minor, "Choral," expectations are that the orchestra will play with a pristine sound and pretty fast tempos, and serious scholarship will be emphasized, demonstrating that the conductor has done the research for a truly authentic rendition. The 1994 performance by Jeffrey Thomas and the American Bach Soloists certainly provides the clean and shiny sonorities of original instruments, a trimmed-down orchestral ensemble, and the brisk pacing that makes Allegro molto verge on Presto, and the scholarship seems secure enough to satisfy any pedant. But what makes this historically informed version different from the typical authentic fare is its high levels of vitality, emotion, and energy that make it comparable in power to many superb mainstream modern performances. Once the period timbres become familiar and the extra-sharp execution is accepted (including amazingly punchy timpani), this performance delivers...
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