My listening post this evening is with another kombucha to my right, John Suchet’s book Beethoven: The Man Revealed to my left, and in the background is Season 1, Episode 3 (“Sally and the Lab Technician”) of the fantastic Dick Van Dyke Show – for my money, the best-written, best acted TV series of all time. The talent was off the charts on that show.
Anyway, I’m not hearing what they’re saying, which is okay because (a) I’ve seen each episode a hundred times, and (b) I’m listening to German conductor Eugen Jochum (1902-1987), the London Symphony Orchestra, and Beethoven’s Symphony No. 9 in D minor.
I’ve had the pleasure of encountering Maestro Jochum eight times previously to this evening, on…
Day 9. Rating: “Huzzah!”
Day 27. Rating: “Not quite Meh, but not Huzzah! either”
Day 45. Rating: “Huzzah!”
Day 63. Rating: “Huzzah!”
Day 81. Rating: “Huzzah!”
Day 99. Rating: “Huzzah!”
Day 117. Rating: “Huzzah!”
Day 135. Rating: “Huzzah!”
Outstanding!
That’s nearly eight “Huzzah!” ratings in a row.
See? This is why I’m doing this project. I had no idea the difference a conductor could make on a performance. This project highlights the difference clearly. Whatever it was the Maestro Jochum had his influence is irrefutable. I’ve loved nearly every one of his performances.
So I’m eager to see what today brings, although I can probably guess.
Beethoven wrote his symphonies in four parts (except for the Sixth, which is in five). The time breakdown of this particular one (Symphony No. 9 in D minor), from this particular conductor (Jochum, at age 76) and this particular orchestra (London Symphony Orchestra), at this particular time in history (February 27 – March 1, 1978) on this particular record label (Warner Classics) is as follows:
I. Allegro ma non troppo, un poco maestoso………………….16:22
II. Molto vivace………………………………………..11:11
III. Adagio molto e cantabile……………………………..16:39
IV. Finale……………………………………………..24:04
Total running time: 68:11
My Rating:
Recording quality: 5 (minor tape hiss and ambient noises; plus, seems to lack a bit of top end)
Overall musicianship: 5 (inspired, magical, electrifying, effervescent)
CD liner notes: 4 (big booklet with lots of information, except for pertinent key details, and an essay about Jochum in English, German, and French)
How does this make me feel: 5 (“Huzzah!”)
I feel like I just ran a marathon. I am drained.
And not in a bad way.
This performance was electrifying.
By the time I got to Movement IV – “Choral” – I was emotionally rung out. My head had been bobbing so much I felt like I was at a heavy metal concert. My toes had been tapping right along with my bobbing head. (Toes are not generally tapped at a heavy metal concert.)
I don’t think I’ve ever heard this symphony performed with such vibrancy.
The choral part was stunning. Perfectly recorded. Powerful. Packed with energy and emotion.
But that was just the grand climax. I was riveted from the first minute of Movement I.
Movement II was as dynamic as anything could ever be. If Movement I didn’t sell me on this performance, Movement II surely did. My head bobbed. My toes tapped. I was grinning from ear to ear.
Even Movement III – which is usually my least favorite in Beethoven’s Eighth – opened up to reveal nuances and melodies I hadn’t heard before. I was carried away.
Movement IV blew me away. By the time I got to 22:20, and the tempo quickened to triple time, I was floored. It was an explosive ending to a noteworthy performance.
I must note that the recording quality is remarkable. Every instrument rang out. The voices sounded as fresh and clear as if I was in the auditorium with them.
There aren’t enough superlatives to lavish on this performance. It is not to be missed.
“Huzzah!”
“Huzzah!”
“Huzzah!”