Welser-Möst, Cleveland Orchestra Speed through Beethoven

Will audiences ever tire of the “Ode to Joy?” It appears unlikely, as orchestras worldwide continue to perform Beethoven’s crowning achievement. For any significant celebratory event—like the opening of a new concert hall—Beethoven’s Ninth Symphony occupies the top spot on a very short list of suitably grand works, and it will remain popular in the foreseeable future. At least that’s the hope of Franz Welser-Möst and the Cleveland Orchestra.

Welser-Möst makes his recording debut with the Cleveland Orchestra in a performance of the Ninth Symphony, released in October by Deutsche Grammophon. The disc is a compilation of live concerts recorded live in Cleveland’s famed Severance Hall in January 2007. It features soprano Measha Brueggergosman, mezzo-soprano Kelley O’Connor, tenor Frank Lopardo, bass Rene Pape and the Cleveland Orchestra Chorus.

For over 50 years, the Cleveland Orchestra’s reputation in the United States has been practically unmatched. Former music director George Szell drilled the group relentlessly, building a world-class ensemble by instilling the principles of musical structure and clarity. Subsequent conductors preserved these traditions, and the orchestra remains one of the finest in the country. Welser-Möst, now in his fifth season as the orchestra’s music director, is also head of the Zurich Opera and, beginning in 2010, he’ll run the prestigious Vienna State Opera. But with such a formidable past for both orchestra and conductor, the current recording is a disappointment.

Welser-Möst glosses over much of the Ninth in a pointless tidal wave of sound. This is one of the fastest performances on record, which in itself is not a bad thing; many conductors favor a brisk pace. But he shows little flexibility or regard for phrasing, allowing small details to pass without notice. He sets a tempo, and he is unwavering.

This approach is most damaging in the final two movements. While the opening movements are mostly rhythmic and propulsive, the Adagio is a lyrical outpouring that contains some of Beethoven’s greatest themes—models of simplicity and beauty. Yet a metronome could be set by Welser-Möst’s beat. Melodies are stifled, unable to sing. The finale, including the celebrated “Ode to Joy,” also races past at tremendous speed. This is some of the greatest music ever written, and Welser-Möst seems uninterested in savoring it.

The Cleveland Orchestra, however, is committed to Welser-Möst’s interpretation. They deliver a virtuoso performance, one of power and warmth; every instrument can be heard, and the music has rarely sounded better. Beethoven’s vocal writing is notoriously difficult, and the chorus and soloists sing with energy and clarity, particularly the resonant, commanding Pape.

With scores of Ninths preserved on disc, the decision to record another version—particularly in a conductor’s commercial debut with his orchestra—is curious. To serious collectors, who likely already own many performances, this release may be unappealing; to those looking for their first versions, Welser-Möst faces serious competition from numerous monumental recordings, primarily the transcendent beauty of Herbert von Karajan and the intense spirituality of Wilhelm Furtwängler.

Yet the Ninth Symphony may be the nearest classical music comes to a sure thing. In nearly two centuries, audiences have never tired of it. And why should we? Its appeal is universal, stretching across generations and uplifting us still today. Beethoven composed an undeniable affirmation of life, and we return to this work because no performance, despite its flaws, can rob the music of this fundamental principle. The world has evolved since the symphony’s 1824 premiere, but we continue to be inspired by Beethoven’s testament to joy and brotherhood.