The interpretation of Beethoven's works with ancient instruments is extremely interesting. Because these instruments are less sonorous, and that their numbers are reduced to match Beethoven's indications, the sound as a whole is very different, with enriched nuances and melodies.

Roger Norrington and the London Classical Players have recoreded these symphonies.

It's a pleasant discovery, even if it seems at times that certain parts lack power. A definite must...

John Eliot Gardiner recorded Beethoven's nine symphonies, interpreted with ancient instruments by the Revolutionary and Romantic Orchestra.

The box set comes with a CD on which the conductor explains himself, in English, French and German. His objective is to create the sound that Beethoven would have wanted to hear, with a small orchestra compiled of instruments whose sounds don't sustain for too long. He has achieved it!

Recorded from October 1992 to March 1994, at London, with the exception of the fifth, recorded in public in Barcelona, Palau de la Musica.

All of Ludwig van Beethovens marked repeats are respected in all symphonies conducted by C. Hogwood (which is rare).

In the 6th the storm is of an unequaled force (the timpani are placed at the front).

The 7th is equally powerful, but the tones (notably in the 4th movement) are exceptional in C. Kleiber's version (due to a reorganisation of the orchestra and a remarkable interpretation).

The scherzo in the 9th is full of powerful emotion. This is in fact because it was the biggest ensemble ever (in 1989) for an interpretation on ancient instruments (an ensemble which adhered exactly to Beethoven's intentions).

Technically the recordings are almost completely free of breathing sounds and other perturbing noises (intrumental or otherwise)...

...and the complete version can be found for the price of the two CDs....

Thanks to Christophe FERRY
for his presentation of these recordings

This recording by the Hanover Band is directed by Monica Huggett, for the first two symphonies, and then by Roy Goodman.

Their quest for the right tempo and the place of the wind instruments gives it a very nice ton. A booklet explains the work they have done to achieve this goal.

The emotion is present and the sonority is excellent and both give us much more pleasure than some other cds with modern instruments. Congratulations!

Recorded from January 1982 to April 1988, at London.

The second CD of Didier Talpain and the Philidor Ensemble (after that of the “Airs” of Beethoven, we suggest listening to the first symphony, the “bridging work between the classical universe and the romantic period”.

The spirit and enthusiasm of the formation is well presented and communicated. A lovely work.

The CD also includes the first symphony of Etienne-Nicolas Méhul.