David Zinman’s conception of the Ninth is interesting, and had it been better realized could have been really distinctive. The outer movements are very slow, and the work culminates in a magnificent, 28-minute-long finale that has all of the passion and emotional intensity that anyone could desire. Getting there, though, is the issue. The first movement’s leisurely tempos aren’t supported by a corresponding intensity, especially at the big “collapse” two-thirds of the way through. Perhaps Zinman didn’t want to upstage the finale; but if so, he needn’t have worried. The playing otherwise is both precise and admirably detailed.
The two middle movements, though, are disappointing: swift and light, the Rondo:Burleske totally lacks the necessary vehemence. A first scherzo whose initial Ländler isn’t nearly clunky enough, with a singularly un-demented waltz, doesn’t help either. Once again, the playing is never less than good, and you get the impression that Zinman simply isn’t driving the players hard enough to characterize the music. Sonically this is quite good: natural and well-balanced in all formats. If you want to hear a similar interpretation, better played (if not so well recorded) and with all of the intensity this version lacks, go for Levine/Philadelphia.
