David Zinman - CD

“Authoritative and affectionate accounts of the three concertos, in various recording vintages, make up a valuable compilation.” BBC Music Magazine, October 2006

“there is an unusually cogent feel to this cycle...they represent a kind of mainstream Brahms, utterly devoid of mannerism and interpretational quirks, with a fine central European orchestra playing at the top of its game...RCA/Sony’s lavish presentation is a luxury item encasing deluxe performances.” Sunday Times, 25th September 2011

“All the clarity and technical finesse that made their Mahler performances so refreshing are evident in these performances; there's no doubt the orchestra really has risen up the international pecking order under Zinman's direction.” The Guardian, 29th September 2011

“Zinman’s Brahms, again with the Zurich Tonhalle Orchestra but this time recorded live, makes fewer nods to period style than his Beethoven. It’s a warm, genial Brahms, as one might expect of a septuagenarian who describes the symphonies as “a perfect blending of spontaneity and intellect”.” Financial Times, 1st October 2011 ***

“These are splendid performances, passionately felt and never losing sight of the architecture. The orchestra under David Zinman is on top form. I like his choice of tempos - alert and dynamic throughout the fast movements, never too slumberous in the slow.” BBC Music Magazine, December 2011 ****

“the orchestra's playing for Zinman...impressively renews the time-honoured Austro-German tradition of Karajan and Klemperer...No non-vibrato, period-instrument revisionism here! Instead there's a firm-toned, glowing power which, in the passages like the great horn-tune in the First Symphony's finale, is seriously enthralling...As close to a definitive set of these masterworks as you'll find - and in fabulous modern recorded sound.” Classic FM Magazine, December 2011 *****

“conductor and orchestra rise to greatness in the Fourth Symphony. Elsewhere, they provide the kind of trenchant, well-grounded Brahms performances which have been common currency in Middle Europe since the composer's own time...Zinman is meticulous in his observation of Brahms's dynamic markings. This makes for some interesting articulation but it can also dislocate the line and disrupt the pulse...[in the Fourth] Zinman takes a less pedantic view of the markings.” Gramophone Magazine, December 2011

“Viewed overall, the performances of Nos 1, 4, 6 and 8 are the best in this set, though there's a certain levelling of dynamics in the Eighth. In the Seventh and the Fifth, the finales might have benefited from a wider curve of dynamics and a little more in the way of tonal weight. On the other hand, Zinman's fleet-footed Eroica grows on you, and the Fourth is among the most vivacious accounts available. As to the Ninth, the Scherzo's super-fast Trio makes particular sense at the very end of the movement where Trio and outer section engage in a brief comic tussle. The fast first movement is suitably dangerous and while the finale will no doubt court controversy (primarily for some unusual tempo relations), the Adagio sounds matter-of-fact, even a little impatient. Indeed, it's the one movement in this cycle that seems to misfire.
Zinman has used Bärenreiter's new edition of Beethoven's texts, although the extra appoggiaturas and ornaments, invariably sewn along the woodwind lines – were inserted by the conductor, based on sound musicological principles. All repeats are observed, and so are the majority of Beethoven's metronome markings. What matters most is the overall character of Zinman's Beethoven which is swift, lean, exhilarating and transparent. The Tonhalle copes bravely, often with exceptional skill, and the recordings easily compare with their best full-price rivals.
And the best bargain alternatives? Günter Wand's sense of structure (RCA) draws a sympathetic response, while Leinsdorf's solid, strong-arm Beethoven also has much to commend it (RCA). Karajan's 1962 cycle is surely the best of four (see above) and although Mackerras (Classics for Pleasure), like Zinman, sheds revealing beams of light here and there, this Zurich set has the greater impact. Those who favour the darker, weightier, more obviously 'heroic' Beethoven known (wrongly, perhaps) as 'old school' will probably not respond quite so readily, but they should still give Zinman a try.
On balance, his cycle remains the best bargain digital option. Besides, Arte Nova's asking price is so ludicrously cheap that it's worth buying on impulse, if only for the sake of a refreshing change. Just try to have someone else's Choral in reserve.” Gramophone Classical Music Guide, 2010

“[the Tchaikovsky is] truly extraordinary; it's worth it for that alone” BBC Music Magazine, December 2011

" Hélène Grimaud, the 'wolf woman', is perhaps the most fascinating artist of our time.” (Le Figaro)