Beethoven: Symphony No. 7 in A major, Op. 92

“A decisive interpretation, reinforced by a near-flawless and totally committed performance, and driven by an energy and vitality that conductors half the age of the venerable octogenarian Mackerras could only dream of emulating.The confidence and challenge intrinsic to the great symphony bounded off the page, flowed through conductor and orchestra and filled the auditorium, whose near-capacity audience was gripped. That grip remained fast for the duration: through the pulsing virility of the first movement and an amazing account of the second where Sir Charles and the SCO at once maintained a swift momentum while creating an illusion of unhurried expansiveness, crept through a stealthily-introduced scherzo and, in a wonderfully controlled flow of tension and release, exploded into a finale whose effect was as cathartic as it was climactic. This Beethoven Five was a seamlessly integrated interpretation and performance which refreshed the best known of all symphonies. That’s why it was special. This performance was suffused with the shock of the new” The Herald (Glasgow)

One of the first Beethoven cycles to marry modern instruments and period sensibility - a wholly convincing way allowing the greatness of the music to speak out unimpeded - James Jolly, Gramophone 1000th issue

“Brimful of intrepid character and interpretative incident, this is surely one of the most stimulating Beethoven symphony cycles of recent times. As Harnoncourt himself states in the booklet: 'It has always been my conviction that music is not there to soothe people's nerves…but rather to open their eyes, to give them a good shaking, even to frighten them.' So it transpires that there's a re-creative daring about Harnoncourt's conducting – in essence an embracement of recent scholarly developments and his own pungent sense of characterisation – which is consistently illuminating, thus leaving the listener with the uncanny sensation that he or she is encountering this great music for the first time. In all this Harnoncourt is backed to the hilt by some superbly responsive, miraculously assured playing from the COE: their personable, unforced assimilation of his specific demands, allied to his intimate knowledge of the inner workings of these scores, make for wonderfully fresh, punchy results. In this respect Nos 6-8 in particular prove immensely rewarding, but the Eroica and the Fourth, too, are little short of superb. This is a cycle which excitingly reaffirms the lifeenhancing mastery of Beethoven's vision for many years to come.” Gramophone Classical Music Guide, 2010

“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

“This was a trail-blazing set that collected a Gramophone Award for Symphonies Nos 2 and 8.
Norrington made much of Beethoven's metronome marks but also brought great drama and excitment to these well-known scores.” Gramophone Classical Music Guide, 2010