Thanks for that illuminating observation, FRiend Publius.
I recently added both the Norrington and Toscanini symphony cycles to my collection but haven’t listened to the Ninth in either. Usually, when evaluating a Beethoven cycle, I start with the Eroica, then the 7th, then the hugely underrated 8th.
It’s interesting you mentioned the Rene Leibowitz cycle, which I have read good things about but haven’t started collecting.
His Seventh is also a revelation. That symphony lacks a true slow movement. Norrington takes the allegretto at the posted metronome marking of quarter note = 76, while too many modern performances treat it like a dirge. The finale at half note = 72 is really, really fast, and it pays off at the coda.
I used to think that in the Ninth you had to put up with a lot to get to the finale. Then I heard Norrington.
The problem with the opening movement is that, ever since Wagner, we're been taking it too slowly. Conducted at Beethoven's metronome marking of quarter note = 88, the effect is electric. Beethoven drags you up mountains, down through valleys, through ravines, and 14 minutes later you're black and blue and covered with blood -- but you feel great!
The trio of the scherzo is conducted at half the speed we're used to, and with Norrington explaining why in the liner notes, it makes perfect sense. We've been misinterpreting Beethoven's markings.
The finale was a shocker when I first heard it. The "Turkish" music is marked at dotted quarter note = 84, which is much slower than we're used to hearing it. It's awkward at first, but when the triplets begin, it suddenly makes sense. At the traditional speed, the triplets are manic. At 84, they're a German country dance. Think of shepherds and shepherdesses dancing in circles inside a barn.
I had a sense of rightness when I first heard the whole symphony under Norrington. Things finally made sense.