New agreement, new recording…and a new Beethoven cycle, I wonder? If Franz Welser-Möst’s meaty Choral is the first step along that particular road then it serves as a reliable, forthright production worthy in some key respects of comparison with past Cleveland Ninths under Szell, Maazel and Dohnányi. OK, maybe the comparison with Szell is pushing it somewhat – this Ninth doesn’t generate that level of intensity – but the excellence of the playing, the taut, muscular sound-frame and the directness of approach are all recognisably born of the one familiar pedigree.

Welser-Möst pulls no punches, though his punches aren’t especially punishing. The well drilled first movement has a certain air of menace about it, especially from the lower strings though what seemed like threatening storm clouds stay safely at bay. I found the Scherzo neatly played and fairly light-footed (the Trio especially) but Osmo Vänskä achieves a keener sense of play on his Minneapolis recording (BIS, 12/06). The Adagio flows by very nicely, with minimal tempo variation and a warm sheen to the overall sound picture. I could have done with a more humbling projection of the big climactic chords, maybe just a subtle broadening of pace, and yet the sense of unbroken line brings its own benefits.

Welser-Möst offers us a strong, cogently conceived finale, with some fine singing, particularly from the chorus and the bass, René Pape. It all adds up, and the sound quality is both rich and mellow, but as an overall listening experience it doesn’t match up to the more daring and spontaneous-sounding Vänskä performance, still a credible front-runner as far as digital modern-instrument Ninths are concerned. If you haven’t yet heard it you’re in for a treat.