4 of 4 people found the following review helpful:
5.0 out of 5 stars
This is the recording, September 18, 2008
This review is from: Beethoven: Symphony No. 9 "Choral"; Choral Fantasy; Ah, Perfido (Audio CD)
It took me over a year to find this at a reasonable price, and it was worth the effort. This has the Ormandy recording of the 9th. What else can I say? The Ormandy recording in current release is seriously flawed. In that recording you can hear dropouts and saturation in the original analog tape recording, the second movement has the repeats edited out and the third movement has pops and clicks like a vinyl recording. A serious disappointment. This recording has no such flaws. It is excellently engineered as well as a typically flawless performance as you expect from Ormandy. The price on the used market is quite high but if you want the Ormandy recording of the 9th, this is the one you want, not the one in current release.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Too late to do any good.., January 10, 2011
This review is from: Beethoven: Symphony No. 9 "Choral"; Choral Fantasy; Ah, Perfido (Audio CD)
Sony has long-ago relegated this release to the cut-out bins and high price resale market. It is such a unqiue Beethoven compliation. The 9th with Ormandy and the Mormon Tabernacle Choir, the Choral Fantasy with Serkin (a staple of his) with Bernstein, and Schippers with Regine Crispin in Ah, Perfido!
Ormandy needs no defense from me, but this is a wonderful performance - detailed, propulsive, expertly played, and then there is the MTC - my lord, how far we are from the business of recording, and the planning that goes into a great recording. Imagine, bringing the MTC to Philadelphia to record their ten minute contribution! And then the remarkable work of the producer and recording engineers who were able to control that wall of sound coming from the 250 voices of the choir but still allowing the orchestral details to come through clearly. What Richad P. Condie did with that choir in the 60s still amazes me. There are many naysayers where the choir is concerned, but just ask thm to listen to this performance.
Finally, the remaining choral pieces are far from make-weights. IMHO, this is a significant Sony/Beethoven relase that should never have gone out of print!
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5.0 out of 5 stars
Heavy-breathing stuff, February 18, 2011
This review is from: Beethoven: Symphony No. 9 "Choral"; Choral Fantasy; Ah, Perfido (Audio CD)
This is exciting. When it starts you think it'll be too slow--but no, it's a great pace. The whole thing is set up marvelously. And it continues to build and build. At about 8:15 you'll hear as thrilling a minute as you could ever ask for. While I agree with Mr DuHamel that the engineering was excellent, you'll find yourself wishing for digital and better miking, as the bass is fairly rumbly and the percussion is not crisp, though you still get the feeling of both. You'll also wish for more high end. Nevertheless, like I said, the feeling is there. As to the interpretation, it's one of those amazing ones where even if it isn't what you'd do in spots, you totally appreciate and accept it. For instance, at about 14:00, I'd slow down pretty dramatically on that little cadence just before the final slide into the coda. But for Ormandy, there's too much pressure to get on with it, so he doesn't linger, and that's fine.
Did you ever hear a nicer tempo for the 2nd movement? Goodness, it's positively rolling & rollicking. Again, you'll be wishing the solo instruments and timpani stood out more, but what are you going to do? The meaning is there. Did you catch those rests?
The opening of the 3rd movement is heartbreaking. And it just...continues. The individual instruments are clearer in this movement, perhaps because the overall dynamic is lower.
Superb opening of 4th. 'Course, the bass violins introducing the theme stress out the technology of the day. The whole movement is a challenge, naturally. Back to the rendition, you have to love it. Don't you love that big drum & cymbal in the march? As the big guns (the Mormon Tabernacle Choir) move in you have to wonder at the recording. It is pretty amazing it is as clear as it is. You do lose the poor piccolo in the finale, alas. And most of the triangle. Alas, but still.
I was surprised to read the recording was done at the Philadelphia Hotel.
I even like the portrait of Beethoven on the booklet. Kind of a Mona Lisa look. If anyone knows the artist I'd like to know who it is.
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