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  • Beethoven: Symphony No. 9
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Beethoven: Symphony No. 9


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Audio CD, October 25, 1990
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Product Details

  • Performer: Yvonne Kenny, The Schutz Choir of London, Sarah Walker
  • Orchestra: The London Classical Players
  • Conductor: Roger Norrington
  • Composer: Beethoven
  • Audio CD (October 25, 1990)
  • Number of Discs: 1
  • Label: Angel Records
  • ASIN: B000002RPX
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #228,221 in Music (See Top 100 in Music)

1. Sym No.9 in d, Op.125 'Choral': I. Allegro ma non troppo, un poco maestoso
2. Sym No.9 in d, Op.125 'Choral': II. Molto vivace-Presto-Molto vivace-Presto
3. Sym No.9 in d, Op.125 'Choral': II. Molto vivace-Presto-Molto vivace-Presto
4. Sym No.9 in d, Op.125 'Choral': II. Molto vivace-Presto-Molto vivace-Presto
5. Sym No.9 in d, Op.125 'Choral': III. Adagio molto e cantabile-Andante moderato-Tempo I...
6. Sym No.9 in d, Op.125 'Choral': IV. Presto-Allegro ma non troppo-Tempo I-Vivace-Tempo I...
7. Sym No.9 in d, Op.125 'Choral': IV. Presto-Recitativo-Allegro assai - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/Schutz Chor of London/Roger Norrington
8. Sym No.9 in d, Op.125 'Choral': IV. Allegro assai vivace. Alla Marcia - Patrick Power/Schutz Chor of London/Roger Norrington
9. Sym No.9 in d, Op.125 'Choral': IV. Andante maestoso-Adagio ma non troppo, ma divoto - Schutz Chor of London/Roger Norrington
10. Sym No.9 in d, Op.125 'Choral': IV. Allegro energico, sempre ben marcato - Schutz Chor of London/Roger Norrington
11. Sym No.9 in d, Op.125 'Choral': IV. Allegro ma non tanto-Poco adagio-Tempo I-Poco adagio - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/Schutz Chor of London/Roger Norrington
12. Sym No.9 in d, Op.125 'Choral': IV. Poco allegro, stringendo il tempo, sempre piu allegro... - Schutz Chor of London/Roger Norrington

Editorial Reviews

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Customer Reviews

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Most Helpful Customer Reviews

7 of 7 people found the following review helpful By A Customer on April 24, 1999
Normally I prefer the standard size orchestra on this as well as much other music as compared to "authentic" period conventions. Norrington is good at making that style work, realizing that it is the musicianship as much as performance practices and scoring that make the music work. One point that I find interesting is that when you play Beethoven according to period performance practices as Norrington does, even the 9th Symphony sounds much closer to Mozart than to Brahms. That strengthens my view that although Beethoven had some Romantic tendencies, he was still primarily Classical. Certainly a good recording for somebody who wants to explore the whole spectrum.
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4 of 5 people found the following review helpful By bore on January 17, 2011
This is one of the most important "Ninths" ever. Period perfromances are always interesting and often considered the "last word" because, well, isn't that what the composer envisioned? Um. Maybe, mabe not. I don't think that was the case with Beethoven. He could not have been happy with the fragile box of strings that represented the piano of the period. I'm also inclined to believe that the light sound of the violins were too little for what he envisioned. And conductors of his day tended to direct symphonic works with fast tempos, instead of the broad, searching ways we're used too since Wagner and Von Bulow set the modern standards.
So why would I consider this version so important if I believe the modern approach suits Beethoven better what he would have experienced in his day? Because the excessess of the big romantic versions were becoming cliched and overblown (see Solti's later version with the CSO). Someone had to restore sanity and Norington was the man. After I heard this recording, I buried my older versions for over a decade until I had regained my equilibrium.
I'm not alone in my views. Norington's (and other period-performance musicians) recordings made an impact on other conductors because they started to take a second look at the scores and use elements of period-performance thinking - the best elememnts. (Solti himself did it with the "Fifth in a stirring performance with the CSO shown on TV.)
If you haven't experienced this wonderful interpretation, a recording that got exceptional reviews from critics at the time, buy this one. Take time to digest it if you're used to the big-band versions. Don't throw out Furtwangler, Schmidt-Isserstedt, Bernstein, or Solti's first version with the CSO. But you'll never look at them the same again.
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1 of 1 people found the following review helpful By Gregory S. Zyzanski on December 22, 2014
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Most people are only familiar with the trailing end of this piece (otherwise known as "Ode To Joy"), but a majority of it, I believe, is relatively unknown. Beethoven's 9th symphony is a grand masterpiece that needs to be listened to from the very beginning. It has to be one of his greatest symphony compositions, in my personal opinion. Also, I've been listening to classical music for many, many years now and I have not come across a better version of this piece than this one, by Roger Norrington and The London Classical Players. It is the version from which I measure all other versions of this piece and to this day have not found a better one, in my personal opinion. So, if you are familiar with "Ode To Joy" and want to know what the majority of the piece sounds like, I strongly suggest this version of Beethoven's 9th Symphony by Roger Norrington and The London Classical Players. If you like classical music, you won't be disappointed!!
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