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Beethoven: Symphony No. 9 Choral
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Beethoven: Symphony No. 9 "Choral"
"Please retry" | Amazon Music Unlimited |
| Price | New from | Used from |
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MP3 Music, November 30, 1950
"Please retry" | $3.96 | — |
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Track Listings
| 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 |
| 3 | Sym No.9 in d, Op.125 'Choral': III. Adagio Molto E Cantabile-Andante Moderato-Adagio |
| 4 | Sym No.9 in d, Op.125 'Choral': IV. Presto-Allegro Ma Non Troppo-Allegro Assai-Presto... - Elisabeth Schwarzkopf/Elisabeth Hongen/Hans Hopf/Otto Edelmann/Chor Der Bayreuther Festspiele |
Editorial Reviews
Product description
Made in USA. cd is free of scratches. Hardly used. May be some handling wear to the cd case.
Amazon.com
No single performance will ever tell us everything we need to know about a masterpiece like the Beethoven Ninth, but this one comes close. The inspired intensity of everyone involved--at the postwar reopening of the Bayreuth Festival in 1951--comes across very vividly in this new transfer. Just hear the way Furtwángler evokes the atmosphere of chaos coalescing into order at the opening of the first movement and you can tell a superior musical and spiritual consciousness is at work. Except for the poor first horn, whose bloopers are the main detriment, the orchestra, soloists, and chorus (recorded clearly but at a heavenly distance) all hold up their parts extremely well. The solo singers are particularly convincing. This is a very special recording, recognized as a classic when it was first issued and still indispensable. --Leslie Gerber
Product details
- Is Discontinued By Manufacturer : No
- Product Dimensions : 5.5 x 4.94 x 0.45 inches; 3.2 Ounces
- Manufacturer : EMI Classics
- Date First Available : February 12, 2007
- Label : EMI Classics
- ASIN : B00000GCA7
- Number of discs : 1
- Best Sellers Rank: #201,555 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #6,390 in Symphonies (CDs & Vinyl)
- Customer Reviews:
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I am no musicologist, so if you're looking for the finer highlights of the merits of this particular recording, please look to some truly fine reviews by the other Amazon-ites. However, let me say that I am completely satisfied. This indelible work follows me in the car and even the fourth movement has been replanted in my brain, heart, and soul via MP3 player.
As a layman, I enjoyed Music Appreciation in my last semester of college. Although suffering from senioritis, I chose it for enrichment rather than out of mere exhaustion. I did my final project on this work. I found some aspects fascinating. Again, these facts may be embarrassingly rudimentary for some, so bear with me:
1.) Surely a genius, Beethoven composed the last (half?) of his symphonies, including this one, while stone deaf. (A fact to savor!)
2.) Innovating convention, Beethoven shocked critics by adding the ethereal chorus to his fabulous fourth movement. Panned by the aforementioned critics, the audiences were quite enthralled. More of a people's composer perhaps than Tchaikovsky and his well-meaning, but poorly dedicated "1812 Overture," (another celestial masterpiece), Beethoven truly deliver's a rapturous reading of Schiller's sublime poem, "Ode to Joy". If memory serves me correctly, Beethoven also switched the second and third movements where the second was traditionally subdued and the third more upbeat and/or frenetic. Foreshadowing teasingly goes through the middle two movements in fits and starts.
Another reviewer has flagged that this may not be the recording you think it is. This version was done on November 30, 1950 by Jansung Kakhidze, a Georgian conductor, but as I grow red in the face, I think that means Georgia of the former Soviet Union, rather than here in the States. Either way, I am discerning enough to hear differences between recordings, and yet I find this (allegedly H.igh D.efinition) work to be more than a satisfactory treatment. For those of you in "the cheaper seats" of the symphony hall, there's no excuse for not buying a truly coveted peasant's experience of a great and enriching piece of music.
(*I named my review after the exclamation drawn from Alex, Anthony Burgess's villain protagonist in his acclaimed novel 'A Clockwork Orange' also celebrated in Stanley Kubrick's innovative movie of the same title. The point being, even when life is degraded to the basest level, true decency and transcendence through music can be sustaining.)
This is one of about 10 Beethoven 9th recordings by Furtwangler, all of them "live." They are all fascinating. There is a general consensus that Furtwangler's three finest readings are this one, the 1942 BPO from Berlin, and the 1954 Philharmonia from Lucerne. Here is a summary:
1. This Furtwangler (1951) with the Bayreuth Festival Orchestra & Chorus (Schwarzkopf, Hongen, Hopf, & Edelmann). It is less extreme than the 1942 and has more energy and passion than the 1954. Schwarzkopf is superb, Edelmann is excellent. The other Furtwangler 9ths listed here are better played (no wavering horn player in the Adagio), but this one has a special sense of occasion that makes it unique. The CD transfer here is identical to the one in the complete Beethoven set on EMI. So if you already have that one, there is no need to buy this one.
2. Furtwangler/BPO 1942, Bruno Kittel Choir, with Tilla Briem, Elisabeth Hongen, Peter Anders, and Rudolph Watzke (Music & Arts CD 4049). This is the most impassioned and dramatic of ALL 9ths. The BPO plays as if possessed, and the singers (except for Briem's shaky high notes) are superb. This is a performance of huge extremes: I feel the 1951 Bayreuth is perhaps the better balance of mind and heart. Furtwangler only conducted the 9th on special occasions. Likewise, this intensely anguished reading should only be heard every once in a while.
3. Furtwangler/Philharmonia 1954, Lucerne Festival Chorus, with Schwarzkopf, Elsa Cavelti, Ernst Haefliger, and Edelmann (best transfer is on Tahra 1054/7). Just 3 months before his death, Furtwangler is slower and more meditative. Wonderfully weighty and profound, this 9th lacks some of the fire and energy of the 1951 Bayreuth. This was the conductor's own favorite of all his live 9ths - and there are times when I feel it is his greatest reading.
Frankly, I wouldn't want to be without any of them. While there are other interpretations that I also admire (Abendroth, Weingartner, Schuricht, and Konwitschny), this Furtwangler threesome represents my favorite readings of all. There are times when I feel that 1942 Berlin is ultimate, but then I hear this Bayreuth and the Lucerne and I waver. Each of these has special insights and profoundly communicative playing. You really owe it to yourself to hear them - they are among the richest musical experiences you will ever encounter.
For me the huge difference in sound more than makes up for the 'non-authenticity' of the EMI. The musical merits of the performance have been hailed by many knowledgeable reviewers in these pages. That it mixes parts of the actual performance with same day rehearsals does not bother me. It is still Furtwangler...Bayreuth...7/29/'51...same orchestra, chorus and soloists. As has been noted, Furtwangler never made a studio recording of the 9th, a studio version which would typically involve re-takes and editing. Well, the EMI is something in between live audience and studio, and that's OK by me. I'll keep my EMI disc but not the Orfeo.
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