Tracklist
1. Symphony No.9 in D minor, Op.125 -

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D e B T i s S l a V 3 r Y S T u P i D
DuBi0uSlY EnDoWs YoU WiTh
Leonard_Bernstein-Beethoven_Symphony_No_9-CN_Import-2010-DeBT
ARTiST.... Leonard Bernstein
TiTLE..... Beethoven: Symphony No.9
LABEL..... DG
GENRE..... Classical
RiP.DATE.. 2011-07-12
STOREDATE. 2010-00-00
SOURCE.... CD
QUALiTY... 220 kbps / 4410kHz / Joint Stereo
TRACKS.... 4 / 77:59
SIZE...... 129.41 MB
RIPPER.... EAC Secure with LAME 3.98.4
URL.......
NR. TRACKNAME TiME
1 Symphony No.9 in D minor, Op.125 - 18:04
Choral - 1. Allegro ma non troppo, un
poco maestoso
2 Symphony No.9 in D minor, Op.125 - 10:44
Choral - 2. Molto vivace
3 Symphony No.9 in D minor, Op.125 - 20:14
Choral - 3. Adagio molto e cantabile
4 Symphony No.9 in D minor, Op.125 - 28:57
Choral - 4. Presto - Allegro assai
---------------------------------------------------------
TOTAL TiME: 77:59 MIN
TOTAL SIZE: 129.41 MB
RELEASE NOTES
Once in a while, there comes a performance of
Beethovens mammoth symphonic swansong where the
circumstances under which it was made allow the
music to speak for itself with more emotion. This
fine Bernstein recording is one such example.
Recorded after the fall of the Berlin Wall, it
allows the music to speak up for itself. In some
ways, this performance resembles the classic
Furtwangler-Bayereuth recording, from the
interpretative details to the circumstances of
its occurence. Bernstein elicits some fine
playing from the coalition orchestra, even
despite flaccid ensemble at times and some
idiyosyncratic conducting. In performances like
these, he is able to generate a lot of
spontaniety and electricity, and the DG engineers
have risen to the challenge of producing fine and
atmospheric recorded sound that is not always
clear in detail.
Bernsteins first movement is slower in
comparison to his earlier DG version in Vienna,
and it harks back to Furtwangler. The movement is
allowed to build up intenseley with a keen
conveyance of a sense of struggle, and all the
various strands of the argumentative thread woven
together into a dramatic whole. Drama still
remains in the second movement, which has rythmic
spring and a forward-moving impetus that steers
the music along. The trio has an Olympian feel to
it, just like the sublime third movement, which
is played with a hushed intensity at the
beginning, until the temperature of the music
picks up towards the end.
The fourth movement may have some coarse and
rough points to it, which can be seen a little in
the cello and double-bass recitative. When the
Joy Theme is introduced, it is slower than we are
used to hearing it. However, there are some even
more striking details when the soloists enter.
The bass soloist Jan-Hendrik Rootering really
makes a powerful impact with his opening solo,
and even makes striking use of the word Freihit
(freedom) instead of Freude (joy.) He is the best
soloist of all the four soloists who sing in this
performance. Of the other soloists, Sarah Walker
has a firm, commanding alto voice, but the higher
soloists dont seem to fare better. June Andersen
has a someaht peaky-sounding voice, and Klaus
Konig in particular has a rough and hoarse tenor
sound. This is especially noticeable in the
drum-and-fife march passage. Though the soloists
may not sound good individually, they seem to
gell well together as a group. However, the firm,
convicting choral contributions can more than
make up for it, as the three choirs sing with
fervour, and the immediacy of the recording gives
the choral sound a bright and immediate quality.
This movement, when performed here, is really a
thrilling performance, because of the electricity
it conveys. And it is enough to cap a superb
performance that conveys a sense of occasion
throughout, especially at a poignant time.
On the whole, I find this recording of the Ninth
good for supplementary listening. It would be a
fine recording for beginners to investigate, but
I find this more of a supplementary disc. The
flaws in the quality of the recording may not be
that serious, but Bernstein manages to convey
spontaniety to make this performance sound
electric and compelling. Yet this is one of those
wonderful performances of the Ninth which, along
with Karajan, Gardiner, Szell, Abbado and others,
can take its place near the top of the list of
recommended readings.
QUOTES
Classical music is the kind we keep thinking will
turn into a tune.
-- Kin Hubbard
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