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Βeethoven 9th-Furtwangler-Tό Επέκεινα
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<blockquote data-quote="Δημοκηδής" data-source="post: 1056255217" data-attributes="member: 522"><p>σχόλιο από το άμαζον:</p><p></p><p>In 1960, I purchased my first Beethoven Ninth, the 1951 Furtwaengler/Bayreuth recording on German Electrola. It was also my first exposure to the supreme Beethoven conductor. Since then, I have acquired many other Ninths, including the 1942 Furtwaengler Berlin Ninth, which up to now was my favorite. I was recently shocked ot learn that the EMI Bayreuth Ninth was NOT the actual performance, but mainly a taping of the DRESS REHEARSAL, as ordered by Walter Legge. For anyone accustomed to the EMI, this Orfeo issue of the actual live performance will come as a shock. The playing of the orchestra is FAR more accurate and incisive, the balance between orchestra and chorus is far superior (the chorus has tremendous presence, unlike in the EMI set) and the whole has a vigor and cohesiveness lacking in the EMI. It is quite clear that the "Bayreuth Ninth" has been fraudulantly misrepresented by EMI for decades, and we owe Orfeo much thanks in setting the record straight. </p><p>So how do I rank this Ninth? It is a more settled and confident conception than the earlier performances, no doubt because Furtwaengler was finally able to conduct thie paean of human fraternity (Alle Menschen werden Brueder) without Nazis holding a gun to his back. The Finale reduced me to tears. This performance was both Furtwaengler's and Beethoven's moment of triumph, and it displaces the Berlin Ninth from top honors.</p></blockquote><p></p>
[QUOTE="Δημοκηδής, post: 1056255217, member: 522"] σχόλιο από το άμαζον: In 1960, I purchased my first Beethoven Ninth, the 1951 Furtwaengler/Bayreuth recording on German Electrola. It was also my first exposure to the supreme Beethoven conductor. Since then, I have acquired many other Ninths, including the 1942 Furtwaengler Berlin Ninth, which up to now was my favorite. I was recently shocked ot learn that the EMI Bayreuth Ninth was NOT the actual performance, but mainly a taping of the DRESS REHEARSAL, as ordered by Walter Legge. For anyone accustomed to the EMI, this Orfeo issue of the actual live performance will come as a shock. The playing of the orchestra is FAR more accurate and incisive, the balance between orchestra and chorus is far superior (the chorus has tremendous presence, unlike in the EMI set) and the whole has a vigor and cohesiveness lacking in the EMI. It is quite clear that the "Bayreuth Ninth" has been fraudulantly misrepresented by EMI for decades, and we owe Orfeo much thanks in setting the record straight. So how do I rank this Ninth? It is a more settled and confident conception than the earlier performances, no doubt because Furtwaengler was finally able to conduct thie paean of human fraternity (Alle Menschen werden Brueder) without Nazis holding a gun to his back. The Finale reduced me to tears. This performance was both Furtwaengler's and Beethoven's moment of triumph, and it displaces the Berlin Ninth from top honors. [/QUOTE]
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