Видео

Hermosa música

Granite octaves.

Un gigante de la direccion en el preludio del fin de una gigantesca burla a la democracia y a la humanidad

Envoûtant.

Fans of Furtwängler will doubtless find this performance thrilling--though hardly surprising; those unfamiliar with his art will likely be converted by the maestro's intense dedication to exploring the score's innigkeit in every measure.

Astonishing! I've never heard another performance even come close to the perfection of timing, pacing and phrasing of this one: EVERYTHING makes complete sense!

A historic audio document of invaluable worth. Nevertheless a shame that only the last movement was recorded. Thank you for the upload!

🙂

So Beautiful ! 💙🕊

마지막 악장 끝나기 전 11마디를 남기고 천둥소리를 들으셨는가 ? 하늘도 경탄하여 박수를 미리 쳤다

Beethoven war im politischen seiner Zeit voraus. "Alle Menschen werden Brüder". Wenn man Europa heute sieht, kann man nur mit dem Kopf schütteln. Eine wunderbare Aufnahme vom Cleveland Orchestra. Breathtaking!

Questa registrazione, al pari di altre dello stesso periodo con Karajan sul podio, entra di diritto nella storia del disco, sia per il livello artistico che possiamo definire eccelso, sia per la qualità della ripresa sonora. E' opportuno ricordare il produttore Otto Gerdes (ottimo direttore d'orchestra egli stesso), il direttore dell'incisione Hans Weber e l'ingegnere del suono Gunther Hermanns, prediletto da Karajan. E' facile riconoscere un'agogica e una dinamica semplicemente splendide, che realizzano perfettamente quanto scritto in partitura ed ovviamente anche molto di ciò che non può essere scritto...........

Love doubling the double basses with the trombones in the fugal section...

I've heard most of the recordiings of this symphony and this is by far the best. Szell/Cleveland was the only American orchestra ranked in the top 5 in the world for the 24 years that he was the conductor of the Cleveland Orchestra. I also like the Frankfurt radio Symphony recording.

EXCELENTE !!

One of my favourite compositions of all time.

This version is ONLY ONE - THE FINEST, THE BEST

Furtwangler gives meaning to the symphony, it isn't just music, it's a great ongoing drama. The rest's breathe with the life from the notes that went before it. There's a tumbling of energy from one note to the next, all making perfect, thrilling sense. This performance is the mind and soul of Brahms as he conceived it.

もう少し長生きされたら…この方は…師匠の三代目三遊亭金馬師匠の古典落語を継いで…圓生、小さん、柳橋…これらの古典落語の大名人と共に君臨されていたに違いないとあたしは思いますよ…

東映シアターオンラインで　おかしな奴 を視聴したあとに こちらの方を拝聴させてもらいました。 ありがとうございました。m(_ _)m

Thanks again.

Extraordinaire !

I am not a fan of Brahms at all. But I have to say: the sincerity of Furtwänglers approach impresses me. Like always with him he has a deep understanding of the structure, the flow, the dramaturgy of a piece and a marvellous ability to transfer his ideas via the orchestra to the listener. Every measure, every note has a meaning. Everything counts. Just incredible intense. Thank you for sharing!

L'une des 3 ou 4 plus grandes versions de tous les temps de la 9ème symphonie de Beethoven par un Furtwangler en état de grâce comme toujours avec des Berliner Philarmoniker chauffés à blanc dans un contexte de guerre épouvantable, et un chef au sommet absolu de son art, sa plus grande période sans aucun doute, et surtout merci à Beethoven pour ce chef d'œuvre d'humanité et musical

52:10 I’ve heard many recordings of Beethoven’s 9th and Szell is the only one that brings out the French horns in full glory!

转：情况刚好与肯普夫相反，立体声表现比 mono 版的巴克豪斯，这张1958年录音的Decca 版也相当值得推崇。虽然录音时已高龄74，但无论情绪掌握、速度控制都未见迟滞，他以对乐曲的高度理解为基础，充满自信地将音乐“纯化”，没有过多累赘的情感。第一乐章将持续的慢板、二二拍子的压抑感诠释得相当好，而左手三连音的流动性与均匀度也很稳，踏瓣的运用也相当节制。偏向理性，幻想的况味较淡。第二乐章显然选择较接近第一乐章的情绪，跳音并不明显因此表情显得相当庄严。第三乐章的速度与热情虽然比不上他前两次的单音版，但依然感觉得到巴克豪斯的咄咄逼人，“键盘狮王”果然拥有惊人的弹奏力道。但快速音符的弹奏一开始显得有点紊乱，每段乐句收尾也不够精致是缺点。不过巴克豪斯恢弘的气魄!狂风暴雨般的表现!值得一听。

Beethoven, Cleveland, Szell. Der Himmel über mir steht offen…Nur allzu gern erinnere ich mich an ein Konzert 1966 in Bratislava, das George Szell mit dem Cleveland Orchestra gab.

Seek out the short film version of "Little Red Riding Hood" w/ Christina Ricci that is set to this piece. Astounding.

Love this song ,Karajan directed it best..😊

Thank you! Can/will you also post the earlier performance with Kempff? See Piano Concerto No. 4: Kempff 2-4 Nov 42 Furtw.

This recording and Karajan's 1966 film are his best accounts of this symphony

此の演奏を初めて聴いた時、涙が止まらなかった。それまで聴いてきた他の指揮者たちの第九が急速に色褪せた瞬間であった。

FABULOUS PERFORMANCE!..THANKS FOR THIS UPLOAD.

La mejor versión de todas las que he escuchado. Muchas gracias

Dreamy

29:29 ❤

Standing Ovation during their performance in Hong Kong in 1978.

Titanic performance even by Furtwangler's standards which are above those of any other conductor in history.

ruclips.net/video/WI99wLrQiOw/видео.html

Thank you.

You haven't heard this until you have heard the Cleveland Orchestra do it live.

いや〜おもしろい！初めて拝聴しましたが最高ですね！知らないうちに引き込まれてるというのが本物ですね。良い気持ちで酒が進みます！

One of the best interpretasion for epical, universal and humanistik symphony.💖

This is dark and wonderful - is it possible to buy this recording on CD or vinyl?

32:32 excelente!!! Maravilhoso!!! BRAVO!!!

wow = impressive performance (+ L. Bernstein was handsome)

。

Los huesos quedarán de mi, mi restos, pero al final es Beethoven ... bajo la conducción de Furtwängler, quienes glorifican mi vida.

金馬最高！

'Furwangler's final wartime concert in Berlin. It would be two and a half years before he made music in Berlin again. It stands not only as the most exacting, extraordinary performance of a piece of symphonic music by Brahms, but one of the most thrilling orchestral recordings in existence. It is a rare combination of supreme impetuosity, imagination, and control - an unforgettable instance of a score, an ensemble, and a conductor fused into a single expressive entity. It is impossible to hear it without imagining some of the rage and helplessness that Furtwangler must have felt during the final months before Germany's collapse, when all he had known and loved was crumbling about him. Even after repeated playings, this performance leaves one feverish, as well as crushed by the knowledge that the remaining three movements were either not recorded or have not survived.' John Ardoin, The Furwangler Record, 1994