So glad you include Schmidt-Isserstedt. Very solid and very spiritual, yes. And both majestic and delicate, all the tempi just right with sumptuous sometimes miraculous playing. Towards the end of the trio of the scherzo the strings sound as if dancing on a trampoline.
It is worth noting that the EMI transfer of the Furtwangler Bayreuth 1951 was "reconstructed", containing parts that were actually rehearsal footage, while the Orfeo release was entirely from the actual performance.
Thank you so much for this video. I’m glad to hear what you said about the 1942 WF performance. I have heard Dave Hurwitz totally slating this performance. I love this performance as well as the Luzerne performance 1954 with the Philharmonia . I have my reservations about the 1951 Beureut performance. But there is a 1954 WF performance with the Beureut Orchestra, unfortunately in poor sound but it is wonderful, especially the slow movement. It is interesting that LB played the beginning of the slow movement just as slow as WF. But LB made a big difference between Adagio sections and Andate sections. That made a difference of some 4-5 minutes between LB and WF. My absolute favorite recording of the is the LB 1979 . UWN .
My go to Beethoven 9 was always Schmidt-isserstedt which vocally is on a class by itself. I recently discovered Leinsdorf's 9th with the BSO. Leinsdorf doesn't get the love he deserves these days, but his 9th is a smoker...like Toscanini but with a better orchestra and better sound. It's very pointed, dramatic and rhythmically exciting. It's also got Domingo and Milnes as the male soloists. Great recording. Unfortunately, I'm not much for the historic recordings.
On the chorus in Karajan: I think he always wanted his orchestra to dominate everything else around it. You also hear this in his Ring cycle. As great as he was (and he made a lot of my favorite recordings), he was not good to singers.
It does come across that way. Could be my imagination but I think the Super Audio version I showed here actually has the Ode to Joy theme slightly boosted in volume compared to the original CD issue.
I enjoyed your analyses of the recordings. I think the piece overplayed. Wasn't it a "special occasion" piece? There are so many versions out there that I see no reason to put up with any element you don't like. To me, "weak soloists" or "poor blend of soloists" are reasons to find another version. Sooo glad to see you bring up Schmidt-Isserstedt. Too bad it has been hard-to-find for much of its history. I'll have to try another Furtwangler. I know the Bayreuth one, and I can't stand it.
So glad you include Schmidt-Isserstedt. Very solid and very spiritual, yes. And both majestic and delicate, all the tempi just right with sumptuous sometimes miraculous playing. Towards the end of the trio of the scherzo the strings sound as if dancing on a trampoline.
Wow!? Martti Talvella, lesser known!? Common!!!
He was one of the greatest and the most beautiful basses that ever sang. Period.
It is worth noting that the EMI transfer of the Furtwangler Bayreuth 1951 was "reconstructed", containing parts that were actually rehearsal footage, while the Orfeo release was entirely from the actual performance.
Thanks so much for sharing your insights. 🎉❤😂❤❤
Thank you so much for this video. I’m glad to hear what you said about the 1942 WF performance. I have heard Dave Hurwitz totally slating this performance. I love this performance as well as the Luzerne performance 1954 with the Philharmonia . I have my reservations about the 1951 Beureut performance. But there is a 1954 WF performance with the Beureut Orchestra, unfortunately in poor sound but it is wonderful, especially the slow movement. It is interesting that LB played the beginning of the slow movement just as slow as WF. But LB made a big difference between Adagio sections and Andate sections. That made a difference of some 4-5 minutes between LB and WF. My absolute favorite recording of the is the LB 1979 . UWN .
great!!
My go to Beethoven 9 was always Schmidt-isserstedt which vocally is on a class by itself. I recently discovered Leinsdorf's 9th with the BSO. Leinsdorf doesn't get the love he deserves these days, but his 9th is a smoker...like Toscanini but with a better orchestra and better sound. It's very pointed, dramatic and rhythmically exciting. It's also got Domingo and Milnes as the male soloists. Great recording. Unfortunately, I'm not much for the historic recordings.
I think Furtwängler's 1954 Beethoven's Ninth is the best we have in terms of both quality of playing and sonics.
Excellent your program. I agree with You, Furtwangler 1942 is the best..
On the chorus in Karajan: I think he always wanted his orchestra to dominate everything else around it. You also hear this in his Ring cycle. As great as he was (and he made a lot of my favorite recordings), he was not good to singers.
It does come across that way. Could be my imagination but I think the Super Audio version I showed here actually has the Ode to Joy theme slightly boosted in volume compared to the original CD issue.
Is the Solti recording the earlier one (with Pilar Lorengar) or the later one (with Jessye Norman)?
The earlier one, 1972. I meant to mention that but added the date to the subtitle for clarification.
I enjoyed your analyses of the recordings. I think the piece overplayed. Wasn't it a "special occasion" piece? There are so many versions out there that I see no reason to put up with any element you don't like. To me, "weak soloists" or "poor blend of soloists" are reasons to find another version. Sooo glad to see you bring up Schmidt-Isserstedt. Too bad it has been hard-to-find for much of its history. I'll have to try another Furtwangler. I know the Bayreuth one, and I can't stand it.