Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962) ***Listen to our latest mastering update (2024)*** : cutt.ly/Jef2GJXX 🎧 Qobuz Music (Hi-Res) cutt.ly/Nef2GqtP Tidal (Hi-Res) cutt.ly/Bef2GpKA 🎧 Deezer (Hi-Fi) cutt.ly/ief2Ghm5 Amazon Music (Hi-Res) cutt.ly/Eef2GxlZ 🎧 Spotify (mp3) cutt.ly/Ref2GEgW RUclips Music (mp4) cutt.ly/Jef2GJXX 🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** cutt.ly/Classical-Music-Reference-Recording-Website-Karajan Ludwig van Beethoven (1770-1827) Symphony No. 2 in D Major, Op. 36 00:00 I. Adagio molto, Allegro con brio 10:16 II. Larghetto 20:51 III. Scherzo: Allegro, Trio 24:41 IV. Allegro molto Berliner Philharmoniker Conductor: Herbert von Karajan Recorded in 1962, at Berlin New mastering in 2022 by AB for CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon www.patreon.com/cmrr/about Symphony No. 2 in D Major, Op. 36 // Beethoven's notebooks reveal that this symphony required a great deal of work on his part. It is thought that he wrote three complete scores before he was satisfied with the work, which was completed in 1802, during a stay in Heiligenstadt. His increasing deafness had already begun to attack his moral strength, and many consider the symphony's "poetic material" to be a struggle against fate. The work is, however, too cheerful to justify such an interpretation, and it would seem more reasonable to see it as a reaction against all the sadness imposed on him by his condition. This symphony is, in fact, the culmination of the world before the Revolution, the world of Haydn and Mozart; it was the extreme point that Beethoven could reach before bursting into this marvelous new region, where no man had yet penetrated. The work was dedicated to Prince Lichnowsky, and Beethoven conducted it for the first time on April 5, 1803 at the ‘Theater an der Wien’; it was not well received. After a performance in Leipzig, the symphony was criticized as "a rude surprise, an expiring snake, bleeding and writhing wildly, striking out in all directions but refusing to die". This image probably applies to the last movement, which was described as "indigestible and bizarre" and found far too difficult to execute. Strangely enough, even the second movement was not favorably received; Berlioz tells us that several years later, at a performance in Paris, the allegro from the Seventh Symphony was substituted. The general opinion was that the Second Symphony was too long, and large parts of it were consequently omitted in order to bring it down to the "right size". Sometimes, only the first and third movements were played. Although Beethoven protested strongly against the transcription of his First Symphony for quintet, he accepted several modifications to the Second Symphony, and even arranged it personally for piano trio. I. Adagio molto, Allegro con brio. The introduction is considerably longer than that of the First Symphony. Modulations and orchestration are surprisingly modern. II. Larghetto. This movement, written in sonata form, is melodically rich, "refined like an old-fashioned perfume, with a peaceful, serene beauty". Ries describes it as "amiable, naive and cheerful. III. Scherzo, Allegro. This was the first of Beethoven's third movements to be called "scherzo" instead of "minuet". It is short and lively. In the trio, woodwinds and strings seem to be playing hide-and-seek. IV. Allegro molto. This movement is written in rondo form, beginning with what sounds like a burst of laughter and continuing with one of the wittiest themes Beethoven ever wrote. From beginning to end, it is marked by exuberant gaiety. Berlioz said that this movement "was a second scherzo in two-beat meter, but even more exquisite and piquant than the first." Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement." In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm Furtwängler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven. Beethoven: Missa Solemnis in D Major Op. 123 🎧 Qobuz (Hi-Res) bit.ly/3GvePTF Tidal (Hi-Res) bit.ly/3gqfOd3 🎧 Deezer (Hi-Fi) bit.ly/3AYaWp4 Amazon Music (Hi-Fi) amzn.to/3B1K8Eh 🎧 Spotify (mp3) spoti.fi/3QTq8gH Amazon Store (mp3) amzn.to/3LctyGE 🎧 RUclips Music (mp4) bit.ly/3QWjarr Soundcloud bit.ly/3rsmc9W 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本… Ludwig Van Beethoven PLAYLIST (reference recordings): ruclips.net/video/h4gqZe3tXQ8/видео.html
Eine glückliche Fortsetzung der so gelungenen ersten Sinfonie. Beethoven verlässt die Schule mit diesem Meisterwerk!!! Eine Ouvertüre seines ganzen Schaffens - einfach grandios!!! Und wieder Glückwunsch und Dank an Karajan und die Berliner für ihre geradezu perfekte Umsetzung!!!
Symphony No. 2 in D Major, Op. 36 // Beethoven's notebooks reveal that this symphony required a great deal of work on his part. It is thought that he wrote three complete scores before he was satisfied with the work, which was completed in 1802, during a stay in Heiligenstadt. His increasing deafness had already begun to attack his moral strength, and many consider the symphony's "poetic material" to be a struggle against fate. The work is, however, too cheerful to justify such an interpretation, and it would seem more reasonable to see it as a reaction against all the sadness imposed on him by his condition. This symphony is, in fact, the culmination of the world before the Revolution, the world of Haydn and Mozart; it was the extreme point that Beethoven could reach before bursting into this marvelous new region, where no man had yet penetrated. The work was dedicated to Prince Lichnowsky, and Beethoven conducted it for the first time on April 5, 1803 at the ‘Theater an der Wien’; it was not well received. After a performance in Leipzig, the symphony was criticized as "a rude surprise, an expiring snake, bleeding and writhing wildly, striking out in all directions but refusing to die". This image probably applies to the last movement, which was described as "indigestible and bizarre" and found far too difficult to execute. Strangely enough, even the second movement was not favorably received; Berlioz tells us that several years later, at a performance in Paris, the allegro from the Seventh Symphony was substituted. The general opinion was that the Second Symphony was too long, and large parts of it were consequently omitted in order to bring it down to the "right size". Sometimes, only the first and third movements were played. Although Beethoven protested strongly against the transcription of his First Symphony for quintet, he accepted several modifications to the Second Symphony, and even arranged it personally for piano trio. I. Adagio molto, Allegro con brio. The introduction is considerably longer than that of the First Symphony. Modulations and orchestration are surprisingly modern. II. Larghetto. This movement, written in sonata form, is melodically rich, "refined like an old-fashioned perfume, with a peaceful, serene beauty". Ries describes it as "amiable, naive and cheerful. III. Scherzo, Allegro. This was the first of Beethoven's third movements to be called "scherzo" instead of "minuet". It is short and lively. In the trio, woodwinds and strings seem to be playing hide-and-seek. IV. Allegro molto. This movement is written in rondo form, beginning with what sounds like a burst of laughter and continuing with one of the wittiest themes Beethoven ever wrote. From beginning to end, it is marked by exuberant gaiety. Berlioz said that this movement "was a second scherzo in two-beat meter, but even more exquisite and piquant than the first." Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement." In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm Furtwängler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven. ❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Wunderschöne und spannende Interpretation dieser perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher, milden Tönen aller Holzbläser und brillanten Tönen aller Blechbläser. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der letzte Satz echt lebhaft und auch begeisternd. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im lebhaften Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
Love these recordings. I can't wait until you post the almighty 5th Symphony and to hear those beautiful victorious trumpets blare in its final movement! 🥰
I am not very knowledgeable technically, but I am bowled over by the crisp, light-filled beauty of this set of 1962 performances. What enhancement am I listening to that was added by remastering? Thanks!
![Beethoven: Symphony No. 2 in D major, Op. 36 [Böhm & VPO] (with Score)](http://i.ytimg.com/vi/sXYSBmGFVgE/mqdefault.jpg)
Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962)
***Listen to our latest mastering update (2024)*** : cutt.ly/Jef2GJXX
🎧 Qobuz Music (Hi-Res) cutt.ly/Nef2GqtP Tidal (Hi-Res) cutt.ly/Bef2GpKA
🎧 Deezer (Hi-Fi) cutt.ly/ief2Ghm5 Amazon Music (Hi-Res) cutt.ly/Eef2GxlZ
🎧 Spotify (mp3) cutt.ly/Ref2GEgW RUclips Music (mp4) cutt.ly/Jef2GJXX
🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** cutt.ly/Classical-Music-Reference-Recording-Website-Karajan
Ludwig van Beethoven (1770-1827) Symphony No. 2 in D Major, Op. 36
00:00 I. Adagio molto, Allegro con brio
10:16 II. Larghetto
20:51 III. Scherzo: Allegro, Trio
24:41 IV. Allegro molto
Berliner Philharmoniker
Conductor: Herbert von Karajan
Recorded in 1962, at Berlin
New mastering in 2022 by AB for CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ Support us on Patreon www.patreon.com/cmrr/about
Symphony No. 2 in D Major, Op. 36 // Beethoven's notebooks reveal that this symphony required a great deal of work on his part. It is thought that he wrote three complete scores before he was satisfied with the work, which was completed in 1802, during a stay in Heiligenstadt. His increasing deafness had already begun to attack his moral strength, and many consider the symphony's "poetic material" to be a struggle against fate. The work is, however, too cheerful to justify such an interpretation, and it would seem more reasonable to see it as a reaction against all the sadness imposed on him by his condition. This symphony is, in fact, the culmination of the world before the Revolution, the world of Haydn and Mozart; it was the extreme point that Beethoven could reach before bursting into this marvelous new region, where no man had yet penetrated.
The work was dedicated to Prince Lichnowsky, and Beethoven conducted it for the first time on April 5, 1803 at the ‘Theater an der Wien’; it was not well received. After a performance in Leipzig, the symphony was criticized as "a rude surprise, an expiring snake, bleeding and writhing wildly, striking out in all directions but refusing to die". This image probably applies to the last movement, which was described as "indigestible and bizarre" and found far too difficult to execute. Strangely enough, even the second movement was not favorably received; Berlioz tells us that several years later, at a performance in Paris, the allegro from the Seventh Symphony was substituted. The general opinion was that the Second Symphony was too long, and large parts of it were consequently omitted in order to bring it down to the "right size". Sometimes, only the first and third movements were played. Although Beethoven protested strongly against the transcription of his First Symphony for quintet, he accepted several modifications to the Second Symphony, and even arranged it personally for piano trio.
I. Adagio molto, Allegro con brio. The introduction is considerably longer than that of the First Symphony. Modulations and orchestration are surprisingly modern.
II. Larghetto. This movement, written in sonata form, is melodically rich, "refined like an old-fashioned perfume, with a peaceful, serene beauty". Ries describes it as "amiable, naive and cheerful.
III. Scherzo, Allegro. This was the first of Beethoven's third movements to be called "scherzo" instead of "minuet". It is short and lively. In the trio, woodwinds and strings seem to be playing hide-and-seek.
IV. Allegro molto. This movement is written in rondo form, beginning with what sounds like a burst of laughter and continuing with one of the wittiest themes Beethoven ever wrote. From beginning to end, it is marked by exuberant gaiety. Berlioz said that this movement "was a second scherzo in two-beat meter, but even more exquisite and piquant than the first."
Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement."
In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm Furtwängler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven.
Beethoven: Missa Solemnis in D Major Op. 123
🎧 Qobuz (Hi-Res) bit.ly/3GvePTF Tidal (Hi-Res) bit.ly/3gqfOd3
🎧 Deezer (Hi-Fi) bit.ly/3AYaWp4 Amazon Music (Hi-Fi) amzn.to/3B1K8Eh
🎧 Spotify (mp3) spoti.fi/3QTq8gH Amazon Store (mp3) amzn.to/3LctyGE
🎧 RUclips Music (mp4) bit.ly/3QWjarr Soundcloud bit.ly/3rsmc9W
🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本…
Ludwig Van Beethoven PLAYLIST (reference recordings): ruclips.net/video/h4gqZe3tXQ8/видео.html
Eine glückliche Fortsetzung der so gelungenen ersten Sinfonie. Beethoven verlässt die Schule mit diesem Meisterwerk!!! Eine Ouvertüre seines ganzen Schaffens - einfach grandios!!! Und wieder Glückwunsch und Dank an Karajan und die Berliner für ihre geradezu perfekte Umsetzung!!!
Symphony No. 2 in D Major, Op. 36 // Beethoven's notebooks reveal that this symphony required a great deal of work on his part. It is thought that he wrote three complete scores before he was satisfied with the work, which was completed in 1802, during a stay in Heiligenstadt. His increasing deafness had already begun to attack his moral strength, and many consider the symphony's "poetic material" to be a struggle against fate. The work is, however, too cheerful to justify such an interpretation, and it would seem more reasonable to see it as a reaction against all the sadness imposed on him by his condition. This symphony is, in fact, the culmination of the world before the Revolution, the world of Haydn and Mozart; it was the extreme point that Beethoven could reach before bursting into this marvelous new region, where no man had yet penetrated.
The work was dedicated to Prince Lichnowsky, and Beethoven conducted it for the first time on April 5, 1803 at the ‘Theater an der Wien’; it was not well received. After a performance in Leipzig, the symphony was criticized as "a rude surprise, an expiring snake, bleeding and writhing wildly, striking out in all directions but refusing to die". This image probably applies to the last movement, which was described as "indigestible and bizarre" and found far too difficult to execute. Strangely enough, even the second movement was not favorably received; Berlioz tells us that several years later, at a performance in Paris, the allegro from the Seventh Symphony was substituted. The general opinion was that the Second Symphony was too long, and large parts of it were consequently omitted in order to bring it down to the "right size". Sometimes, only the first and third movements were played. Although Beethoven protested strongly against the transcription of his First Symphony for quintet, he accepted several modifications to the Second Symphony, and even arranged it personally for piano trio.
I. Adagio molto, Allegro con brio. The introduction is considerably longer than that of the First Symphony. Modulations and orchestration are surprisingly modern.
II. Larghetto. This movement, written in sonata form, is melodically rich, "refined like an old-fashioned perfume, with a peaceful, serene beauty". Ries describes it as "amiable, naive and cheerful.
III. Scherzo, Allegro. This was the first of Beethoven's third movements to be called "scherzo" instead of "minuet". It is short and lively. In the trio, woodwinds and strings seem to be playing hide-and-seek.
IV. Allegro molto. This movement is written in rondo form, beginning with what sounds like a burst of laughter and continuing with one of the wittiest themes Beethoven ever wrote. From beginning to end, it is marked by exuberant gaiety. Berlioz said that this movement "was a second scherzo in two-beat meter, but even more exquisite and piquant than the first."
Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement."
In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm Furtwängler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven.
❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Many thanks CM/RR for the very good New Mastering of the Karajan recordings of Beethoven symphonies from the golden sixties.
Wunderschöne und spannende Interpretation dieser perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher, milden Tönen aller Holzbläser und brillanten Tönen aller Blechbläser. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der letzte Satz echt lebhaft und auch begeisternd. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im lebhaften Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
Love these recordings. I can't wait until you post the almighty 5th Symphony and to hear those beautiful victorious trumpets blare in its final movement! 🥰
I am waiting too! Thank you for your wonderful posting. ❤
Classical music showcases the sophistication and talent of composers and performers. I often view it as the pinnacle of art.
I am not very knowledgeable technically, but I am bowled over by the crisp, light-filled beauty of this set of 1962 performances. What enhancement am I listening to that was added by remastering? Thanks!