The first recording of Beethoven's 9th Symphony
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- Опубликовано: 11 янв 2025
- Frieder Weissmann condcting the Bruthner Orchestra, Berlin（1st, 2nd and 3rd movements）
Recorded in 3, 26 January, 2 February 1924
Eduard Morike conducting the German Opera Orchestra & Chorus（4th movement）
Recorded in 7 Febuary 1921
Released from the UK Parlophone in September, 1924
This compact disc was a supplement of the magazine “Classic Press”. But the magazine is not available now.
For a long time, it was believed that Weissmann has conducted all the movements becase it was written on the ravels and catalogs.
But in 1997, it was discovered that the 4th movement was conducted and recorded by Eduard Morike in 1921.
No one knows why this happened.
What we do know is that UK Parlophon made several extract recordings of Beethoven's Symphonys in the early 1920s. And this shorten 4th movement was one of them.
But not like the others, it was't released right away. Until it was tied and masked with the Weissmann's recordings.
Fun fact: this recording was only 3 months before the symphony’s 100th birthday
Also, as of the time I am posting this comment (May 6, 2023), this symphony is celebrating its 199th birthday tomorrow and it will be celebrating its 200th anniversary next year.
@@kikicallahan3662200th on May 6th :)
Edit: May 7th, actually.
I’m listening to this 100 Years after this was recorded. And 200 Years after the Symphony was first performed. I feel like god.
This is absolutely fascinating; thanks for posting! But if this is indeed the 1921 finale (and, with its cuts, I have no reason to doubt that it is), then it in fact WAS recorded by Weissmann after all, according to Frank Andrews' Parlophone discography. The confusion arises from the fact that the 1921 finale never was issued in Germany, only in England, along with the 1924 Weissmann recording of the first three movements. The German (and US Odeon) issues substituted a newer recording, from January 1925, of the finale that was, in fact, conducted by Mörike.
The singers on the 1921 finale were Wally von Roemer, soprano; Hilde Ellger, contralto; Waldemar Henke, tenor; and Adolf Schopflein, bass.
Recorded a century after this masterpiece was written and first performed in 1824.
Remarkelble, and admirable, that you let us hear this from the acoestic past, so well done by Maestro Frieder Weissmann. Thankyou!!
Wow! Beautiful!! Thank you for posting!
I can't imagine Beethoven being happy with this. The entire double fugue section after the march in the 4th movement has been removed for some reason as well as various other strange choices.
u can feel the feeling in the notes played. awes..
How captivating this is! Thank you SOOO much for uploading!
so classy I love it god bless Beethoven and the conducter
Fascinating! ... Entertaining soloist :P
Beautiful
Is it just the way it was recorded at the time, or does it sound a bit more millitary band'ish? It obviously doesn't sound as 'rich' as modern recordings as you would expect, but at times the notes also sound a bit more clipped and 'aggressive' sounding, and there seems to be more of an emphasis on horns and less on strings. I can't quite describe what I'm hearing (I'm no expert on classical music by any means), but it has a very different sound that seems to go beyond the quality of the recording. Has there been an evolution in the way orchestras play classical music like this, and if so, I wonder how much it had already changed from the original way back in 1824, either in the performance or in the instruments.
David Iliff i thought that too!
Because of the limitations of acoustic recording, strings didn't register very well, and winds were routinely added to their parts, especially tubas for the double basses, and clarinets for the violins. They also had specially made violins with horns added to their sounding boards to amplify them, but this produced pretty horrible sounds. Add to this the fact that the recording venues were of necessity smallish rooms, in order to focus the sound into the recording funnels. The musicians were crammed together, and the orchestra size was usually reduced to a maximum of 40 players or less. This is what you're hearing. Bruno Walter described this in his interviews elsewhere on RUclips. There was also the need to break the music off into 4-minute chunks to fit it to the 78s. Someone was deputized to stand in front of the conductor with a stopwatch and speed him up if the section he was recording seemed to be going too slow to make it. That's why you can hear obvious differences in the tempo before and after the side breaks, not to mention pitch differences due to the varying speed of the recording lathes. So the message is: don't draw any conclusions about the style of performance of those days from these discs. There was probably more variation in performing practice back then than there is now, as can be heard by listening to the same piece conducted by different maestros of roughly the same time period.
@@CamhiRichardvery informative, thank you.
Oh bliss, bliss and heaven... Oh, it was gorgeousness and gorgeousity made flesh... And then, a bird of rarest-spun heaven metal, or like silvery wine flowing in a spaceship, gravity all nonsense now...
As I solooshied, I knew such lovely pictures!
Weismann didn't record the 4th mvt. That was recorded later by Morike.
It sounds like a small chamber version with a small orchestra and a small choir
Imagine if Ludwig Van Beethoven was still alive
This was almost 100 years after he died...
He would call Mordern music making either stupid or turn it into such use that everyone turn walking zombies to his music
Well, he would be incredibly old and incredibly deaf....
He would be pretty lean
And he has hearing aid to listen to this recording !
the added pause at 20:44 is interesting to say the least
It was a side break - one 4-minute side ended, and then the next side began. Trying to edit them so as to make the performance sound uninterrupted is a tricky business at best. In this case, it came at a very big change of tempo, and it's really anybody's guess how the conductor actually wanted it to flow.
I think the recording of the complete symphony may took up to 35 records !
awes..
42:52
46:26
Why im find this on play list about roblox ww1 game
How many 78 rpm records take to record the complete symphony in 1924 ?
sans doute une performence pour l epoque
42:52 AND 45:09 IS WHAT YOU CAME HERE FOR!
no but this 52:14
@@slim531 no
@@GUILLOM okay
Not exactly, but thank you!
Tempos are slow similar to Furtwaengler's
Imagine Beethoven has hearing aid to listen to this recording !
comfy
Sorry, dat orkest heette BLUTHNER-ORKEST. Akoestisch,... fantastisch! Tuba's in plaats van bas-strijkers.