Buy used: $15.81
$3.99 delivery June 7 - 25. Details
Used: Very Good | Details
Sold by samurai_media_JPN4US
Condition: Used: Very Good
Comment: Very good condition. Please be noticed that this item might not have OBI strips.

Beethoven: Symphony No. 9 - 7/29/51

Ludwig van Beethoven (Composer), Wilhelm Furtwangler (Conductor) Format: Audio CD
4.6 4.6 out of 5 stars 77 ratings
$15.81
See all formats and editions Hide other formats and editions
Price
New from Used from
Audio CD, March 25, 2008
$15.81
$28.99 $15.81

Track Listings

1 Symphony No. 9 in D minor ('Choral'), Op. 125: Allegro Ma Non Troppo E Un Poco Maestoso
2 Symphony No. 9 in D minor ('Choral'), Op. 125: Molto Vivace - Presto
3 Symphony No. 9 in D minor ('Choral'), Op. 125: Adagio Molto E Cantabile - Andante Moderato
4 Symphony No. 9 in D minor ('Choral'), Op. 125: Presto - Rezitativ

Editorial Reviews

CD

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 5.59 x 4.92 x 0.47 inches; 3.88 ounces
  • Manufacturer ‏ : ‎ Orfeo International Music
  • Original Release Date ‏ : ‎ 2008
  • Date First Available ‏ : ‎ March 30, 2008
  • Label ‏ : ‎ Orfeo International Music
  • ASIN ‏ : ‎ B00129XQ2W
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.6 4.6 out of 5 stars 77 ratings

Customer reviews

4.6 out of 5 stars
4.6 out of 5
77 global ratings

Top reviews from the United States

M. Zimmer
5.0 out of 5 stars Finally, the Real Thing from Orfeo
Reviewed in the United States on October 1, 2016
Verified Purchase
For many years EMI has palmed off a rehearsal recording of this epochal performance (July 29 1951) of Beethoven's Ninth from the re-opening of the Bayreuth Festival Theatre after World War II as the real thing. Orfeo's series of Bayreuth CDs from the original radio tapes provides at last the actual performance (yes, with coughing from the irrepressible Bayreuth audience). It's a revelation. Gone is the muddy sound of the EMI recording, and this is a brisk, light and clear recording--one of the best quality recordings of a Furtwängler Beethoven symphony extant. The performance is about the same timings, but it's a good deal livelier somehow; the presence of the audience definitely adds some electricity to the moment that's lacking from the rehearsal recording of the Ninth. It's not quite the horror-filled rendition of the famous 1942 Berlin version (which alas is in well-nigh unlistenable quality to modern ears) but it's definitely a high point in Furtwängler's discography. You need this CD if you love historic recordings of Beethoven.
14 people found this helpful
Helpful
 Report
David R. Beauregard
5.0 out of 5 stars Very Good Beethoven 9 with Furtwangler
Reviewed in the United States on March 23, 2018
Verified Purchase
This mono version of the 1951 Furtwangler Beethoven 9 is very well recorded but not as dynamic or expressive as the mono 1954 Lucerne recording. That version is awesome in every respect. Dynamic, powerful and great singers. If you are going to buy one buy the 1954 recording. I have just ordered the 1942 version from Amazon and will receive it tomorrow. I cant wait to hear that version. I received the 1942 version and the recording is good for that era. Very fast orchestra playing and conducting in the 1942 version.
5 people found this helpful
Helpful
 Report
Sanjay Verma
4.0 out of 5 stars Anachronistic tragedy
Reviewed in the United States on June 8, 2016
Verified Purchase
If time travel were possible and this could be recorded with modern equipment, this would be absolutely phenomenal. I'm no musicologist nor am I a musician. I love classical music and have a reasonable Hi-Fi system (Parasound A21 Amp, P5 Pre-Amp, Bowers and Wilkins CM9S2 speakers). I can certainly appreciate the potency of this performance and it COULD immediately surpass my previous favorite (Karajan, BPO, 1963). However, I think music lovers who think sound quality doesn't matter (and even write insulting comments about those of us who care about sound quality) are being unfair. Each of us is different. The purpose of music is to enjoy. Period. It is soulful, evocative entertainment. And for some, the sound quality is as integral to the experience as the compassion and performance. I recall when I first heard music on my B&W speakers. It was like hearing music for the first time. The crystal clarity was stunning. So, you really have to transcend a lot of audio limitations to dive deeply into this powerful performance. With that said, I did enjoy it but it started to give me a headache. I'm a physician and I understand neuroscience and human physiology. When the mind has to filter out a lot of audio artifact there is more listening fatigue. So, this doesn't give me the relaxing, therapeutic experience with music that I crave. I'll probably resort more often to Karajan's 1963 recording with BPO on 96/24 or SACD for a great balance of sound quality and performance potency.
7 people found this helpful
Helpful
 Report
harold d walters
5.0 out of 5 stars Indispensibe performance
Reviewed in the United States on August 21, 2019
Verified Purchase
This performance and this issue of Furtwangler's Beethoven 9 transcends all other recordings. Some have complained about the coughs in the audience; I found only three brief moments distracting but not disturbing. Don't hesitate buying this disc.
2 people found this helpful
Helpful
 Report
Tatertot
5.0 out of 5 stars Great performance
Reviewed in the United States on December 9, 2016
Verified Purchase
This is far and away the best performance of this symphony by this director. However it is not for the beginner as it is made using old recordings. Even though the digital remastering is excellent this is still a recording in mono, not everyone's taste.
4 people found this helpful
Helpful
 Report
Amanda Fitton
5.0 out of 5 stars Among the best performances of this symphony that I have ever heard
Reviewed in the United States on September 3, 2017
Verified Purchase
Among the best performances of this symphony that I have ever heard. The passion and pace of the Fuertwangler interpretation is elevating.
4 people found this helpful
Helpful
 Report
Raul
5.0 out of 5 stars Great recording
Reviewed in the United States on February 19, 2013
Verified Purchase
Although the mono sound is a bit annoying in this day and age, having this recording from the live feed is quite interesting. The EMI 'live' version is good too; this is just a tad better.
5 people found this helpful
Helpful
 Report
James I. Nie
4.0 out of 5 stars Great performance, overly bright sound!
Reviewed in the United States on November 26, 2013
Verified Purchase
Although the performance is wonderful, the recording is overly bright. Being a recording teacher I edited the sound files to bring the mid-range out and to boost the bass before I can actually listen to the recording. It is very apparent that this may be a 'pirated' version of the 1951 concert as I hear multiple sound attenuation throughout the recording.

It is my hope that those who wish to purchase this recording to be aware of the bright sound and the imperfection of the recording. It still remains my favorite performance of this work. I will still hold on to my vinyl and my CD version from EMI.

The humanity exhibited by this recording is only rivaled by the 1954 recording. The 1942 recording was too intense for me.

Thank you for allowing me space to speak.

Ian
15 people found this helpful
Helpful
 Report

Top reviews from other countries

Translate all reviews to English
Graham Mummery
5.0 out of 5 stars Furtwangler's Greatest 9th
Reviewed in the United Kingdom on June 20, 2023
Verified Purchase
I have long Ioved the famous EMI recording of the Beethoven 9 from Bayreuth condicted by Furtwangler. It has remained form a kind of ultimate yardstick of how to judge other performances of the work. Few have made the comparison.

Looking at a survey of recordigns of the work by Richard Osbourne, I discovered that the EMI recording was a composite of a live performance of the work and the rehearsals before. Osbourne's suggestion was that if I want a Furtwangler performance of the work, this is the one to have. So I decided to make a punt and got this one. It is a full recording of the Bayreuth performance.

There has long been a legend over Furtwangler that his live performances are better than the recordings. To an extent, I agree. But I have sometimes found that myth to be something of an exageration. Even if Furtwangler himself was less keen on recordings, some of them are fine. But of course this is a live performance, and as such it does live up to the legned of his live performances.

The recording is somewhat clearer than in the EMI recording. There is an even greater flow. I have heard some other performances Furtwangler recorded of the work including the wartime one, and his last in Lucerne which turned out to be the last time he conducted it before his untimely death. But this for me is the one to have, Even or repeated listenings there is a sense of occasion and a flow that is unmatched by any other conductor.

The cosmic opening, the somewhat frenetic second movement and the sublime Adagio are astoningshing. The final movement with the setting of Schiller's Ode to Joy has a sprighly energy. This last movement sometimes is difficult to pull off with the many changes of pace and style. But Furtwangler manages it brilliantly.
Report
flbach
5.0 out of 5 stars Anlass und Ort entscheidend
Reviewed in Germany on September 29, 2019
Verified Purchase
Furtwängler Follower mögen mit verzeihen aber mit geht es bei dieser Aufnahme mehr um den Anlass und Ort dieser Aufnahme, bei der selbstverständlich alles passt und sehr gut ist, Tolle Aufnahme, toller Ort, bester Anlass überhaupt - also auch meins.
One person found this helpful
 Report
Mike
5.0 out of 5 stars True Live Performance at Bayreuth.
Reviewed in Canada on January 6, 2018
Verified Purchase
This version is the live performance at the Bayreuth Festival. I also own the EMI version of this same work, which is actually a mixture of recorded rehearsal and live performance at Bayreuth. Both claim to be Furtwangler's Beethoven 9th at the same festival, and of course they are, the difference being noted above.
In listening to the two versions, I noted real differences both in sound quality and in performance, some quite noticeable, some more subtle. First, sound quality: the EMI version has broader sonic range and more enjoyable. This Orfeo version has a tighter, narrower sound, more "mono", but seem to be clearer in details. Second, performance: the live performance is better although I cannot explain how; but it is better.
If you have to choose between them, just flip a coin: you would not be disappointed with any one of the two.
Report
⌘ hiro ⌘
5.0 out of 5 stars こちらこそ本番の演奏 バイエルン放送音源
Reviewed in Japan on December 24, 2021
Verified Purchase
最近スウェーデン放送音源が発売されて世紀の論争になっているが
このCDの最後にこのようにはっきりと書かれていることをここに書いておきたい。

以下Googleレンズによる翻訳

✴︎
バイロイト音楽 祭が発行。
バイエルン放送 による オリジナル 録音
レコーディング 監督： N. N。 Toningenieur
レコーディング エンジニア： N. N。 リマスター： Christoph Stickel（ msm- studios）
この出版物には、 バイエルン放送の オリジナルのテープ録音が使用されました。
この 無線送信の本物の文書は、1951 年7月29日の公演とは異なる音像と 異なる音素材による明らかなカットと修正を備えた現在利用可能なEMIのバージョンとは 異 なります。
リマスタリング中は元の音像が保持され、透明度が大幅に向上しました。
テープのノイズやカチッという音やパチパチという音などの乱れは、元 の音像が損なわれない程度に低減されました。
すべての色調の変化は、バイロイト の管理者による繰り返しのテストの後です。
フェスティバルとORFEOが明確になりました。
元のテープをリマスターする際に、元のサウンドを保持しながら、その 半透明性を聴覚的に高めました。
このラジオ放送の本物の文書は、これまで EMIラベルで入手でき たバージョンとは異なり、1951 年 7 月 29 日に行われたパフォーマンスとは異 なる素材を使用した明らかな編集と修正 が含まれています。
テープのノイズ や、カチッという音 や パチパチという音などの邪魔な音 は、元の音ではない範囲でのみ低減 されました。
妥協。
このリリースでは、バイエルンラジオのオリジナル テープ が 使用されました。
繰り返しテストを 行った 後、これら の変更はすべて ディレクター によってクリアされましたフェスティバル と ORFEO。
バイロイトの文学編集： クリスチャン・ デランク。
エイドリアン・ ケッチ の 写真： シュワルツコフ、 ヘンゲン、 ホプ、 エーデルマン、 ピッツ、 フルト ヴェングラー（ バイロイト 音楽 祭 の アーカイブ）
Festspielhaus Bayreuth（ AKG ベルリン）
カバー デザイン： Atelier Langenfass、
イスマニング 2008 ORFEO International MusicGmbH。
登録 商標 8175
Customer image
⌘ hiro ⌘
5.0 out of 5 stars こちらこそ本番の演奏 バイエルン放送音源
Reviewed in Japan on December 24, 2021
最近スウェーデン放送音源が発売されて世紀の論争になっているが
このCDの最後にこのようにはっきりと書かれていることをここに書いておきたい。

以下Googleレンズによる翻訳

✴︎
バイロイト音楽 祭が発行。
バイエルン放送 による オリジナル 録音
レコーディング 監督： N. N。 Toningenieur
レコーディング エンジニア： N. N。 リマスター： Christoph Stickel（ msm- studios）
この出版物には、 バイエルン放送の オリジナルのテープ録音が使用されました。
この 無線送信の本物の文書は、1951 年7月29日の公演とは異なる音像と 異なる音素材による明らかなカットと修正を備えた現在利用可能なEMIのバージョンとは 異 なります。
リマスタリング中は元の音像が保持され、透明度が大幅に向上しました。
テープのノイズやカチッという音やパチパチという音などの乱れは、元 の音像が損なわれない程度に低減されました。
すべての色調の変化は、バイロイト の管理者による繰り返しのテストの後です。
フェスティバルとORFEOが明確になりました。
元のテープをリマスターする際に、元のサウンドを保持しながら、その 半透明性を聴覚的に高めました。
このラジオ放送の本物の文書は、これまで EMIラベルで入手でき たバージョンとは異なり、1951 年 7 月 29 日に行われたパフォーマンスとは異 なる素材を使用した明らかな編集と修正 が含まれています。
テープのノイズ や、カチッという音 や パチパチという音などの邪魔な音 は、元の音ではない範囲でのみ低減 されました。
妥協。
このリリースでは、バイエルンラジオのオリジナル テープ が 使用されました。
繰り返しテストを 行った 後、これら の変更はすべて ディレクター によってクリアされましたフェスティバル と ORFEO。
バイロイトの文学編集： クリスチャン・ デランク。
エイドリアン・ ケッチ の 写真： シュワルツコフ、 ヘンゲン、 ホプ、 エーデルマン、 ピッツ、 フルト ヴェングラー（ バイロイト 音楽 祭 の アーカイブ）
Festspielhaus Bayreuth（ AKG ベルリン）
カバー デザイン： Atelier Langenfass、
イスマニング 2008 ORFEO International MusicGmbH。
登録 商標 8175
Images in this review
Customer image
Customer image
6 people found this helpful
 Report
chan robert
5.0 out of 5 stars un "incontournable de la discographie..
Reviewed in France on May 11, 2015
Verified Purchase
ici le son est nettement meilleur que chez EMI:on en ventend des différences:un peu plus de "tousseurs et à l'adagio:pas de fausses notes qu'on arrivait à percevoir(lors d'une écoute d'u disque vinyl il y a des lustre,ce qui tend à prouver qu'il ne s'agit pas de la même "bande"!enfin une édition digne de cette version inoubliable!
3 people found this helpful
 Report