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Böhm: Beethoven – Symphony no.9 Live 1963 (24/96 FLAC)

Böhm: Beethoven - Symphony no.9 Live 1963 (24/96 FLAC)

Böhm: Beethoven – Symphony no.9 Live 1963 (24/96 FLAC)

Composer: Ludwig van Beethoven
Performer: Gundula Janowitz, Grace Bumbry, Jess Thomas, George London
Orchestra: Bayreuther Festspielorchester
Conductor: Karl Böhm
Format: FLAC (tracks)
Label: Orfeo
Catalogue: C935171B
Release: 2017
Size: 1.14 GB
Recovery: +3%
Scan: yes

Symphony No. 9 in D minor, Op. 125 ‘Choral’
01. I. Allegro ma non troppo, un poco maestoso
02. II. Molto vivace
03. III. Adagio molto e cantabile – Andante moderato
04. IV. Finale. Presto – Allegro assai

The well-known ‘classical’ exception to the canon of ten Wagner works that can be performed on the Green Hill goes back to the master himself: it is of course Beethovens Ninth Symphony. The most famous recording of one of the rare Bayreuth performances of the symphony is of the legendary concert that reopened the Bayreuth Festival after the Second World War, in 1951, with Wilhelm Furtwängler on the rostrum. That recording was released for the first time, officially and uncut, by Orfeo in association with the Bayreuth Festival in 2008. In 1954, Furtwängler conducted the Ninth a second time. Much less well-known, and issued here for the first time in a live recording, is a performance conducted by Karl Böhm in 1963 to mark the 150th anniversary of Richard Wagners birth and the 80th anniversary of his death. Here we witness the emergence of a new musical generation. Böhm had made his Bayreuth debut the year before with Tristan, which he returned to in 1963, additionally taking over Meistersinger the following year and the Ring in 1965; he thus became one of the defining Bayreuth conductors of the 60s. Böhm chose a version with the orchestra retouched in places by Wagner himself and with a much strengthened choir of 217 singers. The performance is nevertheless poles apart from the pathos and impulsive exuberance of Furtwänglers interpretative style of the previous decade. Böhms conducting is extraordinarily concentrated, collected, rigorous in its forward impetus, and as a result liberating and, on another level, enthralling thanks in part also to a glittering quartet of soloists: Gundula Janowitz, Grace Bumbry, Jess Thomas and George London, some of the best voices at Bayreuth in those years.

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