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Nagano: Beethoven – Human Misery, Human Love (FLAC)

Nagano: Beethoven - Human Misery, Human Love (FLAC)

Nagano: Beethoven – Human Misery, Human Love (FLAC)

Composer: Ludwig van Beethoven
Performer: Erin Wall, Mihoko Fujimura, Simon O’Neill, Mikhail Petrenko
Orchestra: Orchestre Symphonique de Montréal
Conductor: Kent Nagano
Format: FLAC (tracks)
Label: Sony
Catalogue: 88691919442
Release: 2012
Size: 264 MB
Recovery: +3%
Scan: cover

01. Introduction (Excerpt from Beethoven’s Symphony No. 9, Finale)
02. Where Have You Gone, My Revolutionary Friend?

Symphony No. 9 in D Minor, Op. 125 “Choral”
03. I. Allegro ma non troppo, un poco maestoso
04. II. Scherzo. Molto vivace – Presto
05. III. Adagio molto e cantabile – Andante moderato
06. IV. Finale. Presto – Allegro assai

07. Où es-tu, mon ami révolutionnair

Continuing Sony’s series of Ludwig van Beethoven’s symphonies performed by Kent Nagano and the Orchestre Symphonique de Montréal, this volume offers the Symphony No. 9 in D minor, “Choral,” as the centerpiece of a fairly enigmatic presentation entitled “Human Misery, Human Love.” The program opens and closes with a poetic recitation, “Where have you gone, my revolutionary friend?” by Yann Martel, given first in English, then at the close in French, thus framing the live performance by Nagano, which was recorded in September 2010 as part of the inauguration of the OSM’s new concert hall, the Maison symphonique de Montréal. Apart from the poetry, which adds little to this package, the performance of the Ninth is a mainstream rendition with strong playing by the Canadian orchestra. The conventional approach may not bring this disc much attention, considering the many historically informed and newsworthy performances of the Ninth that are available, but that point should be moot if the performance itself is first-rate. Nagano’s interpretation is adequate for an uncontroversial ceremonial concert, but it offers no special insights into Beethoven’s intentions or interpretive surprises, and seems almost routine in its predictability, even with the faster tempo for the tenor solo, “Froh, wie seine Sonnen.” The orchestra plays with accuracy and abundant energy, and the solo vocalists and choir are commendable in the finale. Yet this is on a par with many other good recordings of the Ninth, so it is a disc that beginners might benefit from hearing, but experienced students of the piece can either take it or leave it.

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