Ludwig van Beethoven (1770-1827) - Symphonies Nos. 9,7,5,3 by Ferenc Fricsay / New Mastering 🎧 Qobuz bit.ly/3Cf1JsQ Deezer bit.ly/3IJhDhO 🎧 Amazon Music amzn.to/3V5eNK6 Tidal bit.ly/3hB4A5U 🎧 Spotify spoti.fi/34fB6rs UA-cam Music bit.ly/3V8DPrX 🎧 Apple Music - Soundcloud bit.ly/3ttPuVv 🎧 LineMusic日本, Awa日本, Napster, Pandora, Anghami, QQ音乐 … *Click to activate the English subtitles for the presentation* (00:00-04:17) *Click to activate the English subtitles for the words of the Ode to Joy* (51:44-53:22) 00:00 Symphony No. 9 in D minor, Op. 125 "Choral" - I. Allegro ma non troppo, un poco maestoso 16:39 Symphony No. 9 in D minor, Op. 125 "Choral" - II. Molto vivace 27:09 Symphony No. 9 in D minor, Op. 125 "Choral" - III. Adagio molto e cantabile 45:12 Symphony No. 9 in D minor, Op. 125 "Choral" - IVa. Presto 51:24 Symphony No. 9 in D minor, Op. 125 "Choral" - IVb. "O Freunde, nicht diese Töne" - Allegro assai Symphony No. 7 in A Major, Op. 92 (Remastered 2022): ua-cam.com/video/SOizpw4YePM/v-deo.html Symphony No. 5 in C minor, Op. 67 (Remastered 2022): ua-cam.com/video/clMNyCL9IEk/v-deo.html Symphony No. 3 in E flat Major, Op. 55 "Eroica" (Remastered 2022): ua-cam.com/video/v3aWfDqzG54/v-deo.html Sopran: Irmgard Seefried Alt/Contralto: Maureen Forrester Tenor: Ernst Haefliger Bass: Dietrich Fischer-Dieskau Chor der St. Hedwigs-Kathedrale Berliner Philharmoniker Conductor: Ferenc Fricsay Recorded in 1958 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Alex from CMRR: " This recording is particularly close to my heart for several reasons; It was our first youtube post that launched the CMRR adventure on December 27, 2014. It was the Ferenc Fricsay edition released by Deutsche Grammophon. The picture was taken on an iphone 4 with the carpet of my living room in the background and even a hair of my head forgot to be removed from the album cover :) Since then, I don't count anymore the thousands of hours that were required to develop this channel and our remastered edition label. We can assure you that each recording is selected meticulously and that it can take several months between the moment when a work is selected, then the comparative listening, then the research of the best available source for the remastering, then the work of edition and education, the visual, the publication on the various platforms... In short, it is a long and hard work but the passion and your positive feedbacks are our engines. This is also our first choice of the ninth symphony in stereo version. This is my favorite composer and my favorite work, the first work that made me cry in concert. Everything is present in the Ninth, the power, the tenderness, the drama, the nostalgia, the resilience, the joy, the galvanizing impulse, the hope for a better world... I wish you an excellent listening of the best edition currently available! " Saint-Sylvestre 1957 : fidèle à la tradition des concerts de la Saint-Sylvestre à Berlin, l’intendant de l’Orchestre Philarmonique de Berlin, a inscrit la 9e au programme du concert qui doit avoir lieu dans l’auditorium de la Hochschule für Musik, où l’orchestre de Berlin-Ouest a élu domicile depuis 3 ans. Werner Oehlmann, critique musical au quotidien berlinois Tagesspiegel, publie le compte rendu suivant : "Voici longtemps que l’on n’a pas entendu ici une interprétation inspirée par une vision aussi authentique et aussi immédiate de l’œuvre ; tout ce que cette partition, apparemment si familière, recèle encore d’énigmes, d’ombres ou de défis pour l’interprète, émergea d’une manière véritablement effrayante ; même l’élément barbare, qui fait également partie de l’âme titanique, ne fut pas tempéré, mais exacerbé par le brio incisif de la musique. Dietrich Fischer-Dieskau fit sentir le caractère monstrueux de l’instant où la voix humaine pénètre dans le monde de la musique pure ; il interpréta l’appel à l’humanité avec insistance véhémente, une clarté de la déclamation presque trop tranchante. D’excellents solistes, Irmgard Seefried, Maureen Forrester, Ernst Haefliger et le chœur de la Cathédrale Sainte-Edwige, emporté par un élan prodigieux, donnèrent une interprétation qui, malgré le crescendo dramatique de l’Hymne à la Joie, préserva l’unité symphonique de l’ensemble ; prouesse d’un chef d’orchestre dont la détermination et la recherche incessante de perfection semblent prédestinées à une tragique solitude en ces temps où les talents font preuve d’autosatisfaction ; mais c’est bien ce qui en fait aujourd’hui le messager légitime de Beethoven." Ces lignes pourraient également s’appliquer au présent enregistrement, première production stéréophonique effectuée par Deutsche Grammophon avec la Philharmonie de Berlin. La 9ème. C’est le 7 mai 1824, au Théâtre de la Cour impériale de Vienne qu’est exécutée pour la première fois la 9ème Symphonie. Beethoven, le dos au public, est censé, selon l’annonce officielle, «prendre part à la conduite de l’orchestre» aux côtés du Chef. En réalité, enfermé dans sa surdité, il n’entend même pas les ovations enthousiastes qui saluent le Finale. Une des solistes doit l’inciter à se retourner pour qu’il prenne conscience de l’ampleur du succès. Il a encore trois ans à vivre, qui, certes, seront remplis de nouvelles compositions et de nouveaux projets. Mais cette oeuvre tient une place exceptionnellement centrale dans la vie et l’oeuvre de son auteur par l’effort de création synthétique qu’elle manifeste. En effet, cette symphonie est née de la convergence de plusieurs projets d’abord indépendants et parfois fort anciens : dès 1792, à 22 ans, il veut mettre en musique «l’Ode à la Joie» de Schiller ; en 1795, il se passionne pour un thème musical, qui finalement portera le texte de Schiller dans la 9ème. En 1807, il projette une oeuvre où s’uniraient orchestre et voix ; en 1812, il décide de composer une 9ème symphonie en ré mineur. Dans les années suivantes, ces quatre projets vont progressivement fusionner, pour aboutir à une œuvre d’un type radicalement nouveau : une symphonie avec chœur et solistes ! Sa tonalité dominante, ré mineur, exprime bien un sentiment tragique, tragique de la condition humaine, minée par la souffrance, la violence et la mort ; tragique aussi de la vie de Beethoven, profondément blessé par son infirmité, par la maladie et par ses échecs sentimentaux. Mais cette tonalité est progressivement supplantée par le ré majeur qui, en particulier dans le finale, manifeste le triomphe de la Joie et la victoire de la vie. ODE À LA JOIE. Mes frères, cessons nos plaintes ! Qu'un cri joyeux élève aux cieux nos chants de fêtes et nos accords pieux ! Joie ! Joie ! Belle étincelle divine, Fille de l’Elysée, Nous entrons l'âme enivrée, Dans ton temple glorieux. Ton magique attrait resserre, Ce que la mode en vain détruit ; Tous les hommes deviennent frères, Où ton aile nous conduit. Si le sort comblant ton âme, D'un ami t'a fait l'ami, Si tu as conquis l’amour d’une noble femme, Mêle ton exultation à la nôtre! Viens, même si tu n'aimas qu'une heure, Qu'un seul être sous les cieux ! Mais vous que nul amour n'effleure, En pleurant, quittez ce choeur ! Tous les êtres boivent la joie, En pressant le sein de la nature, Tous, bons et méchants, Suivent les roses sur ses traces, Elle nous donne baisers et vendanges, Et nous offre l’ami à l’épreuve de la mort, L'ivresse s’empare du vermisseau, Et le chérubin apparaît devant Dieu. Heureux, tels les soleils qui volent, Dans le plan resplendissant des cieux, Parcourez, frères, votre course, Joyeux comme un héros volant à la victoire! Qu'ils s'enlacent tous les êtres ! Ce baiser au monde entier ! Frères, au-dessus de la tente céleste, Doit régner un tendre père. Vous prosternez-vous millions d’êtres ? Pressens-tu ce créateur, Monde ? Cherche-le au-dessus de la tente céleste, Au-delà des étoiles il demeure nécessairement. Ludwig van Beethoven PLAYLIST (reference recordings): ua-cam.com/video/WUYeYsLMLus/v-deo.html
Alex from CMRR: " This recording is particularly close to my heart for several reasons; It was our first youtube post that launched the CMRR adventure on December 27, 2014. It was the Ferenc Fricsay edition released by Deutsche Grammophon. The picture was taken on an iphone 4 with the carpet of my living room in the background and even a hair of my head forgot to be removed from the album cover :) Since then, I don't count anymore the thousands of hours that were required to develop this channel and our remastered edition label. We can assure you that each recording is selected meticulously and that it can take several months between the moment when a work is selected, then the comparative listening, then the research of the best available source for the remastering, then the work of edition and education, the visual, the publication on the various platforms... In short, it is a long and hard work but the passion and your positive feedbacks are our engines. This is also our first choice of the ninth symphony in stereo version. This is my favorite composer and my favorite work, the first work that made me cry in concert. Everything is present in the Ninth, the power, the tenderness, the drama, the nostalgia, the resilience, the joy, the galvanizing impulse, the hope for a better world... I wish you an excellent listening of the best edition currently available! " --- New Year's Eve 1957: in keeping with the tradition of New Year's Eve concerts in Berlin, the steward of the Berlin Philharmonic Orchestra has included the 9th in the program of the concert to be held in the auditorium of the Hochschule für Musik, where the West Berlin orchestra has been housed for the past 3 years. Werner Oehlmann, music critic for the Berlin daily Tagesspiegel, published the following review: "It has been a long time since one has heard a performance here inspired by such an authentic and immediate vision of the work; everything that this apparently so familiar score still holds in terms of enigmas, shadows or challenges for the performer, emerged in a truly frightening way; even the barbaric element, which is also part of the titanic soul, was not tempered, but exacerbated by the incisive brio of the music. Dietrich Fischer-Dieskau made the monstrous character of the moment when the human voice enters the world of pure music felt; he interpreted the appeal to humanity with vehement insistence, an almost too sharp clarity of declamation. The excellent soloists Irmgard Seefried, Maureen Forrester, Ernst Haefliger and the prodigiously enthusiastic choir of St. Edwige's Cathedral gave an interpretation which, despite the dramatic crescendo of the Ode to Joy, preserved the symphonic unity of the whole; a feat of a conductor whose determination and relentless pursuit of perfection seem predestined to a tragic loneliness in these times of self-satisfied talent; but this is indeed what makes him today the legitimate messenger of Beethoven. " These lines could also apply to the present recording, the first stereophonic production made by Deutsche Grammophon with the Berlin Philharmonic. The 9th. It was on May 7, 1824, at the Imperial Court Theater in Vienna that the Ninth Symphony was performed for the first time. Beethoven, with his back to the audience, was supposed, according to the official announcement, to "take part in the conduct of the orchestra" alongside the conductor. In reality, locked in his deafness, he does not even hear the enthusiastic ovations that greet the Finale. One of the soloists had to make him turn around so that he could realize the extent of the success. He still has three years to live, which will certainly be filled with new compositions and new projects. But this work holds an exceptionally central place in the life and work of its author by the effort of synthetic creation that it manifests. Indeed, this symphony was born from the convergence of several projects, at first independent and sometimes very old: as early as 1792, at the age of 22, he wanted to set Schiller's "Ode to Joy" to music; in 1795, he was fascinated by a musical theme, which finally carried Schiller's text into the 9th. In 1807, he planned a work where orchestra and voice would be united; in 1812, he decided to compose a 9th symphony in D minor. In the following years, these four projects will gradually merge, to end up with a work of a radically new type: a symphony with choir and soloists! Its dominant key, D minor, expresses a tragic feeling, the tragedy of the human condition, undermined by suffering, violence and death; also the tragedy of Beethoven's life, deeply wounded by his infirmity, by illness and by his sentimental failures. But this key is progressively supplanted by D major which, especially in the finale, manifests the triumph of Joy and the victory of life. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Lebhafte und wunderschöne Interpretation dieser majestätischen und ewigen Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie gut harmonisierten Stimmen des ausgezeichneten Chors und herrlichen Stimmen vierer unvergleichlichen Solisten. Der intelligente und ebenso unvergleichliche Dirigent leitet das weltklassige Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!
Sin ninguna duda, una de las más gloriosas interpretaciones en registro! Fricsay, OFB, coros de la Catedral de Santa Hewdiges y solistas, en su mejor momento de la primera versión estéreo de la novena del genio de Bonn!
Pentru mine înseamnă forta care se redistribuie între oameni. Muzica este o putere divina care cred eu curata corpul uman de stres. Și cred asta ca sunt doctori care operează ascultând muzica clasica și bebeluși care dorm de asemeni pe muzica clasica.
E maravilhoso poder desfrutar dessa obra decorrido muitas décadas. Lembrando que Beethoven concluiu esse patrimônio da humanidade já tendo perdido boa parte da sua capacidade de audição. Estou ouvindo a nona sinfonia quase que religiosamente sempre e foi por ela que eu me livrei de uma profunda depressão . E hoje me deparei com esse áudio e chorei bastante. Cada gravação tem algo de diferente e eu amei a graciosidade aqui demonstrada. Mais grato por ler seu comentário e perceber que existe pessoas que dão valor ao que é belo.
Que comentario y que trabajo magnífico de una de las mas grandes obras del más grande compositor que ha dado la humanidad. Producto necesario y apoteosis de la Gran Revolución Francesa que iluminó y revolucionó el mundo como la obra de Beethoven revolucionó la música.
Questa è una bellissima edizione. Fricsay è stato un grande direttore,non molto noto,anche a causa della sua morte prematura. Ma l’edizione principe della nona e’ quella diretta da Furtwangler nel 1943,mentre infuriavano gli ultimi momenti della guerra. In questa edizione si sente la terribile emozione di quei momenti,particolarmente nell’adagio molto e cantabile.
Hermosa, creo que es única que se escucha muy bien en todo youtube. Me encanta.. Paraliza mi corazón y lo extasia. Beethoven, el inmortal y eternamente único e intenso Beethoven. Saludos desde México
To interrupt this performance repeatedly with brainless ads is genuinely inexcusable. Is there anyone on earth who could be induced by any of them to anything beyond disdain. I do not understand the point and resent the insult.
Ludwig van Beethoven (1770-1827) - Symphonies Nos. 9,7,5,3 by Ferenc Fricsay / New Mastering
🎧 Qobuz bit.ly/3Cf1JsQ Deezer bit.ly/3IJhDhO
🎧 Amazon Music amzn.to/3V5eNK6 Tidal bit.ly/3hB4A5U
🎧 Spotify spoti.fi/34fB6rs UA-cam Music bit.ly/3V8DPrX
🎧 Apple Music - Soundcloud bit.ly/3ttPuVv
🎧 LineMusic日本, Awa日本, Napster, Pandora, Anghami, QQ音乐 …
*Click to activate the English subtitles for the presentation* (00:00-04:17)
*Click to activate the English subtitles for the words of the Ode to Joy* (51:44-53:22)
00:00 Symphony No. 9 in D minor, Op. 125 "Choral" - I. Allegro ma non troppo, un poco maestoso
16:39 Symphony No. 9 in D minor, Op. 125 "Choral" - II. Molto vivace
27:09 Symphony No. 9 in D minor, Op. 125 "Choral" - III. Adagio molto e cantabile
45:12 Symphony No. 9 in D minor, Op. 125 "Choral" - IVa. Presto
51:24 Symphony No. 9 in D minor, Op. 125 "Choral" - IVb. "O Freunde, nicht diese Töne" - Allegro assai
Symphony No. 7 in A Major, Op. 92 (Remastered 2022): ua-cam.com/video/SOizpw4YePM/v-deo.html
Symphony No. 5 in C minor, Op. 67 (Remastered 2022): ua-cam.com/video/clMNyCL9IEk/v-deo.html
Symphony No. 3 in E flat Major, Op. 55 "Eroica" (Remastered 2022): ua-cam.com/video/v3aWfDqzG54/v-deo.html
Sopran: Irmgard Seefried
Alt/Contralto: Maureen Forrester
Tenor: Ernst Haefliger
Bass: Dietrich Fischer-Dieskau
Chor der St. Hedwigs-Kathedrale
Berliner Philharmoniker
Conductor: Ferenc Fricsay
Recorded in 1958
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Alex from CMRR: " This recording is particularly close to my heart for several reasons; It was our first youtube post that launched the CMRR adventure on December 27, 2014. It was the Ferenc Fricsay edition released by Deutsche Grammophon. The picture was taken on an iphone 4 with the carpet of my living room in the background and even a hair of my head forgot to be removed from the album cover :)
Since then, I don't count anymore the thousands of hours that were required to develop this channel and our remastered edition label. We can assure you that each recording is selected meticulously and that it can take several months between the moment when a work is selected, then the comparative listening, then the research of the best available source for the remastering, then the work of edition and education, the visual, the publication on the various platforms... In short, it is a long and hard work but the passion and your positive feedbacks are our engines.
This is also our first choice of the ninth symphony in stereo version. This is my favorite composer and my favorite work, the first work that made me cry in concert. Everything is present in the Ninth, the power, the tenderness, the drama, the nostalgia, the resilience, the joy, the galvanizing impulse, the hope for a better world... I wish you an excellent listening of the best edition currently available! "
Saint-Sylvestre 1957 : fidèle à la tradition des concerts de la Saint-Sylvestre à Berlin, l’intendant de l’Orchestre Philarmonique de Berlin, a inscrit la 9e au programme du concert qui doit avoir lieu dans l’auditorium de la Hochschule für Musik, où l’orchestre de Berlin-Ouest a élu domicile depuis 3 ans. Werner Oehlmann, critique musical au quotidien berlinois Tagesspiegel, publie le compte rendu suivant :
"Voici longtemps que l’on n’a pas entendu ici une interprétation inspirée par une vision aussi authentique et aussi immédiate de l’œuvre ; tout ce que cette partition, apparemment si familière, recèle encore d’énigmes, d’ombres ou de défis pour l’interprète, émergea d’une manière véritablement effrayante ; même l’élément barbare, qui fait également partie de l’âme titanique, ne fut pas tempéré, mais exacerbé par le brio incisif de la musique.
Dietrich Fischer-Dieskau fit sentir le caractère monstrueux de l’instant où la voix humaine pénètre dans le monde de la musique pure ; il interpréta l’appel à l’humanité avec insistance véhémente, une clarté de la déclamation presque trop tranchante. D’excellents solistes, Irmgard Seefried, Maureen Forrester, Ernst Haefliger et le chœur de la Cathédrale Sainte-Edwige, emporté par un élan prodigieux, donnèrent une interprétation qui, malgré le crescendo dramatique de l’Hymne à la Joie, préserva l’unité symphonique de l’ensemble ; prouesse d’un chef d’orchestre dont la détermination et la recherche incessante de perfection semblent prédestinées à une tragique solitude en ces temps où les talents font preuve d’autosatisfaction ; mais c’est bien ce qui en fait aujourd’hui le messager légitime de Beethoven."
Ces lignes pourraient également s’appliquer au présent enregistrement, première production stéréophonique effectuée par Deutsche Grammophon avec la Philharmonie de Berlin.
La 9ème. C’est le 7 mai 1824, au Théâtre de la Cour impériale de Vienne qu’est exécutée pour la première fois la 9ème Symphonie. Beethoven, le dos au public, est censé, selon l’annonce officielle, «prendre part à la conduite de l’orchestre» aux côtés du Chef. En réalité, enfermé dans sa surdité, il n’entend même pas les ovations enthousiastes qui saluent le Finale. Une des solistes doit l’inciter à se retourner pour qu’il prenne conscience de l’ampleur du succès. Il a encore trois ans à vivre, qui, certes, seront remplis de nouvelles compositions et de nouveaux projets. Mais cette oeuvre tient une place exceptionnellement centrale dans la vie et l’oeuvre de son auteur par l’effort de création synthétique qu’elle manifeste.
En effet, cette symphonie est née de la convergence de plusieurs projets d’abord indépendants et parfois fort anciens : dès 1792, à 22 ans, il veut mettre en musique «l’Ode à la Joie» de Schiller ; en 1795, il se passionne pour un thème musical, qui finalement portera le texte de Schiller dans la 9ème. En 1807, il projette une oeuvre où s’uniraient orchestre et voix ; en 1812, il décide de composer une 9ème symphonie en ré mineur. Dans les années suivantes, ces quatre projets vont progressivement fusionner, pour aboutir à une œuvre d’un type radicalement nouveau : une symphonie avec chœur et solistes !
Sa tonalité dominante, ré mineur, exprime bien un sentiment tragique, tragique de la condition humaine, minée par la souffrance, la violence et la mort ; tragique aussi de la vie de Beethoven, profondément blessé par son infirmité, par la maladie et par ses échecs sentimentaux. Mais cette tonalité est progressivement supplantée par le ré majeur qui, en particulier dans le finale, manifeste le triomphe de la Joie et la victoire de la vie.
ODE À LA JOIE. Mes frères, cessons nos plaintes !
Qu'un cri joyeux élève aux cieux nos chants de fêtes et nos accords pieux !
Joie ! Joie ! Belle étincelle divine, Fille de l’Elysée,
Nous entrons l'âme enivrée, Dans ton temple glorieux.
Ton magique attrait resserre, Ce que la mode en vain détruit ;
Tous les hommes deviennent frères, Où ton aile nous conduit.
Si le sort comblant ton âme, D'un ami t'a fait l'ami,
Si tu as conquis l’amour d’une noble femme, Mêle ton exultation à la nôtre!
Viens, même si tu n'aimas qu'une heure, Qu'un seul être sous les cieux !
Mais vous que nul amour n'effleure, En pleurant, quittez ce choeur !
Tous les êtres boivent la joie, En pressant le sein de la nature,
Tous, bons et méchants, Suivent les roses sur ses traces,
Elle nous donne baisers et vendanges, Et nous offre l’ami à l’épreuve de la mort,
L'ivresse s’empare du vermisseau, Et le chérubin apparaît devant Dieu.
Heureux, tels les soleils qui volent, Dans le plan resplendissant des cieux,
Parcourez, frères, votre course, Joyeux comme un héros volant à la victoire!
Qu'ils s'enlacent tous les êtres ! Ce baiser au monde entier ! Frères, au-dessus de la tente céleste,
Doit régner un tendre père. Vous prosternez-vous millions d’êtres ?
Pressens-tu ce créateur, Monde ?
Cherche-le au-dessus de la tente céleste, Au-delà des étoiles il demeure nécessairement.
Ludwig van Beethoven PLAYLIST (reference recordings): ua-cam.com/video/WUYeYsLMLus/v-deo.html
Alex from CMRR: " This recording is particularly close to my heart for several reasons; It was our first youtube post that launched the CMRR adventure on December 27, 2014. It was the Ferenc Fricsay edition released by Deutsche Grammophon. The picture was taken on an iphone 4 with the carpet of my living room in the background and even a hair of my head forgot to be removed from the album cover :)
Since then, I don't count anymore the thousands of hours that were required to develop this channel and our remastered edition label. We can assure you that each recording is selected meticulously and that it can take several months between the moment when a work is selected, then the comparative listening, then the research of the best available source for the remastering, then the work of edition and education, the visual, the publication on the various platforms... In short, it is a long and hard work but the passion and your positive feedbacks are our engines.
This is also our first choice of the ninth symphony in stereo version. This is my favorite composer and my favorite work, the first work that made me cry in concert. Everything is present in the Ninth, the power, the tenderness, the drama, the nostalgia, the resilience, the joy, the galvanizing impulse, the hope for a better world... I wish you an excellent listening of the best edition currently available! "
---
New Year's Eve 1957: in keeping with the tradition of New Year's Eve concerts in Berlin, the steward of the Berlin Philharmonic Orchestra has included the 9th in the program of the concert to be held in the auditorium of the Hochschule für Musik, where the West Berlin orchestra has been housed for the past 3 years. Werner Oehlmann, music critic for the Berlin daily Tagesspiegel, published the following review:
"It has been a long time since one has heard a performance here inspired by such an authentic and immediate vision of the work; everything that this apparently so familiar score still holds in terms of enigmas, shadows or challenges for the performer, emerged in a truly frightening way; even the barbaric element, which is also part of the titanic soul, was not tempered, but exacerbated by the incisive brio of the music.
Dietrich Fischer-Dieskau made the monstrous character of the moment when the human voice enters the world of pure music felt; he interpreted the appeal to humanity with vehement insistence, an almost too sharp clarity of declamation. The excellent soloists Irmgard Seefried, Maureen Forrester, Ernst Haefliger and the prodigiously enthusiastic choir of St. Edwige's Cathedral gave an interpretation which, despite the dramatic crescendo of the Ode to Joy, preserved the symphonic unity of the whole; a feat of a conductor whose determination and relentless pursuit of perfection seem predestined to a tragic loneliness in these times of self-satisfied talent; but this is indeed what makes him today the legitimate messenger of Beethoven. "
These lines could also apply to the present recording, the first stereophonic production made by Deutsche Grammophon with the Berlin Philharmonic.
The 9th. It was on May 7, 1824, at the Imperial Court Theater in Vienna that the Ninth Symphony was performed for the first time. Beethoven, with his back to the audience, was supposed, according to the official announcement, to "take part in the conduct of the orchestra" alongside the conductor. In reality, locked in his deafness, he does not even hear the enthusiastic ovations that greet the Finale. One of the soloists had to make him turn around so that he could realize the extent of the success. He still has three years to live, which will certainly be filled with new compositions and new projects. But this work holds an exceptionally central place in the life and work of its author by the effort of synthetic creation that it manifests.
Indeed, this symphony was born from the convergence of several projects, at first independent and sometimes very old: as early as 1792, at the age of 22, he wanted to set Schiller's "Ode to Joy" to music; in 1795, he was fascinated by a musical theme, which finally carried Schiller's text into the 9th. In 1807, he planned a work where orchestra and voice would be united; in 1812, he decided to compose a 9th symphony in D minor. In the following years, these four projects will gradually merge, to end up with a work of a radically new type: a symphony with choir and soloists!
Its dominant key, D minor, expresses a tragic feeling, the tragedy of the human condition, undermined by suffering, violence and death; also the tragedy of Beethoven's life, deeply wounded by his infirmity, by illness and by his sentimental failures. But this key is progressively supplanted by D major which, especially in the finale, manifests the triumph of Joy and the victory of life.
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I’m so happy to listen to my favorite Beethoven’s symphony as it’s my birthday. Thank you.
"Be embraced, millions! This kiss to all the world!"
Lebhafte und wunderschöne Interpretation dieser majestätischen und ewigen Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie gut harmonisierten Stimmen des ausgezeichneten Chors und herrlichen Stimmen vierer unvergleichlichen Solisten. Der intelligente und ebenso unvergleichliche Dirigent leitet das weltklassige Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!
This was the first recording of Beethoven's 9th I had as a kid. It still moves me!
Wow! To paraphrase the band Foreigner, that felt like the very first time! Thank you, Maestro Fricsay (and thank you Classical Music RR).
My favorite 9th of all time.
Remember the vocal brilliant singers...long gone but will live for ever.
Sin ninguna duda, una de las más gloriosas interpretaciones en registro!
Fricsay, OFB, coros de la Catedral de Santa Hewdiges y solistas, en su mejor momento de la primera versión estéreo de la novena del genio de Bonn!
Thoroughly enjoyable to listen to. Thank you for uploading.
Pentru mine înseamnă forta care se redistribuie între oameni. Muzica este o putere divina care cred eu curata corpul uman de stres. Și cred asta ca sunt doctori care operează ascultând muzica clasica și bebeluși care dorm de asemeni pe muzica clasica.
Foi o que aconteceu comigo.a música 🎶 salvou minha vida.
Super!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🎻📯🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
O hino da humanidade do genial magnífico rebelde da história da MÚSICA 🎶 🎶 🎶 🎶 🎶 LUDWIG VAN BEETHOVEN!!!!!!ETERNO NO UNIVERSO.
E maravilhoso poder desfrutar dessa obra decorrido muitas décadas. Lembrando que Beethoven concluiu esse patrimônio da humanidade já tendo perdido boa parte da sua capacidade de audição. Estou ouvindo a nona sinfonia quase que religiosamente sempre e foi por ela que eu me livrei de uma profunda depressão . E hoje me deparei com esse áudio e chorei bastante. Cada gravação tem algo de diferente e eu amei a graciosidade aqui demonstrada. Mais grato por ler seu comentário e perceber que existe pessoas que dão valor ao que é belo.
A great performance of the transcendent 9th,with an exceptional group of soloists.
Que comentario y que trabajo magnífico de una de las mas grandes obras del más grande compositor que ha dado la humanidad.
Producto necesario y apoteosis de la Gran Revolución Francesa que iluminó y revolucionó el mundo como la obra de Beethoven revolucionó la música.
Questa è una bellissima edizione. Fricsay è stato un grande direttore,non molto noto,anche a causa della sua morte prematura. Ma l’edizione principe della nona e’ quella diretta da Furtwangler nel 1943,mentre infuriavano gli ultimi momenti della guerra. In questa edizione si sente la terribile emozione di quei momenti,particolarmente nell’adagio molto e cantabile.
Stunning!👍👌🎼👏🎶👏🎶🤝🙏📈☘
Hermosa, creo que es única que se escucha muy bien en todo youtube.
Me encanta.. Paraliza mi corazón y lo extasia.
Beethoven, el inmortal y eternamente único e intenso Beethoven.
Saludos desde México
Karajan’s first Stereo is okej but this i The true master.
Böhme’s 9 is good to
56:21 🎵🎵💙💙
Version historique !Merci!
55:00 💙💙🎵🎵
To interrupt this performance repeatedly with brainless ads is genuinely inexcusable. Is there anyone on earth who could be induced by any of them to anything beyond disdain. I do not understand the point and resent the insult.
This recording was used for score of Stanley Kubrick Clockwork Orange. Stanley did his research well !
Six random commercial breaks while attempting to listen to this
Too many ads interrupting. Could'n enjoy the listening
1:06:52 Beethoven 9 coda