Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962) ***Listen to our latest mastering update (2024)*** : cutt.ly/Jef2GJXX 🎧 Qobuz Music (Hi-Res) cutt.ly/Nef2GqtP Tidal (Hi-Res) cutt.ly/Bef2GpKA 🎧 Deezer (Hi-Fi) cutt.ly/ief2Ghm5 Amazon Music (Hi-Res) cutt.ly/Eef2GxlZ 🎧 Spotify (mp3) cutt.ly/Ref2GEgW UA-cam Music (mp4) cutt.ly/Jef2GJXX 🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** cutt.ly/Classical-Music-Reference-Recording-Website-Karajan Ludwig van Beethoven (1770-1827) Symphony No. 1 in C Major, Op. 21 00:00 I. Adagio molto, Allegro con brio 09:31 II. Andante cantabile con moto 15:23 III. Minuet: Allegro molto e vivace, Trio 19:19 IV. Finale: Adagio, Allegro molto e vivace Berliner Philharmoniker Conductor: Herbert von Karajan Recorded in 1961, at Berlin New mastering in 2022 by AB for CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon www.patreon.com/cmrr/about Symphony No. 1 in C Major, Op. 21 // Beethoven didn't compose his first symphony until he was thirty. However, in his handwritten notes, we find the first drafts as early as 1794. The symphony, completed six years later, was dedicated to Baron van Sweiten. The first performance took place in Vienna on April 2, 1800, at the Hofburg Theater. The symphony was an immediate success, but although critics admitted that "the symphony was indisputably rich in ideas and original", they considered the introductory seventh chord of the first movement a "threat to the art". Many found the symphony too reminiscent of Haydn, calling it "a caricature of Haydn's symphonies". The composition was so popular, however, that the publishers had it arranged for quintet, a move that provoked energetic protests from Beethoven, but to no avail. For the symphony he received twenty ducats, the usual price for a work of this kind in those days. This symphony has been called "the swan song of the sixteenth century"; it is certainly an expression of the symphonic form as it existed before Beethoven adapted it to his personality and the new times. I. Adagio molto, Allegro con brio. Although the work is in C major, it begins - in violation of all accepted rules of the time - with a dominant seventh in F major, a bold move for the time. After the peaceful introduction, the first theme is heard, setting a cheerful note throughout the movement. The movement ends with a beautiful coda. II. Andante cantabile con moto. This movement is very much in Mozart's style; it is remarkable above all for its beautiful instrumentation. III. Minuet and trio. This has the character of a scherzo, a form Beethoven favored in his early years in Bonn. It lacks the characteristic features of Haydn's minuets. IV. Adagio, Allegro molto e vivace. This section begins with an introduction which, though slow, is comparable in intensity to the introduction to the first movement. After a powerful chord, played by the entire orchestra, the violins build to a progressive crescendo, giving the impression that the composer is making repeated attempts to introduce the allegro movement proper. Then, as if freed from this hesitation, the main theme emerges with force. Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement." In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm Furtwängler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven. Beethoven: Missa Solemnis in D Major Op. 123 🎧 Qobuz (Hi-Res) bit.ly/3GvePTF Tidal (Hi-Res) bit.ly/3gqfOd3 🎧 Deezer (Hi-Fi) bit.ly/3AYaWp4 Amazon Music (Hi-Fi) amzn.to/3B1K8Eh 🎧 Spotify (mp3) spoti.fi/3QTq8gH Amazon Store (mp3) amzn.to/3LctyGE 🎧 UA-cam Music (mp4) bit.ly/3QWjarr Soundcloud bit.ly/3rsmc9W 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本… Ludwig Van Beethoven PLAYLIST (reference recordings): ua-cam.com/video/lg29kX1lUg8/v-deo.html
Was für eine erste Sinfonie!!! Schon hier zeigt sich eine ungewöhnliche Reife, die starke Persönlichkeit, das unvergleichliche Genie Beethovens!!! Und was für eine herrliche, wunderbar leichte Interpretation und Aufführung - dank Karajan und der Berliner!!!
Symphony No. 1 in C Major, Op. 21 // Beethoven didn't compose his first symphony until he was thirty. However, in his handwritten notes, we find the first drafts as early as 1794. The symphony, completed six years later, was dedicated to Baron van Sweiten. The first performance took place in Vienna on April 2, 1800, at the Hofburg Theater. The symphony was an immediate success, but although critics admitted that "the symphony was indisputably rich in ideas and original", they considered the introductory seventh chord of the first movement a "threat to the art". Many found the symphony too reminiscent of Haydn, calling it "a caricature of Haydn's symphonies". The composition was so popular, however, that the publishers had it arranged for quintet, a move that provoked energetic protests from Beethoven, but to no avail. For the symphony he received twenty ducats, the usual price for a work of this kind in those days. This symphony has been called "the swan song of the sixteenth century"; it is certainly an expression of the symphonic form as it existed before Beethoven adapted it to his personality and the new times. I. Adagio molto, Allegro con brio. Although the work is in C major, it begins - in violation of all accepted rules of the time - with a dominant seventh in F major, a bold move for the time. After the peaceful introduction, the first theme is heard, setting a cheerful note throughout the movement. The movement ends with a beautiful coda. II. Andante cantabile con moto. This movement is very much in Mozart's style; it is remarkable above all for its beautiful instrumentation. III. Minuet and trio. This has the character of a scherzo, a form Beethoven favored in his early years in Bonn. It lacks the characteristic features of Haydn's minuets. IV. Adagio, Allegro molto e vivace. This section begins with an introduction which, though slow, is comparable in intensity to the introduction to the first movement. After a powerful chord, played by the entire orchestra, the violins build to a progressive crescendo, giving the impression that the composer is making repeated attempts to introduce the allegro movement proper. Then, as if freed from this hesitation, the main theme emerges with force. Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement." In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm Furtwängler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven. ❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Classical compositions are often regarded as timeless masterpieces that transcend eras. From complex symphonies to piano pieces, classical music has left a deep imprint in the history of art and continues to be revered today.
Lebhafte und wunderschöne Interpretation dieser jungendlichen doch perfekt komponierten Sinfonie mit gut harmonisierten und perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der letzte Satz echt lebhaft und auch begeisternd. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!
Merci beaucoup. J'ai envoyé cet enregistrement à de mes ami(e)s, j'espère que c'est permis. Ce sont de grands admirateurs de la musique de Beethoven. Sincères salutations de Montréal, Qc, Canada
We can ear "the swan song of the eighteenth century" in many pieces of music -and even not only in musics ! For example, the "overture of Don Giovanni" is, for me, a kind of begining of the "Sturm und Drang" , with the taste of fire and blood and the feeling of tragic loneliness.
"This 1962 recording is the first stereo recording of Beethoven's Symphonies" This line, quoated from your long and rich info text in the comment section, is wrong. For some reason Andre Cluytens' Beethovne Symphony cycle, ironically with the very same orchestra i.e. Berlin Phil. which was made before Karajan's 61-63 cycle and in stereo is always forgotten or overlooked even by connoisseurs. That recording cycle was made for EMI (now Warner) and it was finished before this cycle was started. Thanks for the upload and infos. Your channel is a gem for classical music lovers. All the best!
Yes you are right, the text has been translated and that is not accurate. We meant to say Karajan's first stereo cycle "his" instead of "the". His first cycle in the 50s was for Emi with the Philharmonia. We will correct it, thank you very much. Yes, the Cluytens cycle is also magnificent. We particularly like his "Pastoral".
I'm still wondering what exactly you've done to the audio. Is it fake reverb? Comparing with the 2003 SACD box transfer, this sounds distant and muddy with more hall echo. If I'm right, why would you add fake reverb to a stereo recording? (which already had plenty of air to begin with) What this recording needs is a treble re-eq as it sounds quite harsh and metallic (and same here), but certainly not adding fake reverb.
Rest assured, there's no false reverberation or fake reverb. Our aim is to bring added value to legendary recordings without altering their authenticity, and to keep them alive through today's listening platforms. This has been our mission and our work for almost 10 years. Here's the DG link for comparison. If you prefer DG processing (because there is processing involved in the digital transfer), that's up to you. We offer an alternative that appeals to many music lovers, but you don't have to accept it. ua-cam.com/video/sHHlFfbUibs/v-deo.html
@@classicalmusicreference Your upload is much more heavily processed than the official DG release, believe me (and isn't it based on a DG CD anyway?) I like some of your other uploads, like the Rachmaninov piano concertos played by the composer where your remaster sounds very good indeed. But when the result sounds worse than the official release I think that needs to be pointed out (given that you put this stuff all over the streaming platforms.) Wish you'd taken more care to actually listen and closely compare your "remastering" to the official releases and ask yourself if it's really an improvement. Btw, there have been better sounding transfers done by DG in more recent times compared to the one in your link.
@@Fafner888 We've been working from Japanese files in 24/192, we're happy with our work (compared to the DG link we just posted above) and we're curious to know what's better quality editing. We want to find out, so you can post the links here as we just did. We're a generation of 30-40 year olds, and we were brought up by music lovers who may have been our parents, and who owned analog equipment. We've been rocked by the sound of vinyl and tube amps, and we've noticed that the "official editions" are generally moving away from this original sound, even if there are always, and fortunately, some very good surprises. Glad to know you like Rachmaninoff by himself
@@classicalmusicreference We are talking about digital files at the end of the day, so I'm not sure what tubes and vinyl have to do with this. I'm just asking about your source and the kind of processing you've employed. "Japanese files in 24/192" doesn't tell me anything. What is their source? Vinyl? Tape? And I'm almost certain that some sort of processing (probably digital) has been done to the audio that makes it sound like added reverb because your upload sounds to me more reverberant than any of the remasters I tried (I know with certainty that you added reverb to your remasters of some mono recordings because they are in simulated stereo). I wonder why are you so reluctant to explain your "remastering" techniques? Is it a trade secret?
@@Fafner888 Only DG (Universal) owns the mother (the original master), so we can't work with it, even though we've tried to work with Universal and had meetings with the classic branch management. So we soaked up the vinyl sound from our mentors, then set off in search of the best transfer, trying out every conceivable version. The 24/196 Japanese DG edition (www.resmusica.com/2014/12/09/karajan-beethoven-1963/) seemed to us to be the best, so if you know of any others, go ahead and suggest them. Then there's the time-consuming work of listening to determine which frequencies are undesirable, and whether they can be attenuated or suppressed. Sometimes, you have to be content with this, or you risk altering other instruments. For example, on this integral, the synthetic sound you mentioned in the high frequencies (especially on the violins) cannot be completely eliminated, as otherwise it alters the sound of the double basses and cellos, which have a wider frequency range than is often thought. On the other hand, it has been possible to give warmth to the woodwinds and thickness and density to the double basses and percussion. As far as our tools and choices are concerned, yes, we want to keep these things to ourselves and preserve our trademark. But there's no magic formula, and each recording requires specific work. It's nearly midnight at our place, good night, we'll check your message tomorrow if there is one.
Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962)
***Listen to our latest mastering update (2024)*** : cutt.ly/Jef2GJXX
🎧 Qobuz Music (Hi-Res) cutt.ly/Nef2GqtP Tidal (Hi-Res) cutt.ly/Bef2GpKA
🎧 Deezer (Hi-Fi) cutt.ly/ief2Ghm5 Amazon Music (Hi-Res) cutt.ly/Eef2GxlZ
🎧 Spotify (mp3) cutt.ly/Ref2GEgW UA-cam Music (mp4) cutt.ly/Jef2GJXX
🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** cutt.ly/Classical-Music-Reference-Recording-Website-Karajan
Ludwig van Beethoven (1770-1827) Symphony No. 1 in C Major, Op. 21
00:00 I. Adagio molto, Allegro con brio
09:31 II. Andante cantabile con moto
15:23 III. Minuet: Allegro molto e vivace, Trio
19:19 IV. Finale: Adagio, Allegro molto e vivace
Berliner Philharmoniker
Conductor: Herbert von Karajan
Recorded in 1961, at Berlin
New mastering in 2022 by AB for CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ Support us on Patreon www.patreon.com/cmrr/about
Symphony No. 1 in C Major, Op. 21 // Beethoven didn't compose his first symphony until he was thirty. However, in his handwritten notes, we find the first drafts as early as 1794. The symphony, completed six years later, was dedicated to Baron van Sweiten. The first performance took place in Vienna on April 2, 1800, at the Hofburg Theater. The symphony was an immediate success, but although critics admitted that "the symphony was indisputably rich in ideas and original", they considered the introductory seventh chord of the first movement a "threat to the art". Many found the symphony too reminiscent of Haydn, calling it "a caricature of Haydn's symphonies". The composition was so popular, however, that the publishers had it arranged for quintet, a move that provoked energetic protests from Beethoven, but to no avail. For the symphony he received twenty ducats, the usual price for a work of this kind in those days. This symphony has been called "the swan song of the sixteenth century"; it is certainly an expression of the symphonic form as it existed before Beethoven adapted it to his personality and the new times.
I. Adagio molto, Allegro con brio. Although the work is in C major, it begins - in violation of all accepted rules of the time - with a dominant seventh in F major, a bold move for the time. After the peaceful introduction, the first theme is heard, setting a cheerful note throughout the movement. The movement ends with a beautiful coda.
II. Andante cantabile con moto. This movement is very much in Mozart's style; it is remarkable above all for its beautiful instrumentation.
III. Minuet and trio. This has the character of a scherzo, a form Beethoven favored in his early years in Bonn. It lacks the characteristic features of Haydn's minuets.
IV. Adagio, Allegro molto e vivace. This section begins with an introduction which, though slow, is comparable in intensity to the introduction to the first movement. After a powerful chord, played by the entire orchestra, the violins build to a progressive crescendo, giving the impression that the composer is making repeated attempts to introduce the allegro movement proper. Then, as if freed from this hesitation, the main theme emerges with force.
Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement."
In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm Furtwängler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven.
Beethoven: Missa Solemnis in D Major Op. 123
🎧 Qobuz (Hi-Res) bit.ly/3GvePTF Tidal (Hi-Res) bit.ly/3gqfOd3
🎧 Deezer (Hi-Fi) bit.ly/3AYaWp4 Amazon Music (Hi-Fi) amzn.to/3B1K8Eh
🎧 Spotify (mp3) spoti.fi/3QTq8gH Amazon Store (mp3) amzn.to/3LctyGE
🎧 UA-cam Music (mp4) bit.ly/3QWjarr Soundcloud bit.ly/3rsmc9W
🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本…
Ludwig Van Beethoven PLAYLIST (reference recordings): ua-cam.com/video/lg29kX1lUg8/v-deo.html
Was für eine erste Sinfonie!!! Schon hier zeigt sich eine ungewöhnliche Reife, die starke Persönlichkeit, das unvergleichliche Genie Beethovens!!!
Und was für eine herrliche, wunderbar leichte Interpretation und Aufführung - dank Karajan und der Berliner!!!
This was the first Beethoven cycle that my father got in 1967 and I grew up on it. I cherish it till today.
Symphony No. 1 in C Major, Op. 21 // Beethoven didn't compose his first symphony until he was thirty. However, in his handwritten notes, we find the first drafts as early as 1794. The symphony, completed six years later, was dedicated to Baron van Sweiten. The first performance took place in Vienna on April 2, 1800, at the Hofburg Theater. The symphony was an immediate success, but although critics admitted that "the symphony was indisputably rich in ideas and original", they considered the introductory seventh chord of the first movement a "threat to the art". Many found the symphony too reminiscent of Haydn, calling it "a caricature of Haydn's symphonies". The composition was so popular, however, that the publishers had it arranged for quintet, a move that provoked energetic protests from Beethoven, but to no avail. For the symphony he received twenty ducats, the usual price for a work of this kind in those days. This symphony has been called "the swan song of the sixteenth century"; it is certainly an expression of the symphonic form as it existed before Beethoven adapted it to his personality and the new times.
I. Adagio molto, Allegro con brio. Although the work is in C major, it begins - in violation of all accepted rules of the time - with a dominant seventh in F major, a bold move for the time. After the peaceful introduction, the first theme is heard, setting a cheerful note throughout the movement. The movement ends with a beautiful coda.
II. Andante cantabile con moto. This movement is very much in Mozart's style; it is remarkable above all for its beautiful instrumentation.
III. Minuet and trio. This has the character of a scherzo, a form Beethoven favored in his early years in Bonn. It lacks the characteristic features of Haydn's minuets.
IV. Adagio, Allegro molto e vivace. This section begins with an introduction which, though slow, is comparable in intensity to the introduction to the first movement. After a powerful chord, played by the entire orchestra, the violins build to a progressive crescendo, giving the impression that the composer is making repeated attempts to introduce the allegro movement proper. Then, as if freed from this hesitation, the main theme emerges with force.
Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement."
In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm Furtwängler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven.
❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
I like how the woodwind texture is cleaner and more audible now, which I think is much closer to what Karajan sounded like in his live performances.
Classical compositions are often regarded as timeless masterpieces that transcend eras. From complex symphonies to piano pieces, classical music has left a deep imprint in the history of art and continues to be revered today.
Lebhafte und wunderschöne Interpretation dieser jungendlichen doch perfekt komponierten Sinfonie mit gut harmonisierten und perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der letzte Satz echt lebhaft und auch begeisternd. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!
Гениальное исполнение! Потрясена!
Merci beaucoup. J'ai envoyé cet enregistrement à de mes ami(e)s, j'espère que c'est permis. Ce sont de grands admirateurs de la musique de Beethoven.
Sincères salutations de Montréal, Qc, Canada
Bien entendu, youtube est une plateforme publique. Merci de nous suivre et belle écoute :)
Thank you for sharing from the beginning Beethoven Symphonies by Von Karajan❤
stunning
_This symphony has been called "the swan song of the sixteenth century"_ - eighteenth century, you mean.
We can ear "the swan song of the eighteenth century" in many pieces of music -and even not only in musics ! For example, the "overture of Don Giovanni" is, for me, a kind of begining of the "Sturm und Drang" , with the taste of fire and blood and the feeling of tragic loneliness.
❤
"This 1962 recording is the first stereo recording of Beethoven's Symphonies"
This line, quoated from your long and rich info text in the comment section, is wrong. For some reason Andre Cluytens' Beethovne Symphony cycle, ironically with the very same orchestra i.e. Berlin Phil. which was made before Karajan's 61-63 cycle and in stereo is always forgotten or overlooked even by connoisseurs. That recording cycle was made for EMI (now Warner) and it was finished before this cycle was started.
Thanks for the upload and infos. Your channel is a gem for classical music lovers. All the best!
Yes you are right, the text has been translated and that is not accurate. We meant to say Karajan's first stereo cycle "his" instead of "the". His first cycle in the 50s was for Emi with the Philharmonia. We will correct it, thank you very much. Yes, the Cluytens cycle is also magnificent. We particularly like his "Pastoral".
I'm still wondering what exactly you've done to the audio. Is it fake reverb? Comparing with the 2003 SACD box transfer, this sounds distant and muddy with more hall echo. If I'm right, why would you add fake reverb to a stereo recording? (which already had plenty of air to begin with)
What this recording needs is a treble re-eq as it sounds quite harsh and metallic (and same here), but certainly not adding fake reverb.
Rest assured, there's no false reverberation or fake reverb. Our aim is to bring added value to legendary recordings without altering their authenticity, and to keep them alive through today's listening platforms. This has been our mission and our work for almost 10 years. Here's the DG link for comparison. If you prefer DG processing (because there is processing involved in the digital transfer), that's up to you. We offer an alternative that appeals to many music lovers, but you don't have to accept it. ua-cam.com/video/sHHlFfbUibs/v-deo.html
@@classicalmusicreference Your upload is much more heavily processed than the official DG release, believe me (and isn't it based on a DG CD anyway?)
I like some of your other uploads, like the Rachmaninov piano concertos played by the composer where your remaster sounds very good indeed. But when the result sounds worse than the official release I think that needs to be pointed out (given that you put this stuff all over the streaming platforms.) Wish you'd taken more care to actually listen and closely compare your "remastering" to the official releases and ask yourself if it's really an improvement. Btw, there have been better sounding transfers done by DG in more recent times compared to the one in your link.
@@Fafner888 We've been working from Japanese files in 24/192, we're happy with our work (compared to the DG link we just posted above) and we're curious to know what's better quality editing. We want to find out, so you can post the links here as we just did. We're a generation of 30-40 year olds, and we were brought up by music lovers who may have been our parents, and who owned analog equipment. We've been rocked by the sound of vinyl and tube amps, and we've noticed that the "official editions" are generally moving away from this original sound, even if there are always, and fortunately, some very good surprises. Glad to know you like Rachmaninoff by himself
@@classicalmusicreference We are talking about digital files at the end of the day, so I'm not sure what tubes and vinyl have to do with this. I'm just asking about your source and the kind of processing you've employed. "Japanese files in 24/192" doesn't tell me anything. What is their source? Vinyl? Tape? And I'm almost certain that some sort of processing (probably digital) has been done to the audio that makes it sound like added reverb because your upload sounds to me more reverberant than any of the remasters I tried (I know with certainty that you added reverb to your remasters of some mono recordings because they are in simulated stereo). I wonder why are you so reluctant to explain your "remastering" techniques? Is it a trade secret?
@@Fafner888 Only DG (Universal) owns the mother (the original master), so we can't work with it, even though we've tried to work with Universal and had meetings with the classic branch management. So we soaked up the vinyl sound from our mentors, then set off in search of the best transfer, trying out every conceivable version. The 24/196 Japanese DG edition (www.resmusica.com/2014/12/09/karajan-beethoven-1963/) seemed to us to be the best, so if you know of any others, go ahead and suggest them. Then there's the time-consuming work of listening to determine which frequencies are undesirable, and whether they can be attenuated or suppressed. Sometimes, you have to be content with this, or you risk altering other instruments. For example, on this integral, the synthetic sound you mentioned in the high frequencies (especially on the violins) cannot be completely eliminated, as otherwise it alters the sound of the double basses and cellos, which have a wider frequency range than is often thought. On the other hand, it has been possible to give warmth to the woodwinds and thickness and density to the double basses and percussion. As far as our tools and choices are concerned, yes, we want to keep these things to ourselves and preserve our trademark. But there's no magic formula, and each recording requires specific work. It's nearly midnight at our place, good night, we'll check your message tomorrow if there is one.