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Beethoven: Symphony No.9 CD

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Product details

  • Performer: Lucia Popp, Rene Pape, Ann Murray, Anthony Rolfe Johnson
  • Conductor: Klaus Tennstedt
  • Composer: Ludwig van Beethoven
  • Audio CD (2 Feb. 2009)
  • Number of Discs: 1
  • Format: CD
  • Label: Lpo
  • ASIN: B001NZA0OM
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 8,724 in Music (See Top 100 in Music)

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Song TitleArtist Time Price
Listen  1. Symphony No. 9 in D Minor, Op. 125, "Choral": I. Allegro ma non troppo, un poco maestosoLucia Popp16:54Album Only
Listen  2. Symphony No. 9 in D Minor, Op. 125, "Choral": II. Molto vivaceLucia Popp 9:25Album Only
Listen  3. Symphony No. 9 in D Minor, Op. 125, "Choral": III. Adagio molto e cantabile - Andante moderatoLucia Popp18:41Album Only
Listen  4. Symphony No. 9 in D Minor, Op. 125, "Choral": IV. Finale: Presto - Allegro assaiLucia Popp26:51Album Only

Product Description

Product Description

Lucia Popp, soprano - Ann Murray, mezzo-soprano - Anthony Rolfe Johnson, ténor - René Pape, basse - London Philharmonic Orchestra - Klaus Tennstedt, direction


'...this 1992 recording is momentous as it captures one of the last performances by Klaus Tennstedt before his retirement...Tennstedt draws a fire from the strings that is both inexorable and euphoric.' --The Scotsman

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11 of 12 people found the following review helpful By Musica Vita on 27 May 2009
Format: Audio CD Verified Purchase
Tennstedt and the LPO bring their long experience of Mahler to Beethoven's Ninth, and it pays dividends. Every nuance of this remarkable score, written when Beethoven was completely deaf, is brought out, whether it be from the brass, woodwind or percussion. The drums are incisive and I wonder whether the timpanist sometimes used both sticks together, as Mahler often specified. But there is no lack of delicacy when required: the pianissimo passages are very quiet and the subtle scoring of parts of the finale is brought out superbly.

The restless, troubled first movement is excellently played and is truly frightening in places, and is followed by a scherzo which really is molto vivace and suitably exciting, but with hardly any loss of orchestral detail. Then in the wonderful adagio molto, one of the greatest of all slow movements, Tennstedt gradually takes us from deep sorrow, through consolation, to a vision of hope. The clamour that begins the finale follows on immediately, which I do not like, but is probably what Beethoven had in mind. The late Neville Cardus frankly described the finale as "inferior music" and too often it is an anticlimax compared to what has preceded it. But Tennstedt has the measure of it and keeps his grip on it throughout, so the "joy" of Schiller's Ode is well expressed.

In an age where period-instrument performances are all the rage it is so good to have a full-blooded romantic interpretation. So many so-called authentic performances are at best merely interesting and too often gimmicky. Tennstedt and the LPO give us a performance which may not be "authentic" but is undoubtedly genuine and moving. My only quibble is that Beethoven's indicated repeats in the scherzo are not observed.
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By Sylvia Clare on 6 Jun. 2014
Format: Audio CD Verified Purchase
I sang in this performance at the Royal Albert Hall and am absolutely delighted to be able to buy a copy of it. I was able to talk with Klaus Tennstedt and he was clearly very frail but so in control. Wonderful memory of a wonderful evening and conductor.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 2 reviews
6 of 6 people found the following review helpful
Tennstedt at his inspired best in concert 30 May 2011
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
Klaus Tennstedt's reputation has soared since his death from cancer in 1998 at the premature age of seventy-one. Like Furtwangler, he was at his best in concert, and it can be justifiably said that if you know Tennstedt only from his studio recordings, you barely know him. There are two great Beethoven Ninths from him, both posthumous releases of concerts with the London Phil., the orchestra he led and which plays for him as if inspired. The earlier account, released by BBC Legends, dates from Sept. 1985, seven years before this one (Oct. 1992); both occurred in Royal Festival Hall and are captured in listenable if not perfect stereo (even studio recordings have difficulty in the finale because of the tricky balances between orchestra, chorus, and solo quartet). The lead reviewer complains loudly about the sonics here, but I hear no great flaws; I will concede that the volume must be turned up to overcome the somewhat distant miking and murky midrange. All but the most finicky listeners should be able to adjust easily.

Both of Tennstedt's live readings (seconded by less well recorded pirate releases) are given on a scale similar to Furtwangler's, with broad, passionate expression that justifies the work's huge ambitions. This is world-shaking music delivered in that spirit. at the moment such a "romantic" approach is disparaged by period enthusiasts, and it must be conceded that few present-day conductors would dare to launch a Ninth this grandly; they'd be afraid of critical blowback against them. However, for anyone who cherishes noble readings, not just from Furtwangler, but from Karajan, Fricsay, Klmeperer, and Stokowski, this one under Tennstedt is, if anything, more propulsive, dramatic, and deeply felt. A touchstone for prospective buyers is the Scherzo, which too often devolves into mechanical repetition; Tennstedt makes every appearance of the main theme sound fresh and alive.

The first movement has already established the conductor's intentions, but I always await the Adagio, perhaps the greatest that Beethoven ever wrote and a monument of the romantic movement, making Bruckner and Mahler's sublime, far-reaching slow movements possible. At 18 min. Teenstedt's pacing is a minute slower than it was in 1985, a true Adagio whose eloquence is exceeded, in my experience, only by Furtwangler's famous account from Lucerne in 1954, which is a full minute and a half slower. The metronome is a bad critic, they say, so my response isn't to the pacing but to Tennstedt's heartfelt interpretation, which aims -- as Furtwangler did -- at the final moments when the music soars into the transcendent. Modern critics turn up their nose at such descriptions, but this conductor was firmly established in the tradition that, for better or worse, turned Beethoven into a demigod. I say for the better, since there's a deeply moving idealism implicit in Beethoven's vision of music, and Tennstedt is right to realize such idealism.

If sonic complaints are justified, they would arise in the finale. It takes some fiddling to get the full impact of the orchestral discord that begins the movement and the closer miking of Rene Pape's entry (the now eminent bass-baritone was 28 at the time). Happily, the chorus isn't relegated to outer space. It is caught fairly realistically, and we can understand their diction here and there, if not at the loudest dynamics. In the solo quartet Pape is magnificent, and the women are good, even if Lucia Popp is over-parted (she was a favorite of Tennstedt's, apparently). Anthony Rolfe-Johnson, a lyric tenor, copes with is murderous solo well, without excessive shouting; the climactic high note is swallowed up by the chorus. Overall, the finale is conducted by a master, but Tennstedt's energies may have waned enough, for health reasons, that a listener may prefer the greater tension and dramatic coherence of the 1985 Ninth on BBC Legends -- it is two minutes faster.

I hate to make this an either/or choice, though. This is rare Beethoven conducting, and anyone captivated by one of Tennstedt's readings can't help but be tempted to hear the other, the same as with Klemperer and Furtwangler. As much as I may lament the end of their noble tradition, we are fortunate to have such a wealth of older recordings to be inspired by.
2 of 2 people found the following review helpful
The search is over 25 Aug. 2014
By Eddie the Eagle - Published on Amazon.com
Format: Audio CD
Karajan's 1977 recording was the first Beethoven Ninth I ever heard, and it left me confused. I had expected the famous Ode to Joy to be warmer. The same confusion would reappear when I heard other recordings of the Ninth: Szell, Gardiner, Harnoncourt etc. The only satisfactory Ninth I knew was Böhm's, but my patience wouldn't always last for its 80 minutes of slowness.

Then I heard Furtwängler's 1942 recording. That recording really manifested what a dramatic symphony the Ninth really is. Never before nor after has an orchestra released such powers. In the 1942 Ninth the end of the world is near, as it indeed must have seemed for Furtwängler and the BPO as the Third Reich tumbled into its downfall. But it's hard to tell whether the 1942 Ninth is warm or cold: It has been described as a "laser down a mineshaft". The 1942 Ninth is magnificent, and it is the ultimate Beethoven experience (perhaps together with its antithesis, Uchida's recording of piano sonata number 32), but it is not an Ode to Joy.

The only conductor who has managed to produce recordings of the Ninth which can stand up to Furtwängler's 1942 Ninth is Tennstedt. He produced at least 3 wonderful Ninths before he died, and this is the last of these, which has emerged my favourite. This is partly because it has the best sound, although you need to turn up the volume to really appreciate it. The balance between strings, woodwinds, brass and voices is perfect. And this is the only recording which I can say that about. The tempos are somewhat, but not excessively, slowish except from the Scherzo, which probably is the fastest version of this movement ever recorded.

This is as good a candidate as any other to be decared the ultimate Ninth. The drama surpasses all other Ninths save the 1942 Ninth (and by that I also mean surpassing Furtwänglers later Bayreuth and Lucerne Ninths). Nevertheless, Tennstedt maintains enough warmth to make this a true Ode to Joy. What we have is a conductor who, like Furtwängler did in Lucerne, stands with one leg "in the other world". However, while Furtwängler in Lucerne searched for the serenity of the afterlife, Tennstedt turns back and reaffirms life. He digs into the last movement with an almost childish seriousness and enthusiasm. This is not only an Ode to Joy, but a Defense of Joy: Manifesting and appreciating the innocence of Schiller's poem, paying full justice to Beethoven's immense efforts in writing his final symphony.

Some would perhaps call Tennstedt's approach "middle of the road". I call it perfection. It is completely bizarre that Santa Fe Listener is the only one who so far has found this apex of classical music worthy of a review.
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