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  • Symphony No.9 (Monteverdi Chr, Gardiner)
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Symphony No.9 (Monteverdi Chr, Gardiner)

2 customer reviews

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Product details

  • Audio CD (12 Oct. 1998)
  • Number of Discs: 1
  • Label: Deutsche Grammophon
  • ASIN: B00000DI2U
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 173,275 in Music (See Top 100 in Music)

1. Gesang der Geister über den Wassern D 714
2. Symphony No. 9 In C Major: Andante - Allegro ma non troppo
3. Symphony No. 9 In C Major: Andante con moto
4. Symphony No. 9 In C Major: Scherzo. Allegro vivace
5. Symphony No. 9 In C Major: Allegro Vivace

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews

10 of 10 people found the following review helpful By Classical Musician on 1 Aug. 2011
Format: Audio CD
I've always been slightly ambivalent about John Eliot Gardiner's recordings in general and his virtues as a conductor. Whilst I admire a handful of his interpretations for their vitality and energy - such as Mozart's Magic Flute, his Elgar recording with the Vienna Philharmonic and several of the Bach Cantatas - I'm sometimes irritated by the clipped, straight-jacketed approach towards phrasing and a certain lack of charm in a lot of other recordings.

Now when I saw this recording on Amazon, I was so intrigued that I just had to buy it. Eliot Gardiner and the Vienna Philharmonic in Schubert...mmmm, I wonder how that will sound? Before listening to the CD, I was expecting Gardiner to have perhaps moulded the Viennese sound into something a bit more lean and ascetic. Rather surprisingly I found that the performance was more of a compromise than I thought it was going to be. We get the warm tone of the Vienna Philharmonic, played with just enough expressive vibrato to bring the piece to life, allied with a more energetic and classically-oriented approach to this symphony from Gardiner. The last point is not particularly surprising - as you would expect, Gardiner doesn't view Schubert 9 as some kind of proto-Brucknerian work as so many other conductors do, but rather plays it for what it is - a late Classical/early Romantic symphony with a slight nod towards a more Beethovenian style of interpretation.

You might think that performing it in a slightly Beethovenian manner would be entirely inappropriate (after all, this is a long-breathed, poetic type of symphony compared to the tautness of Beethoven's motivic development), but I was surprised to find that Gardiner's approach worked rather well, especially for the first and last movements.
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7 of 9 people found the following review helpful By Geoffrey W. Fawcett on 18 July 2007
Format: Audio CD
At last, a recording of the Schubert 9th (7th)that should satisfy everone.
The clarity of Gardiner's direction is breathtaking, never have I heard all the orchestral threads of this great work set out so clearly. The playing
of the Wiener Philharmoniker is fabulous. Forget the Solti, the Böhm or whichever was your favourite recording in the past, this is music making at it's absolute peak.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 8 reviews
12 of 15 people found the following review helpful
Gardiner Records Fantastic Version of Schubert 9! 11 Jan. 2000
By Darin Tysdal - Published on Amazon.com
Format: Audio CD
This performance is a hybrid. There is of course, Gardiner's experience with period performance which you can hear in the interpretation of this marvellous symphony. However, this performance uses modern day instruments, and does not include the massive repeats in the 3rd and 4th movements. So this is a combination of two styles of performance. So the movements go skipping along without losing their gravity-and we do not get bored! I have always enjoyed recordings by Norrington (with all repeats included) Bruno Walter (very staid, validictorian, almost, but with glowing orchestral playing! ) and Toscanini (who of course, is fiery if with coarse recording quality) and I also enjoyed Gardiner's very well. Apparently there exists an older recording by Gardiner of this symphony on Erato also which I have not heard. Recommended!
9 of 11 people found the following review helpful
Cut time is correct 19 Oct. 2006
By Danny Boy - Published on Amazon.com
Format: Audio CD
The previous reviewer states: "The slow opening to the first movement is taken in cut time, a dubious touch that robs the main Allegro of contrast."

Actually, that was Schubert's intent. Quoting from a recent program of the Los Angeles Philharmonic: "By the early years of this century, [Schubert's 9th] had settled comfortably into the repertory. What settled in, however, was hardly an accurate reflection of Schubert's intent. Until recently, the published editions have contained countless errors when compared to the original manuscript, which resides in the library of the Gesellschaft der Musikfreunde in Vienna. The simple correction of the score's opening marking, from the published versions' four beats in a bar to the manuscript's two (alla breve) - one of numerous errors rectified - greatly changes the character of the first movement, and by extension the entire Symphony, from Bruckner-like massiveness to something more nervy, lithe and springy, more athletic - more Schubertian, if you will."

All in all, I'm not overly enthusiastic about this recording, nor about the 9th in general, but this recording got the opening right with Schubert's cut time intent.
2 of 2 people found the following review helpful
A compromise, and generally successful as such 25 July 2011
By G.D. - Published on Amazon.com
Format: Audio CD Verified Purchase
This is an interesting coupling, and an effective one. Gesang der Geister über den Wassern was composed for male voices and lower strings (in one of its versions, at least), and there is no doubt that Gardiner has added to the numbers Schubert originally indicated. Nevertheless it is a stirring work of remarkable textures and fine themes - the effect is slightly odd in an otherworldly sort of way, and there is something about the work that remains a little elusive (which could be the composer's intention given the topic). What is certainly the case - and as other reviewers (e.g. JS in Gramophone) has pointed out, is how well it goes together with the symphony - the weird, fleeting images of the song, ending in C major, giving way to the serene but earthier slow opening of the symphony.

So how does Gardiner fare in the much recorded symphony? Well, I should perhaps come clean right away: my current favorite interpretation is Sinopoli, and overall I strongly prefer conductors whose view of the work lean towards the proto-Brucknerian, or as a remarkable premonition of late romanticism, rather than interpretations that root it in the classical (Norrington's EMI version is for me something of a nightmare). It might strike some as slightly surprising that Gardiner's version comes closer to Sinopoli than to Norrington. He keeps a relatively brisk pace, true, and doesn't take any (well, many) of the liberties with the score that older masters would have no problems doing, but there is no `messing' with textures, the phrasing of themes or their development. In some ways one might even claim that Gardiner's version hold the best of both worlds, and that any less than complete satisfaction from my side is probably due to the fact that I remain uncompromisingly rooted in one of those worlds.

One may of course suspect that the Vienna Philharmonic's familiarity with the work may have tempered Gardiner to a certain extent. What is definitely the case is that they sound thoroughly committed and provide marvelous playing throughout. The Vienna strings cannot be praised highly enough, of course, and the woodwinds are wonderfully colorful and characteristic. As such, this should be an eminently recommendable release in all respects. Still, I cannot make myself compare it favorably to Sinopoli or Giulini and will - with some hesitation - relegate it to the class of "very worthy alternative versions". In any case, the sound is very good (it is supposedly a live performance, but one has to use one's imagination to hear that), open, clear and with plenty of presence.
4 of 5 people found the following review helpful
One Of The Finest Recordings Of Schubert's 9th Symphony 19 Dec. 2001
By John Kwok - Published on Amazon.com
Format: Audio CD
John Eliot Gardiner clears some of the cobwebs lingering in this venerable warhouse, leading the Vienna Philharmonic in one of the most exciting performances I have heard of Schubert's last symphony. He omits some of the repeats usually performed in the third and fourth movements, but more importantly, opts for brisk tempi. What you have is an exhilirating performance of epic proportions, in which Gardiner manages to coax the Vienna Philharmonic into sounding like a large chamber orchestra. Without question, this is one of Gardiner's most successful Deutsche Grammophon recordings, and proves that he has come a long way from being known as an period instrument interpreter of Baroque music.
2 of 3 people found the following review helpful
Exciting Schubert 1 Dec. 2003
By Robert E. Nylund - Published on Amazon.com
Format: Audio CD
This would be a wonderful CD if only for the powerful performance of Schubert's ninth symphony in C major by the great Vienna Philharmonic Orchestra. The added "treat" is hearing an unaccompanied Schubert choral work, "Gesang der Geister den Wassern," composed for eight-part men's chorus on a text by Geothe. (This version features some string orchestra accompaniment, much in the manner of J.S. Bach.) I've heard very little of Schubert's choral music, but it's clear he wrote as well for chorus as he did for solo voice. The performance by the Monteverdi Choir is crisp and clear.
Schubert's ninth symphony was a "hidden" treasure until it was discovered in a trunk in 1838 and finally given a premiere performance, 20 years after the composer's death. Remarkably, one of the initial criciticms of the symphony was its length, although it is actually shorter than Beethoven's ninth. It clearly pays tribute to Beethoven, whom the younger composer so admires, and includes a final theme that reminds the listener of the "Ode to Joy" theme of Beethoven's ninth.
It is a very dramatic, energetic, and exciting work and the Viennese musicians give it a first-rate performance, ably led by John Eliot Gardiner, who has done so much for his original instrument performances of music from the Romantic Era. Schubert was an early Romantic; his music definitely looks ahead, even more than Beethoven did in his late works.
This recording, which is very well recorded, is almost as impressive as the wonderful 1953 recording by Arturo Toscanini and the NBC Symphony Orchestra under RCA Victor (also available in a digitally remastered collection from BMG).
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