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Beethoven: Symphony No. 9 / Karajan, Berlin Philharmonic Orchestra | 
 enlarge | Creators: Ludwig Van Beethoven, Herbert Von Karajan, Berliner Philharmoniker, Wiener Singverein, Gundula Janowitz, Waldemar Kmentt, Walter Berry
Label: Deutsche Grammophon
Category: Music
List Price: $11.98
Buy New: $7.09
You Save: $4.89 (41%)
New (34) Used (14) from $7.09
Rating:  36 reviews
Sales Rank: 7447
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 447401
UPC: 028944740127
EAN: 0028944740127
ASIN: B000001GPY
Release Date: January 23, 1996
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Allegro ma non troppo | | • | Molto vivace | | • | Adagio molto e cantabile | | • | Presto - Allegro assai | | • | Recitative - Allegro assai |
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| Editorial Reviews:
Amazon.com
This performance is also available on Deutsche Grammophon in an earlier, mid-price incarnation, but this version is clearly the one to own, since the remastered sound is a definite improvement over previous issues. Herbert von Karajan always did a good job with this symphony, and his performances are quite consistent, even down to the very backward-balance of the chorus. By general consensus, though, this is the best of them. --David Hurwitz
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| Customer Reviews: Read 31 more reviews...
 Criticism of von Karajan's 9th June 16, 2008
W. Frank (Bethesda, MD United States)
5 out of 8 found this review helpful
Previously, a reviewer wrote:
"Karajan in 1962 wanted to perform Beethoven in a modern way compared to the overtly spiritual, often very slow, heavy, and rubato-laden style of the past in Germany. ... in the last movement Karajan takes the vocal line faster...
"By comparison, Karajan wasn't as hectically fast or intense as Toscanini,..."
I don't wish to take anything away from Karajan's technical mastery, his orchestra's wonderful sound, or his "smoothness." It's all good.
But folks should understand the real reason Karajan's original recorded version of this work, at least in terms of its tempos, comes out as the previous reviewer accurately observed. He kept to his version in subsequent recordings, of which this 1962 recording may accurately be said to be his best result.
When first he recorded the Beethoven 9th,it wasn't that Karajan wanted a more "modern" version as opposed to the older way of performing this symphony -- that is, unless you categorize as "modern" the underlying economics of Karajan's decisions regarding the tempi.
Columbia records, as has been written elsewhere, had just introduced its then new 33 1/3 rpm long playing vinyl record.
Replacing the old 78s, the new medium had one clear technical drawback that showed up in many classical albums in the years prior to the compact disc. You could only fit 60 minutes of music on the record, no more.
So Columbia first asked Furtwangler to record the work, but to bring it in under 60 minutes. Furtwangler refused, as his interpretation was in excess of 70 minutes and he wasn't about to bend just to sell recordings.
But Karajan jumped at the chance, and thus accelerated the rise of his star among the great conductors of his age. He was far from alone in adapting the music to the constraints of the market place.
Eugene Ormandy edited Rachmaninoff's 2nd symphony to get it to fit on vinyl. Jascha Heifetz edited Bruch's Scottish Fantasy and other works so he could fit the number of concertos on one recording the company wanted.
And so on ...
The most remarkable, perhaps, example of this sort of thing -- the marketplace affecting the art -- comes in the live recording now on compact disc of Leonard Bernstein being conducted by Glenn Gould in the Brahms D Minor concerto. As Mr. Bernstein's humorous speech in the nature of a disclaimer prior to the performance indicates, what Mr. Gould wanted to do with the tempo as well as the relative loudness of the orchestra and piano was, for its time, not the fashion current in New York at that time. Folks had gotten used to faster tempi and also were wedded to the Orchestra vs. Piano model of concerto.
Gould, as he explains after the work to Tim Page, explains he wanted to draw out what he saw in the work by slowing it down significantly, and also, in a "Baroquish" mood, Gould wanted to make the concerto seem more of an ensemble piece than a contest or conversation.
Both the disclaimer and the interview are on the CD -- which brings me to my final point. Note approximately when tempi began to move away from the hell bent for leather gallop of Toscanni's 78s, and the gallop of the era of long playing vinyl to the slower tempi that are far more common, if not universal, today.
I would place that point right after the introduction of the compact disc -- when you have more than 60 minutes to fill, what's the hurry?
 One great interpretation for a classic masterpiece. March 1, 2008
Gilvan L. Latreille (Xaxim, Brazil)
0 out of 1 found this review helpful
Despite the relative old record, the sound is excelent.
The sound engineers have one outstanding job done here,
the recording is clear and vivid.
The interpretation granted by Karajan and the Berlin
Philharmonic Orchestra needs no coments, simply excelent.
This record is one of my best purchases, and i recoment it.
 9th Symphony December 22, 2007
Mario Pankov
My CD just arrived. The shipping was fast, I am happy with it. The recording quallity is very good. However, Karajan appears to lead the orchestra in a quite cold manner. It is very precise, too precise. The symphony does not sound lively, there is no emotion in it.
Beethoven: Symphony No 9, Berlin Philharmonic Orchestra November 28, 2007
Mario Alb. Chacon (From Florida to Costa Rica)
The Symphony No.9 of Beethoven is one of great works of classic music. The interpretation is excellent on the part of the Berlin Philharmonic Orchestra.
Beethoven's Ninth August 29, 2007
James A. Vasquez
Karajan is, of course, one of the premier symphony conductors of the last 50 years. He does not disappoint with this recording of what some consider the pinnacle of the world of symphonies. Every movement is masterful and inspiring.
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