The Symphony

^And welcome to the thread, Cailyn!

I would like so much to know which and how would have been Historical Performances of Beethoven's Symphonies... there perhaps would have been fewer of these, given that he died in 1827 - almost two hundred years ago. Besides I think that the actual sonourist qualities and characteristics of all the instruments of those times may have been even more different. Thus, I guess it's even harder to reproduce what Beethoven really wanted, of course without considering the detail that he was totally deaf when composed the 9th, fantastic Beethoven!, isn't it?

Because Beethoven was deaf for much of his career, he wouldn't have been able to listen and provide feedback to the conductors performing his works on his wishes for his music.  For a more modern composer, Ralph Vaughan Williams, we know that Vaughan Williams worked directly with Sir Adrian Boult and for that reason, his interpretations of the works of RVW are considered the best and truest to the composer's intent.

As for older instruments, I have this series:

Christopher Hogwood with "The Academy of Ancient Music" the Nine Symphonies.  There is no way to know if these types of works are truly representative of the era but I must say I far prefer the performances on modern instruments.

Should we make another thread for piano concerti? 

By coincidence I had finally found out that there are three other great conductors whose approach are very concerned with the Historical Performance practice: Carlos Kleiber, Karl Bohm, and Sir John Elliot Gardiner. And I'm so excited to find in Youtube their recordings of one of my most beloved symphonies - Beethoven's Symphony Nr. 5!  

OOOOOOOOOOOOOOOH Boy classical music thread... but why just symphony is OPERA`S...

Yeah I felt Gardiner's a bit rough sounding at times throughout his recording, and a less vibrato sound too, maybe that rigidness is due to being the most concerned with that aforementioned practice, he always gives priority to being the most liable to how the music would sound in those Beethoven's times, especially when conducting the Orchestre Révolutionnaire et Romantique, it is a very different approach indeed. 
 
Unfortunately I didn't listen yet to Furtwangler's, but I'm going to listen to him on Youtube too, unfortunately I've got only his recording of Beethoven's Coriolan Overture with the Berliner Philharmoniker in 1943. But man.. you hit the spot about Furtwangler, incredible how fascinating is this recording! I get literally overwhelmed by its ferocity and strength... clearly more evident there than in Kurt Masur's recording with Gewandhausorchester Leipzig Orchestra, and also than in George Szell's recording with the Wiener Philharmoniker. And amazing how different are the tempos too, the slowliest Furtwangler's tempos gives it an even more tragic feel to this fantastic Beethoven's piece, and also fascinating how I felt the same differences when listening to their recordings of Beethoven's Egmont Overture - just listening to them again... how I love these Overtures! And those such a deep touching melodies there... I think that only just a few music composers like Beethoven usually manage to literally blow my mind so far away in such a wonderful trip.
 
I'm looking forward to purchase Karajan's recording of Beethoven's Complete Overtures. But returning to Wilhelm Furtwangler, his is so far my favourite recording, I've read that Furtwangler was very influenced by the school of conducting that came about from Wagner, maybe the reason for his different tempos compared to the other two recordings, but I love Szell's approach too and the orchestra texture, especially its vibrato. I think you already know, Doug, that George Szell is considered one of the twentieth century's greatest conductors, Szell studied composition with Eusebius Mandyczewski, a personal friend of Brahms. At age eleven, Szell began touring Europe as a pianist and composer, making his London debut at that age, Newspapers declared him "the next Mozart." Throughout his teenage years he performed with orchestras in this dual role, eventually making appearances as composer, pianist and conductor, as he did with the Berliner Philharmoniker at age seventeen. Szell credited Strauss as being a major influence on his conducting style, he was a close friend of Richard Strauss. When he still was a teenager, Strauss instantly recognized Szell's talent and was particularly impressed with how well he conducted Strauss's music. Strauss once said that he could die a happy man knowing that there was someone who performed his music so perfectly, Szell ended up conducting part of the world premiere recording of Don Juan for Strauss - this recording btw is an interesting fact to be told in details in the "Non Prog Obscure Facts"

Edited by Rick Robson - March 22 2015 at 07:41

^^Thanks Ric, for your always interesting input here.

Wow, Beethoven met Napoleon face to face, and did that! What a powerful statement that was.

Edited by presdoug - March 22 2015 at 17:31

Has anyone listened to the Bruckner 9th with the Berliner Philharmonic conducted by Simon Rattle?

I feel it is a solid, powerful rendition of this great work, better than most.  This performance includes a Finale written by Samale-Phillips-Cohrs-Mazzuca between 1983 and 2012 after extensive interpretation of Bruckner's notes and sketches.  I like it but still feel the 9th is fully complete in three movements.

Thoughts?

^I will check out the Rattle, too, thanks.

Edited by presdoug - April 06 2015 at 11:49