Conversaciones Sobre Musica Furtwangler Pdf
ベートーヴェン 交響曲第3番変ホ長調作品55『英雄』 第1楽章 - Duration: 14:14. Chiharu aozora 533 views.
107 CDs dedicated to a conductor who died in 1954 may seem obsessive to some, but there are so many treasures in this magnificent set that a few deficiencies in sound quality are of little importance. Who would not want to hear the world premiere of Strauss's Four Last Songs with Kirsten Flagstad, however rough the sound may be? Many of the recordings are from live performances during the 1940s and 50s, and most of these sound very well for their age.It may be supposed that a set of this magnitude includes every available recording by this great conductor, but this is far from being the case. Instead, the compilers have sought the best Furtwangler versions of each work, with excerpts from some of the alternative recordings. This is a reasonable compromise, but it does mean that the Furtwangler completist must seek out another 9 versions of Beethoven's Eroica Symphony. $20 for all 9 of Beethoven's Symphonies.not a bad price! I decided to give these a try.
My main concern was that none of 'em were recorded in stereo. I just played a couple of the symphonies and I was PLEASANTLY SURPRISED! THE SOUND IS QUITE GOOD with reality and clarity. Looking at the CD box it says that most of them were originally recorded in the early 1950's up to about 1954. That was before stereo but the fidelity of recordings had progressed quite a bit by that time with the 33 RPM LP's.
Also, I see on the box that these were 'Remastered in 2011 24Bit 96 KHZ' whatever that means. So the listening experience regarding the technical aspect is VERY ENJOYABLE! It's almost like it was recorded yesterday! And, it MAY be that some 'spreading'. These live performances were recorded for broadcast during WWII in Germany, and while the sound is not up to modern standards it is surprisingly good for its time. The microphones in the concert hall were wired to a small, windowless control room, where they were primatively 'mixed' and the signal sent via telegraph wire to the radio transmitter studio, where it was recorded on early Magnetophone tape recorders.
The tapes were captured by the Soviets after the liberation of Berlin and transported to Moscow, where they languished for many years. Some performances were released by the Soviets, but the tapes were eventually returned to Germany and reprocessed in the 1980's.The microphones used were omni-directional and surprisingly sensitive, and while there is some compression of dynamics, there is a surprisingly good sense of hall spaciousness and resonance for the mono source - along with the inevitable coughs, rustles. Let me start by saying it took me a while before I began to fully appreciate Wilhelm Furtwangler as a conductor. When I began collecting classical CDs, I realized early on that I preferred vintage stereo recordings to newer digital performances. However, historic mono recordings were a horse of a different color.
I just couldn't select something that didn't sound very good as my one and only version of a given piece, even if it meant scrapping something as amazing as Furt's Beethoven 9th. But don't worry I have since come to my senses - first, why own only one of a given work, and two, Furtwangler is indeed one of the master conductors of the 20th Century. And while I don't own dozens of his discs, I do now consider some of his recordings to be the best representations available (Schubert 9th, Schumann 4th.
I have not yet heard this issue, so my words are based on the Tahra, which appears no longer available. But judging on the Audite set of the RIAS recordings, this set should have formidable sound. As for the performance, this is my desert island classical album, period!
Even though I appreciate the work of other conductors in this work, no one can really approach HIM in Beethoven. For more details, look at my earlier review for the Tahra version under the title 'Alle Menschen werden Brueder.'
Conversaciones Sobre Musica Furtwangler Pdf En Espanol
Xp sp3 oem ibm iso version. Yes, Furtwaengler remains the UNREACHABLE Beethoven conductor and my most beloved musician. These recordings were made in wartorn Berlin by one of the past century's greatest conductors, Wilhelm Furtwangler, who was one of very few international caliber artists who remained in Germany during WWII. Combine Furtwangler's passionate conducting with the sad context of war and you've got an utmost interesting and pertinent package.Schumann's Piano Concerto is wild and intense as you may expect, and totally unedited as you can hear several of Walter Gieseking's errors. The Cello Concerto is equally intriguing, as well as Brahms' Piano Concerto. This set contains a lot of pieces which are not part of Furtwangler's 'standard favourites'.The only drawback is the sound quality.
These are live recordings who were made with primitive technology, and we lose much of the dynamics of Furtwangler's volume fluctuations. However, the style and tempi are unmistakenly his.While most of today's digital recordings are bland and perfect, this. If this Ring recording had full librettos of all the operas it would be first choice for any collector of opera or anyone who are going to buy a first 'Der Ring des Nibelungen' recording.
It has excellence in every department, especially the conducting by the legendary Wilhelm Furtwangler. The orchestra isn't nearly the best you could get on other recordings of this huge work, but Furtwangler brings his unique vision of the work.
He is perhaps one of the two or three greatest conductors of the 20th Century. I can make this statement because of his musicianship. You always feel like witnessing an important event when hearing him conduct.The cast of this great recording is also fantastic.
Martha Modl and Ferdinand Frantz lead the cast as Brunnhilde and Wotan respectivly. Modl is fantastic throughout.
She has the nobility and passion needed to make this character work well. This collection of performances with the Vienna Philharmonic includes 3 symphonies and 12 symphonic works on 3 CDs. Included is the exceptionally fine performance of the Schubert Symphony #8 (worth the cost by itself) and a nice selection of other works. The sound is good to outstanding for the time the recordings were made; the performances are typical Furtwangler. Thoughtful, insightful, and often profound. During the last years of his life, Furtwangler recorded a large number of works for RCA's HMV series in England with some of the very best sonics his recordings received; still the sound is variable so 5-stars for performance, 3-stars for sound.
As memory serves, all of the performances included in this collection are from that HMV series. If you know Furtwangler's work, you know what to expect from the interpretations. If you are not familiar with the. Well, tidy up the house and brew up a vat or two of coffee, 'cause around 150 people will be dropping by to perform Beethoven's 9th live on request. Or so it seems. DVD Audio ROCKS!
I remember when I was a teenager, almost 30 years ago, I thought I was directly connected to the muse when I put on my padded headphones to listen to Simon and Garfunkel on a vinyl LP. Now I'm sitting in the middle of 6 speakers listening to a 96KHz/24-bit surround sound recording of Ode to Joy, and I'm thinking geez, I was an ignorant putz. Unlike many DVD Audio titles, this is no mere remix of a stereo recording - this was recorded in an acoustically optimal hall specifically for 5.1 surround. And it ROCKS! I swear I'm hearing the orchestra the way the conductor heard. These recordings are derived from Karajan's third complete cycle with the Berlin Philharmonic, recorded mostly in 1977. The Second is beautifully played, but a principal victim of Karajan's weighty approach in this cycle.
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The scherzo and allegro-trio is altogether too smooth, a more frothy lightness would surely be more appropriate. I think Karajan was making the Second sound bigger than it is.This Seventh is a true gem.
It vies with his Eroica for the most impressive installment of this 1977 cycle. The playing is gorgeous, the emphases just right and the brass and timpani are both allowed their moments to shine. The symphony opens like some great Olympian force, it very much has the feel of a triumphant march. Although Karajan conducted a great, muscular Seventh in 1963, this time around he is even more impressive.
Here he is more sedate in the allegretto, but even though the tempos are.