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Beethoven: Symphony no. 9 in D minor, op. 125 (The Solti Collection) [XRCD24]
Chicago Symphony Orchestra & Sir Georg Solti

XLD Rip - FLAC, CUE, LOG --> 386.33 MB | Full Booklet (PDF) --> 12.41 MB
Decca/London VICJ-025-4382 (Japan) | 76:30 | Classical | 1972, 2008 (XRCD release)

Claudio Abbado is one of the leading conductors of the late twentieth and early twenty-first centuries. He has held a number of prestigious posts, any one of which would be a crowning achievement for a conductor, and his musical presence in both concert and recordings has left an undeniable legacy of excellence. His family traces its roots to a prominent Moorish family expelled from Spain in 1492 and is said to include the architect of the Alhambra. His father was Michelangelo Abbado, a violinist and teacher who gave both Claudio and his brother, Marcello Abbado, their first piano and music lessons (Marcello has gone on to become a pianist and composer). Claudio was educated at the Milan Conservatory, graduating in 1955 with a certificate in piano. While a student there, he also studied conducting with Antonio Votto. In 1955, he studied piano with Friedrich Gulda in Salzburg, and then (from 1956-1958) attended Hans Swarowsky's conducting classes at the Vienna Academy of Music. In 1958, he made his conducting debut in Trieste, and won the Koussevitzky Competition at Tanglewood. This led to his engagement in several provincial opera houses and orchestras, as well as a teaching position at Parma Conservatory. After winning the 1963 Dimitri Mitropoulos Prize, he was awarded a five-month position on the staff of the New York Philharmonic, with which he made his American professional debut on April 7, 1963. The year 1965 marked his debut with the Vienna Philharmonic at the Salzburg Festival, but more so for his return to his hometown of Milan to conduct at La Scala. He would conduct there again in 1967, become the company's resident director in 1968, and be named music director in 1971. Abbado was credited with raising the performing standards at La Scala, and for broadening its repertory. He also organized its orchestral players into the Orchestra della Scala, whose performances of works by such composers as Schoenberg, Nono, Ligeti, Stockhausen, and Berio brought Abbado special acclaim as an interpreter of modern works. In 1971, he was appointed principal conductor of the Vienna Philharmonic. Soon after, he formed a relationship with the London Symphony Orchestra, of which he became principal conductor in 1979, and finally music director, a post he retained until 1988. Other activities during this period included the founding of the European Community Youth Orchestra, the Chamber Orchestra of Europe, and the Gustav Mahler Youth Chamber Orchestra. For the period 1982-1986, Abbado served as principal guest conductor at the Chicago Symphony Orchestra, after which he was appointed music director of the Vienna State Opera. The Viennese further honored him by appointing him general music director of the city. During his tenure, he founded (1988) the Wien Modern music festival, which has now grown to encompass all forms of contemporary art. Abbado succeeded Herbert von Karajan as music director of the Berlin Philharmonic in 1989. In 1991, he relinquished his position at the Vienna State Opera, but he has maintained a presence in the city by founding the annual Vienna prize for young composers. In 1994, he succeeded to another post once held by Karajan, namely the directorship of the Salzburg Easter Festival. Following a bout with cancer in 2000, Abbado formed the Lucerne Festival Orchestra in 2003 with the orchestra's artistic and executive director, Michael Haefliger. Though Abbado briefly suspended his activities in 2007, he took up the baton again after a two month absence. Abbado is an exciting conductor who relishes the beauty of tone. His extensive discography includes the complete symphonic works of Mahler, Schubert, Ravel, Tchaikovsky, Mendelssohn, and Beethoven, and dozens of other recordings.

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Tracklisting:
CD1:
Symphony No.1 in G minor, Op. 13 "Winter Dreams"
1. I. Allegro tranquillo
2. II. Land of Desolation, Land of Mists - Adagio cantabile ma non tanto
3. III. Scherzo. Allegro scherzando giocoso
4. IV. Finale. Andante lugubre - Allegro moderator - Allegro maestoso - Allegro vivo
The Nutcracker, Op 71a
1. I. Ouverture. Allegro giusto
2. II. Danses caracteristiques - a. Marche. Tempo di marcia viva
3. II. Danses caracteristiques - b. Danse de la Fee Dragee. Andante non troppo
4. II. Danses caracteristiques - c. Danse Russe Trepak. Molto vivace
5. II. Danses caracteristiques - d. Danse Arabe. Allegretto
6. II. Danses caracteristiques - e. Danse Chinoise. Allegro moderato
7. II. Danses caracteristiques - f. Danse des Mirlitons. Moderato assai
8. III. Valse des Fleurs. Tempo di valse
CD 2:
The Tempest, Op. 18 (Symphonic Fantasy after Shakespeare)
1. Andanto con moto – Allegro moderato – Andante con moto
Symphony No. 2 in C minor, Op. 17 "Little Russian"
2. I. Andante sostenuto - Allegro vivo
3. II. Andantino marziale, quasi moderato
4. III. Scherzo. Allegro molto vivace
5. IV. Finale. Moderato assai - Allegro vivo
CD3:
Symphony No. 3 in D Major, Op. 29 "Polish"
1. I. Introduzione. Moderato assai (Tempo di marcia funebre) – Allegro brilliante
2. II . Alla Tedesca. Allegro moderato e semplice
3. III. Andante. Andante elegiaco
4. IV. Scherzo. Allegro vivo
5. V. Finale. Allegro con fuoco (Tempo di Polacca)
“1812” Overture, Op. 49
6. Largo – Andante - Allegro giusto
7. Largo - Allegro vivace
CD4:
Symphony No. 4 in F minor, Op. 36
1. I. Andante sostenuto - Moderato con anima – Moderato assai, quasi Andante – Allegro vivo
2. II. Andantino in modo di canzona
3. III. Scherzo. Pizzicato ostinato. Allegro
4. IV. Finale. Allegro con fuoco Romeo and Juliet (Fantasy Overture after Shakespeare)
5. Andante non tanto quasi Moderato – Allegro giusto – Moderato assai
CD5:
Symphony No. 5 in E minor, Op. 64
1. I. Andante - Allegro con anima
2. II. Andante cantabile, con alcuna licenza – Moderato con anima – Andante mosso – Allegro non troppo – Tempo I
3. III. Valse. Allegro moderato
4. IV. Finale. Andante maestoso - Allegro vivace – Molto vivace – Moderato assai e molto maestoso – Presto
The Voyevoda, Op. 78 (Symphonic Ballad)
5. Allegro vivacissimo – Moderato – Allegro vivacissimo
CD6:
Symphony No. 6 in B minor, Op. 74, "Pathetique"
1. I. Adagio - Allegro non troppo – Andante – Moderato mosso – Andante – Moderato assai – Allegro vivo – Andante con prima – Andante mosso
2. II. Allegro con grazia
3. III. Allegro molto vivace
4. IV. Finale. Adagio lamentoso – Andante Marche Slave, Op. 31
5. Moderato in modo di marcia funebre – Piu mosso. Allegro – Andante molto maestoso – Allegro risoluto

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Sir Charles Mackerras leads a fine performance of Mozart's last opera seria, a work that should be far better appreciated than it is. Full of dignity and poise, aria follows duet follows aria, fascinatingly scored, and exactly the correct length. The numbers are expressive and filled with the information we need to know these characters. Sesto, a travesty role, is taken by Magdalena Kozena, who follows in the footsteps of Teresa Berganza, Cecilia Bartoli, and Anne Sofie von Otter and proves their equal. Her gorgeous voice and technique shine through. Hillevi Martinpelto's Vitellia is handsomely sung; Christine Rice, sounding much like Kozena, is fine as his friend Annio; Lisa Milne's pretty, silvery tone is just right for Servilia. As Tito, Rainer Trost sings with dignity and accuracy in the character's noble and sometimes very florid music, and John Relyea lends his dark bass to the part of Publio. The Scottish Chamber Orchestra is augmented by some period players on brass, and the effect is exciting. This may not be your number-one choice--Hogwood and Bartoli and Gardiner and von Otter are better---but it's an excellent performance nonetheless.

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Tracklisting:
CD1
01. Ouverture
02. Atto I. Recitativo: Ma che? sempre l'istesso
03. N. 1 Duetto: Come ti piace imponi
04. Recitativo: Amico, il passo affretta
05. N. 2 Aria: Deh, se piacer mi vuoi
06. Recitativo: Amico, ecco il momento
07. N. 3 Duettino: Deh prendi un dolce amplesso
08. N. 4 Marcia
09. N. 5 Coro: Serbate, o Dei custodi
10. Recitativo: Te della patria il Padre
11. N. 4 Marcia da capo
12. Recitativo: Adesso, o Sesto, parla per me
13. N. 6 Aria: Del piu sublime soglio
14. Recitative: Non ci pentiam
15. N. 7 Duetto: Ah, perdona al primo affetto
16. Recitativo: Di Tito al pie
17. N. 8 Aria: Ah, se fosse intorno al trono
18. Recitativo: Felice me!
19. N. 9 Aria: Parto, ma tu. ben mio
20. Recitativo: Vedrai, Tito, vedrai
21. N. 10 Terzetto: Vengo... aspettate... Sesto!...
22. N. 11 Recitativo accompagnato: Oh Dei, che smania e questa
23. N. 12 Quintetto con coro: Deh, conservate, o Dei
CD2
01. Atto II. Recitativo: Sesto, come tu credi
02. N. 13 Aria: Torna di Tito a lato
03. Recitativo: Partir deggio, o restar?
04. N. 14 Terzetto: Se al volto mai ti senti
05. N. 15 Coro: Ah, grazie si rendano
06. Recitativo: Gia de' pubblici giuochi
07. N. 16 Aria: Tardi s'avvede d'un tradimento
08. Recitativo: No, cosi scellerato
09. N. 17 Aria: Tu fosti tradito
10. Recitativo accompagnato: Che orror! che tradimento!
11. N. 18 Terzetto: Quello di Tito e il volto!
12. Recitativo: Odimi, o Sesto
13. N. 19 Rondo: 'Deh, perquesto istante solo
14. Recitativo: Ove s'intese mai piu contumace infedelta?
15. N. 20 Aria: Se all'impero, amici Dei
16. Recitativo: Non giova lusingarsi
17. N. 21 Aria: S'altro che lacrime per lui non tenti
18. N. 22 Recitativo accompagnato: Ecco il punto, o Vitellia
19. N. 23 Rondo: Non piii di fiori vaghe catene
20. N. 24 Coro: Che del ciel, che degli Dei
21. Recitativo: Sesto, de' tuoi delitti
22. N. 25 Recitativo accompagnato: Ma che giorno e mai questo?
23. N. 26 Sestetto con coro: Tu, e ver, m'assolvi, Augusto

Performer:
Tito Vespasiano – Rainer Trost
Sesto – Magdalena Kožená
Vitellia – Hillevi Martinpelto
Servilia – Lisa Milne
Annio – Christine Rice
Publio – John Relyea
Scottish Chamber Orchestra & Chorus
Conductor - Sir Charles Mackerras

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Sofia Gubaidulina (b. 1931), growing up in the Tatar Republic, bound peculiar fusion of Eastern and Western into dramatic polarities in her later work. She graduated from the Kazan' Conservatory in 1954 having studied composition and piano; she then left for Moscow, where she studied at the Conservatory with Nikolay Peyko until 1959, and then with Shebalin until 1963. Already by this time, Gubaidulina was marked as an "irresponsible" composer on "a mistaken path"; Shostakovich, among others, supported her however, advising her to "continue along [her] mistaken path." Today Gubaidulina is a successful freelance composer, having won a number of prestigious composition prizes and grants.
On this CD also the Miserere by the Polish composer Górecki.

This DVD is a fascinating document of a great conductor and orchestra playing two of the most underrated of Shostakovich's symphonies in 1985 and 1986 concerts in Vienna's Musikverein. In his spoken preface to the Sixth Symphony, Bernstein says he wants to "right a wrong"--the "wrong" being the work's reputation as unstructured lightweight piece. It is an unbalanced work, the opening Largo much longer than the remaining two movements, which can seem as mere appendages. But even at his extremely slow tempo, Bernstein makes it all hang together--the Largo moving in its icy bleakness, the Scherzo a genial joke, the final Presto (taken more as an Allegro and not a fast one at that) an opportunity for the conductor to show off his dance steps. The Haydnesque Ninth, despite idiosyncratically slow tempos is light and humorous, its sardonic touches here relished by Bernstein.
The Vienna Philharmonic isn't the ideal band for Shostakovich but Bernstein makes them play beyond their natural inclinations; here they lack only a bit more vulgarity in the brass and percussion to be fully idiomatic. The net result is a pair of deeply felt, emotionally powerful performances. Director Humphrey Burton's discreet camera work is excellent, with sufficient close-ups of the conductor and plenty of section shots interwoven with close-ups of solo players to help draw attention to key musical strands.
Extras include Bernstein's cogent spoken prefaces to the works.

Madame Youra Guller is one of the race of interpretative artists made for this type of work. She became known, between the two wars, as one of the great contemporary pianists. But she has never consented to become one of the celebrated idols woh travel continually around the world playing the same programme to the public. As a meticulous, modest, refined and almosts mystical pianist, each of her appearances on the concert platform has impressed her audience by the intensity of her performance and the nobility of her style. It is fitting that this record bears withness to such an artist in the recording of these two sonatas, in which she conveys all the solemn, profound, magical beauty in a personal rendering which has the mark of authenticity, as much in its conception as in its supreme execution.