Felix Weingartner Conducts Beethoven & Brahms

On this CD:

1. Piano Concerto No. 3 in C minor, Op. 37
Composed by Ludwig van Beethoven
Performed by Marguerite Long
Conducted by Felix Weingartner

2. Symphony No. 1 in C minor, Op. 68
Composed by Johannes Brahms
Performed by Royal Philharmonic Orchestra
Conducted by Felix Weingartner

Tracks:

Symphony No. 9 In D Minor, Op. 125: Eleven Viennese Dances
Symphony No. 9 In D Minor, Op. 125: I Allegro ma non troppo, un poco maestoso
Symphony No. 9 In D Minor, Op. 125: II Molto vivace
Symphony No. 9 In D Minor, Op. 125: III Adagio molto e cantabile: Andante moderato
Symphony No. 9 In D Minor, Op. 125: IV Presto: Allegro assai

Amazon.com

Despite a few quirky tempo changes in the first movement, Felix Weingartner's 1935 Vienna Ninth was the most persuasive recorded version of this work from the 78 era, captured in excellent sound for its vintage. Indeed, the vocal quartet in the finale remains unsurpassed, especially Richard Mayr's glorious opening solo. The slippery string portamenti and janissary-like percussion add attractive local color to the whole. The deliciously characterized Viennese Dances make an attractive filler, though Mark Obert-Thorn's fine transfers don't quite match Anthony Griffith's for Japanese EMI. --Jed Distler

Customer Reviews:

One of the three greatest Ninths, but............2001-08-02

Felix Weingartner was the first to record all of the Beethoven Symphonies, and to this day, his interpretations remain classics. His single most famous and beloved recording was this, his Vienna Beethoven Ninth (actually, his second recording of the work); it was regarded as THE Ninth of its day, and in my opinion still stands as one of the three supreme statements of the work (the others being Furtwaengler and Fricsay). I suppose one might categorize his approach as "classical," although he he employs many subtle and effective tempo modifications throughout. His First Movement is taut and incisive, his Scherzo more relaxed and bouyant than most, his Adagio urgent but lovingly phrased, and his Finale is more expansive than Furtwaengler's or Fricsay's, more "spiritual," if you like. I am especially taken with his broad approach to the Coda, in which his soprano soloist is allowed space to really sing out her phrases. The Solo Quartet - Luise Helletsgruber, Rosette Anday, Georg Maikl, and especially Richard Mayr, is probably the most thrilling on record. Alas, this transfer leaves much to be desired. The transfer sounds like it was taken from a severely worn set, with heavy surface noise and strident highs that make listening painful. The bass is missing altogether - the drum beats in the First Movement are inaudible. Pearl usually does superlative work, so I don't understand what went wrong here. A Japanese EMI edition is little better; I would suggest seeking out Preiser's transfer, which sounds almost identical to the original 78's as I remember them.

Average customer rating:

Felix Weingartner Conducts Beethoven

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Felix Weingartner Conducts Beethoven & Brahms

Average customer rating:

What was Weingartner 's secret?

Felix Weingartner Conducts Beethoven & Brahms

Manufacturer: Koch
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000006KIP
Release Date: 1995-01-25

Customer Reviews:

What was Weingartner 's secret?.......2006-02-15

To let the music speak for itself with the minor possible interference, keeping in mind the right tempo ought to be, loaded with an enrapturing sense of commitment and so self convincing the music has its own values far beyond the dazzling common conventionalisms and gallery 's applauses.

The febrile intensity of this work is admirably expressed in this superb performance. Weingartner was a strongly conductor molded by all accounts, for the spirit of the XIX Century. The existential anguish, the sense of the precognition far divorced with the great dreams of new airs of Industrial Revolution may be felt all along. There is not only a magisterial musical result,; there is besides a statement beneath the score.

That 's in last instance, the awful breakthrough between past and present in musical direction. I am not absolutely convince about if the musical direction must be studied. If we rely to the results and consider Fürtwangler, Toscanini, Giulini, Fricsay, Walter, Damsroch, Koussevitzky, Erich Kleiber, Jasha Horenstein, Guido Cantelli, Rudolf Kempe, Adrian Boult, Talich, Scherchen , Adler, Barbiroli were merely amateurs in this field, it would seem to have a deficit according the results. Of couirse, there is minority of clever, promising and well famed conductors, but are not the majority but the exception of the rule. And that 's not a good symptom.

Beethoven `s Third Concerto is superb; ornamentally showy, admirably imaginative and sumptuously phrased; the conjunction of both visions worked out to perfection levels.

Magnificent version; eloquence and pronunciation.

Music Track:

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