Otto Klemperer, New Philharmonia Chorus & Orchestra
Beethoven – Missa solemnis, Op.123
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1966/2012
Жанр: Classical/Orchestral/Choral
Издатель (лейбл): EMI / Warner
Продолжительность: 01:19:22
Наличие сканов в содержимом раздачи: Да (сканы)Треклист:
01. Kyrie
02. Gloria in excelsis Deo
03. Qui tollis
04. Quoniam tu solus sanctus
05. Credo in unum Deum
06. Et incarnatus est
07. Et resurrexit
08. Sanctus
09. Benedictus
10. Agnus Dei
11. Dona nobis pacemElisabeth Söderström, soprano
Waldemar Kmentt, tenor
Marga Höffgen, contralto
Martti Talvela, bass
New Philharmonia Chorus & Orchestra, Otto KlempererКонтейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0Источник (релизер): ManWhoCan (PS³SACD) https://www.sa-cd.net/showtitle/8454
Лог DR
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foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2019-04-19 15:36:11
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Analyzed: OTTO KLEMPERER / BEETHOVEN: MISSA SOLEMNIS
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DR Peak RMS Duration Track
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DR9 -3.41 dB -18.34 dB 9:25 01-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Kyrie
DR8 -3.11 dB -15.35 dB 5:22 02-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Gloria in excelsis Deo
DR10 -3.98 dB -20.03 dB 5:42 03-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Qui tollis
DR7 -3.43 dB -14.19 dB 7:16 04-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Quoniam tu solus sanctus
DR7 -2.95 dB -14.11 dB 4:18 05-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Credo in unum Deum
DR13 -4.31 dB -22.59 dB 5:16 06-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Et incarnatus est
DR9 -2.47 dB -15.75 dB 11:06 07-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Et resurrexit
DR11 -7.29 dB -24.08 dB 5:29 08-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Sanctus
DR11 -6.69 dB -23.33 dB 10:20 09-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Benedictus
DR12 -6.27 dB -23.42 dB 5:59 10-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Agnus Dei
DR9 -4.86 dB -19.49 dB 9:11 11-Missa Solemnis in D, Op.123 (2011 Digital Remaster): Dona nobis pacem
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Number of tracks: 11
Official DR value: DR10
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
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Об альбоме (сборнике)
Few musical works express man’s metaphysical aspirations more powerfully than Beethoven’s titanic Missa Solemnis. As Otto Klemperer wrote some years before making this recording: “It is enormously difficult to translate into reality a work which doesn’t take reality into account.” He had first conducted the Missa Solemnis in 1927 and it came to define the epic grandeur of his interpretative style.
AllMusic:
With no slight intended to the other great recordings of the Missa Solemnis in the world, there’s this one and then there are all the rest. Truly. Even with the 1940 Toscanini and the 1974 Böhm, this 1965 recording of Otto Klemperer and the Philharmonia Orchestra and Chorus embodies everything that’s great about the Missa Solemnis. And everything that’s great about late Beethoven is in the Missa Solemnis: the energy, the nobility, the strength, the vision, and — above all — the overwhelming sense that the numinous is imminent. Beethoven thought it was his best work and who could not agree? That’s what’s in Klemperer’s performance. His command of the score and control of the orchestra are complete, but it is Klemperer’s ability to take the musicians beyond themselves, to go beyond making music to be made music, and to incarnate Beethoven’s transcendent revelation in sound that puts this recording in a class of its own. Or rather, that puts it in the same exalted class as Klemperer’s German Requiem and St. Matthew Passion, the class of the sublime. EMI’s stereo sound was magnificent in its day and its remastering is ideal.
Musicweb review:
Amazon customer:
EMI’s choice of recordings for their GROC series sometimes raises the odd eyebrow, but there can be little doubt about the inclusion of this one. Klemperer, recovered from the travails of the previous decade, was in incandescent form despite his advanced age and partial paralysis. So many reviewers have adumbrated the virtues of this noble, majestic account that I won’t rehearse them here but will make a few, brief observations. It’s not perfect: the fugue concluding the “Quoniam” section of the “Gloria” lumbers somewhat; the soloists are not as starry as Karajan’s or Bernstein’s; the sound, while good for its age, is inevitably a bit congested – but these are minor cavils set against the transcendence of Klemperer’s vision.
In an ideal world, Marga Hoeffgen would be less matronly, although she manages much magnificently; Kmentt would be able to muster more heft and steadiness for the “et homo factus est”, Talvela would blend better with his co-singers. However, Soederstroem’s soprano is a joy, soaring effortlessly in a manner which almost rivals the peerless Janowitz for Karajan. The greatest glory of this set, apart from Klemperer’s direction, is the bite and energy of the New Philharmonia Chorus, expertly drilled by Wilhelm Pitz, and the unaffected mastery of the violin solo in the Benedictus, which goes straight to the heart without being quite as soupy as Karajan’s Schwalbe.
It’s not the only version of this work to have; Giulini, Bernstein and Karajan also have their story to tell – but it is enough to convert any waverer to the Klemperer school.
/1 
发表于 2022-9-27 16:19:13
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