Beethoven – Symphony No.5 & Egmont Ouverture & Grosse Fuge
Wilhelm Furtwängler, Berliner Philharmoniker
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1947,1952/1961/2011
Жанр: Classical/Orchestral
Издатель (лейбл): Deutsche Grammophon
Продолжительность: 01:00:25
Наличие сканов в содержимом раздачи: Да (сканы)Треклист:
Symphony No.5
01-1. Allegro con brio – 7:52
02-2. Andante con moto – 10:59
03-3. Allegro – 5:48
04-4. Allegro – 8:03
05-Egmont op.84 Ouverture – 9:01
06-Grosse Fuge, op.133 – 18:41Musicians:
Berliner Philharmoniker
Wilhelm Furtwängler (Furtwangler)Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0 MONOДоп. информация: Recorded at Titania-Palast in Berlin:
1947 Symphony No.5 & Egmont Ouverture
1952 Grosse Fuge
UCGG 9016 SACD-SHM.jp (2011) https://www.sa-cd.net/showtitle/7242
Источник (релизер): ManWhoCan (PS³SACD)
Лог DR
======================================================
foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2020-05-09 14:53:14
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Analyzed: BERLINER PHILHARMONIKER / WILHELM FURTWANGLER /
BEETHOVEN: SYMPHONY NO.5 / "EGMONT"OUVERTURE / GROSSE FUGE
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DR Peak RMS Duration Track
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DR11 -6.42 dB -21.69 dB 7:52 01-Beethoven: Sym.5 1. Allegro con brio
DR12 -6.74 dB -24.36 dB 10:59 02-Beethoven: Sym.5 2. Andante con moto
DR12 -6.44 dB -24.06 dB 5:48 03-Beethoven: Sym.5 3. Allegro
DR10 -6.27 dB -19.60 dB 8:03 04-Beethoven: Sym.5 4. Allegro
DR12 -6.85 dB -23.76 dB 9:01 05-Beethoven: »Egmont« op.84 Ouverture
DR12 -7.34 dB -23.93 dB 18:41 06-Beethoven: Grosse Fuge, op.133
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Number of tracks: 6
Official DR value: DR11
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)
This recording comes from the 2nd concert, with the same program, conducted by Furtwängler on his return to the podium of the Berlin Philharmonic after the war. The interpretation is very different from the 5th of 1943. The 1st movement is more an expression of conflict & struggle than the tragedy expressed in the wartime performance. Suitably, the last movement is a strong, heroic affirmation & triumph.
The Grosse Fugue is a visionary performance of a work not usually part of the orchestral repertory. It is an arrangement for string orchestra of work written for string quartet. It is among Beethoven’s last works &, I believe, particularly well suited to Furtwängler’s approach to this composer’s music. A grand interpretation that I have never heard a string quartet perform in a way that can match the sheer dimension of this great work
MWC says:
There is another version of this recording: it might simply be a re-issue of this same remaster, but I don’t know: cat No UCGG 9507 (2018). German tape, in 1947, was the best quality tape in the world. This remaster of what was a recording so detailed it picked up chair squeaks, coughing & footsteps (the Polydor CD version) seems now to be more free of such extraneous noises. Such are the wonders of modern editing. All other masters of this recording tone down the Bass because the tympani saturate low res formats. On this remaster the bass is still slightly muddy but no one could ever call this bass shy! I think this just might be the best this old recording has ever sounded. Someone needs to persuade Alf on HRM to set-up his system to play SACD iso (I believe he now has a DSD DAC) to hear this!
Whats to say about the 5th we all know it so well. Furtwängler’s performances of it have been reference recordings since the 1920’s. In summation maybe the best performance ever, a really great recording, especially for 1947, but a noisy nuisance of an audience. Was Furtwängler driven to excel in this performance through trying to instil in the audience some respect?
Leading up to the years of World War II, & during that conflict, Furtwängler, because he remained in Germany (other prominent musicians went into exile), was branded a Nazi (or certainly a member of the Nazi Party). Although, post-war, he was cleared of such associations, such a stigma dogged his career for quite some time. Menuhin, a Jew, worked with Furtwängler in the conductor’s last years. Pre-war, though, he had refused to do so. Furtwängler explained his actions thus: ‘I knew Germany was in a terrible crisis. I felt responsible for German music, & it was my task to survive this crisis, as much as I could. The concern that my art was misused for propaganda had to yield to the greater concern that German music be preserved, that music be given to the German people by its own musicians. These people, the compatriots of Bach & Beethoven, of Mozart & Schubert, still had to go on living under the control of a regime obsessed with total war. No one who did not live here himself in those days can possibly judge what it was like.’
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发表于 2020-12-8 15:05:30
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