Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include 9 symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio…
Let's say your tastes usually run to the Austro-Germanic, but you already have all of Beethoven's and Brahms' symphonies, most of Bruckner's and Mahler's symphonies, and many of Mozart's and Haydn's symphonies, so now you're thinking about trying out Tchaikovsky's symphonies. The question is: how many should you get? Should you get just the famous last three symphonies? Should you get all six numbered symphonies? Should you get all six symphonies plus the Manfred Symphony. Or should you get all symphonies six plus Manfred plus the orchestral suites? The answer, of course, depends on how much of Tchaikovsky's richly melodic, fabulously colorful, and extravagantly emotional orchestral music you're up for.
2CD anthology of two albums previously released by EMI, with Seiji Ozawa conducting the Orchestre de Paris and the Chicago Symphony Orchestra. A rare, hard to find recording of historical value.
For this 2017 CSO-Resound release, Riccardo Muti and the Chicago Symphony Orchestra present Anton Bruckner's unfinished Symphony No. 9 in D minor in a monumental performance that impresses with its marmoreal weight, poignant lyricism, and brutal volatility. Not widely known for his few Bruckner recordings, Muti nonetheless delivers this symphony with the passion and sensitivity of an experienced Brucknerian, and possibly because he hasn't recorded it before, this live rendition of the Ninth seems like an attempt to make up for lost time. Muti's intensity and the orchestra's ferocious power combine to make a memorable reading that may remind listeners of performances by such greats as Günter Wand, Eugen Jochum, and particularly Carlo Maria Giulini, whose recordings of the Ninth are recognized benchmarks. While Muti only performs the three completed movements, and eschews any attempted reconstructions of the surviving Finale sketches, the performance has a genuine feeling of wholeness, and the Adagio particularly has the grandeur and pathos that make it feel like a convincing ending, albeit one that the composer did not intend.