Not the old rip but a new one, with the current engines and in 24/192
Thousand thanks to our friend Mats for this gem, that I once owned
Right from the opening, you know this one is going to be special. Solti definitely has listened to a lot of Furtwangler in preparation to confront Beethoven and his 9th Symphony. The tempos are broad in the opening movement and especially spacious in the adagio. Solti is not a questing, spiritual conductor like Wilhelm Furtwangler was and that’s most readily felt in the adagio where Solti’s communicate powers are not in the same league as that of the great german maestro.
# Composer: Ludwig van Beethoven
# Performer: Chicago Symphony Orchestra
# Conductor: Sir Georg Solti
# Singer:Pilar Lorengar, Yvonne Minton, Stuart Burrows, Martti Talvela
# Vinyl (1972/198?)
# Number of Discs: 2
# Format: Flac (Tracks)
# Label: MFSL/Decca
# DR-Analysis: DR 14
# Size: 2.93 GB
# Scan: yes
# Server: FF
Sometime life writes stories that you don’t believe. Many years ago, in 1983, I made a very big mistake. I was blinded by the new coming medium CD and decided to sell many of my vinyl records, among them a lot of rare and audiophiles. OK, I made good money, but I had for years the sense to have made a very big mistake.
After a few years I realised that CD did not held the promise of the perfect sound and decided to make vinyl again to my music medium number one.
So I started to re-buy from where ever most of my super records that I gave up years before. Here in the town where I live there are a couple of nice vinyl shops. One of them is my favorite one and I know the owner very well. One fine day I was there again and I asked ihm if he has some MFSL-records, I would look specially for one of that serie: Beethoven’s ninth with Solti.
He showed me where I could find them and after one minute I saw it and my heart jumped in the sky. One minute more and I started to laugh like crazy. I held my own records in my hands, with my handwritten name on the cover.
I purchased my own record again 🙂
Some time ago I sold it again and now – I should be damned if not – I will keep this gift from Mats until the end of my life.
Be that as it may, I personally think that this Solti performance is one of the most powerful and hypnotizing since the days of Furtwängler. I think in many ways Solti simply modeled his concept of the 9th on the famous Furtwängler Bayreuth performance from 1951. Solti is certainly not basing his ideas on the searing, cataclysmic passions of Furtwängler’s wartime 9th. Nor is Solti as full of drama and adrenaline as the great Karajan version from 1962 for instance. Solti does his own thing and does it rather well, this is a well breathed, spacious, dignified account that is not lacking in drama. Some listeners who are used to more modern day accounts might find the tempos of the 1st and 3rd movements a bit tedious but the scherzo and especially the great finale are well worth the purchase of this recording.
The first movement is immense, the whole thing is mesmerizing in it’s thunderous procession. Decca provides outstanding analogue sound with plenty of bass so the lower instruments and the percussion have great impact. The development section and recapitulation are very dramatic and the whole movement elicits outstanding playing from the Chicago Orchestra, although it’s far slower than Karajan for instance but about on par with Furtwängler in Bayreuth.
The scherzo does not let up any in it’s fierce attack but the lyricism of the contrasting trio section is played exceptionally. Solti takes one too many repeats in the scherzo, I typically fast forward that extra repeat which most conductors skip over. Solti himself skipped it in his later digital recording from 1986.
The adagio is very beautiful indeed and played at this spacious tempo you can truly revel in it’s gorgeous delights even though the profundity of Furtwängler eludes Solti. For the most part I think Solti is a rapturous success here regardless of the fact that he can’t compare with that master.
The final movement has some of the best choral work ever recorded. Margaret Hillis is the famed director of the Chicago Symphony Chorus and they sound amazing in this recording. The soloists make one hell of a team with Martti Talvela truly standing out in his declamatiion, ” O Freunde, nicht diese Töne!” What a voice on this guy!
This is a special recording of Beethoven’s 9th Symphony along with several other classic accounts like Furtwängler’s wartime 1942 performance, the famous Bayreuth account from 1951 as well as Karajan’s recordings from 1962 and 1977 plus Günter Wand’s digital rendition on RCA. I wouldn’t hesitate to add this Solti performance to the league of the great ones! Although it lacks the great dramatic urgency of Karajan or the fervent spirituality of Furtwängler, Solti’s performance still works in it’s own way.
P.S. Solti recorded this symphony again in 1986 ( slower tempos and less vibrant sound ), and it wasn’t nearly as successful as this earlier version.
|A||I. Allegro Ma Non Troppo, Un Poco Maestoso||17:35|
|B||II. Molto Vivace – Presto||13:55|
|C||III. Adagio Molto E Cantabile – Andante Moderato – Adagio||19:45|
|D||IV. Presto – Prestissimo||24:55|
Analyzed folder: /192k(MFSL) LvB – 9th Symphony – Solti
DR Peak RMS Filename
DR13 -0.49 dB -19.19 dB A I. Allegro Ma Non Troppo, Un Poco Maestoso.aif
DR14 -1.02 dB -20.11 dB B II. Molto Vivace – Presto.aif
DR16 -0.99 dB -22.95 dB C III. Adagio Molto E Cantabile – Andante Moderato – Adagio.aif
DR14 -0.15 dB -18.76 dB D IV. Presto – Prestissimo.aif
Number of files: 4
Official DR value: DR14
- Bass Vocals – Martti Talvela
- Chorus – Chicago Symphony Chorus*
- Chorus Master [Director] – Margaret Hillis
- Composed By – Beethoven*
- Conductor – Georg Solti
- Engineer – Gordon Parry, Kenneth Wilkinson
- Liner Notes [English Libretto Translation] – Peggie Cochrane
- Mezzo-soprano Vocals – Yvonne Minton
- Orchestra – Chicago Symphony Orchestra*
- Photography [Cover] – Lightfoot
- Producer – David Harvey
- Soprano Vocals – Pilar Lorengar
- Tenor Vocals – Stuart Burrows
——Center labels info——
Black on white labels
Manufactured and distributed by MFSL, Inc. under license from The Decca Record Co., Ltd.
© 1972 The Decca Record Co., Ltd.
Pressed in Japan
Recorded May 1972 in the Krannert Center for the Performing Arts, University of Illinois, Urbana-Champaign
Interior of sleeve includes song text
Includes English rendering of Schiller’s “Ode to Joy” text
Originally released as London Records/Decca CSP8
Half-speed production and mastering by Original Masteringworks™
Specially plated and pressed on high definition super vinyl by Victor Company of Japan Ltd.
Special static free-dust free inner sleeves / Special heavy duty protective packaging
Source: The original stereo master tape / Mastered with the Ortofon cutting system
Manufactured and distributed by MFSL, Inc., Chatsworth, CA
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
Cartridge: ZYX 50R Bloom
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Große Vorstufe, Erste Frankfurter Röhrenmanufaktur (Tube)
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.
I tend more and more, in the last time, to de-click with an automatic setting between 0.7 and 1.2 so you can say, my rips are like half rough rips.
- Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
- Very light de-clicking with iZotope, significant clicks manually removing, no de-noising
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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