Hearing the ninth - Part II : The wrath of Böhm.
Okey, for those who read my post at the "What are you listening right now" thread, this continues my saga.
There I was lying on my bed when I suddenly realised: "Hey, I have a WPO recording of the ninth, it's Böhm! it's alive! it's alive!". Yes, Böhm, the almighty Tristan und Isolde, Böhm, the ever so fine Schubert and Mozart, Böhm. And the WPO. WPO, TEH BRUTE POWER, WPO, the Solti Wagner recordings, WPO. And Jessey Norman, Brigite Fassbaender, Placido Domingo and Walter Berry. Who could go wrong with this?
Who could go wrong with a recording that was bought at lower-than-low-price at a DG 99 newstand issues (this happened here in Brasil and Spain, AFAK).
This is how I bought it: the first, commemorative, edition of this newstand set was Karajan superb recording of Sheherazade, since it was the first and commemorative, Böhm's 9th came along.
This is how I first heard it: heard the third movement and liked it. Started on the first and found it slow, then I stopped it and never played it again for 2 years, until last night.
This is how I heard it last night:
We all know of the WPO and it's might, of Böhm and his Karajan-Fricsay way of conducting, something superb in the middle. Well, WTF HAPPENED???
Böhm was lazy, unconsiderate, crappy. Domingo as always can't sing in german, he sings in latin. Berry was abyssal. The WPO with all it's might was the only good thing about it and Böhm managed to wreck that too. I have never heard the some of the WPO come late, too late or even early, they were always water-tight!
Also, what the mother*****ing thing happened to the tempo? Gardiner could squeeze both the 8th and the 9th in the languid 79'03" 9th of Böhm, heck!, even Karajan could!
Böhm lost it between his changing a lot of octaves for the violins, flutes and piccolos, speeding DOWN, and loosing the water-tightness power of the WPO.
The one reason I'm keeping this recording: it was a bonus (that means, I paid for the superb Karajan Sheherazade and it came along), I need to have it to show it's flaws everytime someone tells me it's great.
Sheesh! I needed to get this out of my chest!
P.S.: Did I count it wrong, or does the first movement have 512 bars? 512 = 2 at the 9th power. 2 = D (1 = C, 2 = D, 3 = E...). Am I seeing to much pattern into things? Did I count it wrong? Go figure.
P.S.2: I don't find the third movement of the mentioned recording that beautiful anymore, for me it's lost in too much stupor.
P.S.3: Sorry for the lenghty topic.
P.S.4: Enough post scriptum
.
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"Wer ein holdes weib errungen..."
There I was lying on my bed when I suddenly realised: "Hey, I have a WPO recording of the ninth, it's Böhm! it's alive! it's alive!". Yes, Böhm, the almighty Tristan und Isolde, Böhm, the ever so fine Schubert and Mozart, Böhm. And the WPO. WPO, TEH BRUTE POWER, WPO, the Solti Wagner recordings, WPO. And Jessey Norman, Brigite Fassbaender, Placido Domingo and Walter Berry. Who could go wrong with this?
Who could go wrong with a recording that was bought at lower-than-low-price at a DG 99 newstand issues (this happened here in Brasil and Spain, AFAK).
This is how I bought it: the first, commemorative, edition of this newstand set was Karajan superb recording of Sheherazade, since it was the first and commemorative, Böhm's 9th came along.
This is how I first heard it: heard the third movement and liked it. Started on the first and found it slow, then I stopped it and never played it again for 2 years, until last night.
This is how I heard it last night:
We all know of the WPO and it's might, of Böhm and his Karajan-Fricsay way of conducting, something superb in the middle. Well, WTF HAPPENED???
Böhm was lazy, unconsiderate, crappy. Domingo as always can't sing in german, he sings in latin. Berry was abyssal. The WPO with all it's might was the only good thing about it and Böhm managed to wreck that too. I have never heard the some of the WPO come late, too late or even early, they were always water-tight!
Also, what the mother*****ing thing happened to the tempo? Gardiner could squeeze both the 8th and the 9th in the languid 79'03" 9th of Böhm, heck!, even Karajan could!
Böhm lost it between his changing a lot of octaves for the violins, flutes and piccolos, speeding DOWN, and loosing the water-tightness power of the WPO.
The one reason I'm keeping this recording: it was a bonus (that means, I paid for the superb Karajan Sheherazade and it came along), I need to have it to show it's flaws everytime someone tells me it's great.
Sheesh! I needed to get this out of my chest!
P.S.: Did I count it wrong, or does the first movement have 512 bars? 512 = 2 at the 9th power. 2 = D (1 = C, 2 = D, 3 = E...). Am I seeing to much pattern into things? Did I count it wrong? Go figure.
P.S.2: I don't find the third movement of the mentioned recording that beautiful anymore, for me it's lost in too much stupor.
P.S.3: Sorry for the lenghty topic.
P.S.4: Enough post scriptum
.------------------
"Wer ein holdes weib errungen..."
.
sound.
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