L.v.Beethoven - Symphonie Nr.9 in d-moll, "Choral" / Peter Tiboris / Brno Philharmonic Orchestra / BRIDGE / 1993

Ludwig van Beethoven -

Symphonie Nr. 9 in d-moll, "Choral"

Peter Tiboris /

Brno Philharmonic Orchestra

Bridge Co. / Issued in 1993 / Recorded in 1991

Mahler's grand expansion of Beethoven's Ninth Symphony employs an extra 4 horns and an extra set of Timpani, revoicing many passages of the venerable masterpiece. Mahler adds occasional counter-melodies and thickens the scoring in order to create his own heightened dynamic scale. Of his own performances of this re-scoring, Mahler wrote: "Far from following any arbitrary purpose or course, but also without allowing himself to be led astray by tradition, (this conductor) was constantly and solely concerned with carrying out Beethoven's wishes in their minutest detail, and ensuring that nothing the master intended should be sacrificed or drowned out amid the general confusion of sound."

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G.Mahler - Symphonie Nr.9 in D / Pierre Boulez / Chicago Symphony Orchestra / DG / 1998

Gustav Mahler -

Symphonie Nr.9 in D

Pierre Boulez /

Chicago Symphony Orchestra

Deutsche Grammophon / Recorded in December 1995 / Issued in 1998

This disc received the 1999 Grammy Award for "Best Orchestral Performance."Pierre Boulez is perhaps best known as one of the guiding forces of post-WWII high modernism--he has continued serial composition long after its peak, and his recording repertoire is largely that of 20th-century modernists, from Bartók to Messiaen. He has, however, dipped into Romanticism both early--Berlioz--and late--Mahler. His Mahler symphonic cycle--the Fifth and Sixth with the Vienna Philharmonic and the Seventh with the Cleveland Orchestra preceded this recording--has received mixed reviews.This Ninth, while cool and reserved by some standards, is a rich and fiery reading with the Chicago Symphony. This recording is a full five minutes longer than his live 1972 performance formerly available on the Memories label, and clearly shows the result of extended study of the work. Boulez and the orchestra move from jagged to smooth lines with ease without diminishing the effect of either or the contrasts between them. Boulez' success in this work is in some way understandable in light of the stylistic line between Mahler's composition and his own: Mahler was at the very leading edge of the Viennese late-Romantic modernism which led to Schoenberg's twelve-tone system from which the French avant-garde (which Boulez champions) followed.

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