Symphony No. 9 is Philip Glass' ninth symphony. It was written between 2010 and 2011. It is written in 3 movements. It was commissioned by the Bruckner Orchester Linz, Carnegie Hall, and the Los Angeles Philharmonic Association.
Beethoven was Wilhelm Furtwängler’s guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum – and a constant sense of imaginative freshness – through the interrelationship of form, harmony, texture, rhythm and tempo. These recordings, all made in the late 1940s and early 1950s, in the Musikverein in Vienna and at concerts in London, Bayreuth and Stockholm, were newly remastered in 2010, bringing their sound more alive than ever before.
Hollow pathos is not his thing. From an artist like Mariss Jansons Friedrich Schiller’s Ode: “An die Freude” must receive a far deeper significance, which also fully encompasses the doubt and profound hope embodied in this text. And thus, in Jansons’s recording of the Ninth Symphony, the choral finale does not degenerate to mere superficial orgy of jubilation, but rather becomes a delicately balanced, wisely developed drama. On October 27, 2007, the Symphonieorchester des Bayerischen Rundfunks played Beethoven’s Ninth in the presence of the Pope in the Vatican. The recording of this memorable concert is now being released in the highest audiophile recording quality as a multi-channel SACD.
"…This set deserves the most enthusiastic recommendation which words can muster. It has few rivals even in the top price range. (…) Zinman is Beethoven: I can pay him no greater compliment." ~musicweb-international
Conductor Philippe Herreweghe returns to the helm of the Royal Flemish Philharmonic for another set of Beethoven symphonies on the PentaTone label, this time the First and Third. Again presented as a multi-channel SACD hybrid disc, PentaTone's sound is clean and detailed without too much digital sterility. Unlike the album that included the Fifth Symphony and was fraught with many rhythmic peculiarities, Herreweghe's reading of the First and Third symphonies seems diligently respectful to every nuance of the score.
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.
The pairing of Vaughan Williams' Job and his Symphony No. 9 is a logical one, not least because of the prominent role given to saxophones in both works. Vaughan Williams called Job a "masque," following old English usage, but it's a ballet in all but name, and like many of them it succeeds as a standalone orchestral work. The idea of a ballet based on the Book of Job seems slightly odd until you learn that it was inspired by William Blake's illustrations for the story, which would have been very familiar to Vaughan Williams' audiences in 1930.