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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
▄▀░████▓╔═══════════════════════╩═════════════════════════╩══════════════════════════╗▓████░▀▄
▐░ ▀▓████║ Leonard_Bernstein-Beethoven_Symphony_No_9-CN_Import-2010-DeBT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
▀ ▀▀█████▀░████ ▄ ▄ ░▓████░▀ ████▀▀ ▀
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▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Leonard Bernstein ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Beethoven: Symphony No.9 █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... DG ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Classical ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-07-12 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2010-00-00 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 220 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 4 / 77:59 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 129.41 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
░▓█████▄░░ ▄ ▄ ░░▄█████▓░
▄░▓███████▄▄▄░ ░▄▄▄███████▓░▀
░▀▀ ▀▀████████████▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄████████████▀▀▀▀
▀ ▄ ░░▓█▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀████▓░░ ▄
▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 Symphony No.9 in D minor, Op.125 - 18:04 ████▓▄ ░
░ ▄▓████ "Choral" - 1. Allegro ma non troppo, un ████▓▄ ░
░ ▄▓████ poco maestoso ████▓▄ ░
░ ▄▓████ 2 Symphony No.9 in D minor, Op.125 - 10:44 ████▓▄ ░
░ ▄▓████ "Choral" - 2. Molto vivace ████▓▄ ░
░ ▄▓████ 3 Symphony No.9 in D minor, Op.125 - 20:14 ████▓▄ ░
░ ▄▓████ "Choral" - 3. Adagio molto e cantabile ████▓▄ ░
░ ▄▓████ 4 Symphony No.9 in D minor, Op.125 - 28:57 ████▓▄ ░
░ ▄▓████ "Choral" - 4. Presto - Allegro assai ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 77:59 MIN ████▓░
░▓███████▄ TOTAL SIZE: 129.41 MB▄█████▓░
▀░▀████████▄ ▄█████▀░▀▀
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░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ Once in a while, there comes a performance of ║▀░▓████░▀▄
▄▀░████▓░▀║ Beethoven's mammoth symphonic swansong where the ║▀░▓████░▀▄
▄▀░████▓░▀║ circumstances under which it was made allow the ║▀░▓████░▀▄
▄▀░████▓░▀║ music to speak for itself with more emotion. This ║▀░▓████░▀▄
▄▀░████▓░▀║ fine Bernstein recording is one such example. ║▀░▓████░▀▄
▄▀░████▓░▀║ Recorded after the fall of the Berlin Wall, it ║▀░▓████░▀▄
▄▀░████▓░▀║ allows the music to speak up for itself. In some ║▀░▓████░▀▄
▄▀░████▓░▀║ ways, this performance resembles the classic ║▀░▓████░▀▄
▄▀░████▓░▀║ Furtwangler-Bayereuth recording, from the ║▀░▓████░▀▄
▄▀░████▓░▀║ interpretative details to the circumstances of ║▀░▓████░▀▄
▄▀░████▓░▀║ its "occurence." Bernstein elicits some fine ║▀░▓████░▀▄
▄▀░████▓░▀║ playing from the coalition orchestra, even ║▀░▓████░▀▄
▄▀░████▓░▀║ despite flaccid ensemble at times and some ║▀░▓████░▀▄
▄▀░████▓░▀║ idiyosyncratic conducting. In performances like ║▀░▓████░▀▄
▄▀░████▓░▀║ these, he is able to generate a lot of ║▀░▓████░▀▄
▄▀░████▓░▀║ spontaniety and electricity, and the DG engineers ║▀░▓████░▀▄
▄▀░████▓░▀║ have risen to the challenge of producing fine and ║▀░▓████░▀▄
▄▀░████▓░▀║ atmospheric recorded sound that is not always ║▀░▓████░▀▄
▄▀░████▓░▀║ clear in detail. ║▀░▓████░▀▄
▄▀░████▓░▀║ Bernstein's first movement is slower in ║▀░▓████░▀▄
▄▀░████▓░▀║ comparison to his earlier DG version in Vienna, ║▀░▓████░▀▄
▄▀░████▓░▀║ and it harks back to Furtwangler. The movement is ║▀░▓████░▀▄
▄▀░████▓░▀║ allowed to build up intenseley with a keen ║▀░▓████░▀▄
▄▀░████▓░▀║ conveyance of a sense of struggle, and all the ║▀░▓████░▀▄
▄▀░████▓░▀║ various strands of the argumentative thread woven ║▀░▓████░▀▄
▄▀░████▓░▀║ together into a dramatic whole. Drama still ║▀░▓████░▀▄
▄▀░████▓░▀║ remains in the second movement, which has rythmic ║▀░▓████░▀▄
▄▀░████▓░▀║ spring and a forward-moving impetus that steers ║▀░▓████░▀▄
▄▀░████▓░▀║ the music along. The trio has an Olympian feel to ║▀░▓████░▀▄
▄▀░████▓░▀║ it, just like the sublime third movement, which ║▀░▓████░▀▄
▄▀░████▓░▀║ is played with a hushed intensity at the ║▀░▓████░▀▄
▄▀░████▓░▀║ beginning, until the temperature of the music ║▀░▓████░▀▄
▄▀░████▓░▀║ picks up towards the end. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ The fourth movement may have some coarse and ║▀░▓████░▀▄
▄▀░████▓░▀║ rough points to it, which can be seen a little in ║▀░▓████░▀▄
▄▀░████▓░▀║ the cello and double-bass recitative. When the ║▀░▓████░▀▄
▄▀░████▓░▀║ Joy Theme is introduced, it is slower than we are ║▀░▓████░▀▄
▄▀░████▓░▀║ used to hearing it. However, there are some even ║▀░▓████░▀▄
▄▀░████▓░▀║ more striking details when the soloists enter. ║▀░▓████░▀▄
▄▀░████▓░▀║ The bass soloist Jan-Hendrik Rootering really ║▀░▓████░▀▄
▄▀░████▓░▀║ makes a powerful impact with his opening solo, ║▀░▓████░▀▄
▄▀░████▓░▀║ and even makes striking use of the word Freihit ║▀░▓████░▀▄
▄▀░████▓░▀║ (freedom) instead of Freude (joy.) He is the best ║▀░▓████░▀▄
▄▀░████▓░▀║ soloist of all the four soloists who sing in this ║▀░▓████░▀▄
▄▀░████▓░▀║ performance. Of the other soloists, Sarah Walker ║▀░▓████░▀▄
▄▀░████▓░▀║ has a firm, commanding alto voice, but the higher ║▀░▓████░▀▄
▄▀░████▓░▀║ soloists don't seem to fare better. June Andersen ║▀░▓████░▀▄
▄▀░████▓░▀║ has a someaht peaky-sounding voice, and Klaus ║▀░▓████░▀▄
▄▀░████▓░▀║ Konig in particular has a rough and hoarse tenor ║▀░▓████░▀▄
▄▀░████▓░▀║ sound. This is especially noticeable in the ║▀░▓████░▀▄
▄▀░████▓░▀║ drum-and-fife march passage. Though the soloists ║▀░▓████░▀▄
▄▀░████▓░▀║ may not sound good individually, they seem to ║▀░▓████░▀▄
▄▀░████▓░▀║ gell well together as a group. However, the firm, ║▀░▓████░▀▄
▄▀░████▓░▀║ convicting choral contributions can more than ║▀░▓████░▀▄
▄▀░████▓░▀║ make up for it, as the three choirs sing with ║▀░▓████░▀▄
▄▀░████▓░▀║ fervour, and the immediacy of the recording gives ║▀░▓████░▀▄
▄▀░████▓░▀║ the choral sound a bright and immediate quality. ║▀░▓████░▀▄
▄▀░████▓░▀║ This movement, when performed here, is really a ║▀░▓████░▀▄
▄▀░████▓░▀║ thrilling performance, because of the electricity ║▀░▓████░▀▄
▄▀░████▓░▀║ it conveys. And it is enough to cap a superb ║▀░▓████░▀▄
▄▀░████▓░▀║ performance that conveys a sense of occasion ║▀░▓████░▀▄
▄▀░████▓░▀║ throughout, especially at a poignant time. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ On the whole, I find this recording of the Ninth ║▀░▓████░▀▄
▄▀░████▓░▀║ good for supplementary listening. It would be a ║▀░▓████░▀▄
▄▀░████▓░▀║ fine recording for beginners to investigate, but ║▀░▓████░▀▄
▄▀░████▓░▀║ I find this more of a supplementary disc. The ║▀░▓████░▀▄
▄▀░████▓░▀║ flaws in the quality of the recording may not be ║▀░▓████░▀▄
▄▀░████▓░▀║ that serious, but Bernstein manages to convey ║▀░▓████░▀▄
▄▀░████▓░▀║ spontaniety to make this performance sound ║▀░▓████░▀▄
▄▀░████▓░▀║ electric and compelling. Yet this is one of those ║▀░▓████░▀▄
▄▀░████▓░▀║ wonderful performances of the Ninth which, along ║▀░▓████░▀▄
▄▀░████▓░▀║ with Karajan, Gardiner, Szell, Abbado and others, ║▀░▓████░▀▄
▄▀░████▓░▀║ can take its place near the top of the list of ║▀░▓████░▀▄
▄▀░████▓░▀║ recommended readings. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟──────────────────────────────────────────────────╢▓████░▀
▄ ░░▓███╠════════════════════════════════════════════QUOTES╢╣███▓░░ ▄ ▄
░▄▄ ▀▀██████║ ║██████▀▀ ▄▄░
▀░▓███████▄▄║ Classical music is the kind we keep thinking will ║▄▄███████▓░▀
▀░▓███████▄▄║ turn into a tune. ║▄▄███████▓░▀
▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -- Kin Hubbard ║▄▄███████▓░▀
░▓█████▄░░ ▄║ ║▄ ░░▄█████▓░
░▄▄ ▀▀██████╟──────────────────────────────────────────────────╢██████▀▀ ▄▄░
▀░▓███████▄▄╠════════════════════════════════════════════════════╣▄▄███████▓░▀
▄▄▀▀██████╟────────────────────────────────────────GROUP NEWS╢██████▀▀ ▄▄░
▄░▓███████▄║ DeBT is in need of SECURE affils ║▄▄███████▓░▀
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░████▓░░▀ ║ pre-release suppliers, bookware ║░ ▀░░▓████░▀
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▀▀░███▓░▄▄║ suppliers, iNT rippers, shell accounts, ║░▄▄░▓███░▀▀
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░░▄▄█║ coders, crackers and anything else ║██▄▄░░
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░▓█████▓░║ that may be of use to us. ║░▓█████▓░
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░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ DeBT is dedicated to bringing ║░▓████░ ▀
▀░████▓║ ║▓████░▀
▄ ░░▓███║ you the best of the old, new and forgotten in a ║███▓░░ ▄ ▄
▄▄▀▀██████║ ║██████▀▀ ▄▄░
▄░▓███████▄║ variety of sections. If you think you have ║▄▄███████▓░▀
░▓█████▄░░ ║ ║▄ ░░▄█████▓░
░████▓░░▀ ║ what it takes don't hesitate to contact us. ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ Keep it scene. Keep it safe. ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
░░▄▄█║ ║██▄▄░░
▄▄░▀█████║ C O N T A C T D e B T ║██████▀░▄▀
░▓█████▓░║ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ DeBTisSlaV3rYSTuPiD@GMail.com ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
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▄ ░░▓███╚════════════════════════════════════════════════════╝███▓░░ ▄ ▄
▄▄▀▀████████████▀▀▄▄ ▄▄▀▀████████████▀▀ ▄▄░
▄░▓███████▄▄███████▓░▄ ▄░▓███████▄▄▄███████▓░▀
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░████▓░░▀ ▀░░▓████░ ░████▓░░▀ ░ ▀░░▓████░▀
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▀ ▄███▀░░▀███▄ ▀ ▀ ▄███▀░░░▀███▄ ▀
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