Schubert: Symphony No. 9

but it builds from excellence in the first two movements to excellence cum inspiration in the final two. CSO playingis exemplary throughout. Levine builds orchestra climaxes with fervor and intensity, such as the second movementpsychotic breakdown// those in the second movements of the A Major sonata D 950 and the Cello Quintet D 956. The finalmovements of this Schubert, while controlled , also seem to escape running wild barely. Both are quite quick and relentless despite the slower third movement trio. Great clarity permeates the entire orchestra, especially winds in the second movement and brass and tympani is the final two. Levine's reading joins those of Szell/Cleveland/Sony, Dohnanyi/Cleveland/Decca, Jochum/BRSO/DG, Furtwangler/BPO/DG, Sawallisch/Dresden/Philips, and Steinberg/BSO/RCA in my pantheon of Schubert ninths

This is a good performance. I just happen to be picky about Schubert's ninth.

MUST Have! Fast delivery! Thanks

Música maravilhosa.

Good

This is a very fine account of the Schubert Ninth in what is as good digital sound as I've heard from DGG. The quality of timbre from the different instrumental groups, as well as the solo instruments, and their relation to each other in the aural space, just couldn't be better judged. The concert hall at the Ravinia Festival (where I assume this was recorded back in 1983) must have great acoustics. Levine's Brahms with this orchestra, recorded by Sony in Chicago, isn't in the same league, considered purely as sound. The performance itself is fine -- it has a nice, unaffected forward thrust that avoids the rush (exciting though it may be) of Munch's Boston recording but still conveys an attractive energy. Levine also understands that "allegro ma non troppo" and "andante con moto" aren't all that far apart, and so the first two movements, considered together, have an almost cumulative sweep. My only reservation is that they are a bit straight-faced, and the final two movements, by contrast, have a life and variety as well as energy, that make them, for me, the source of real distinction in this performance. The finale is simply outstandingly shaped and communicated, and the ending is thrilling, as it should be. It's odd that this recording (and its later re-issue with "Rosamunde" as pairing) isn't easy to find nowadays. Time for DGG to give Levine a "big box" of his fine recordings for the label. This one wouldn't need re-mastering!This is such great music that I'm open to many different interpretive stances, if the music is well-played. Krips, Furtwangler, and especially Giulini all get high marks from me too, with Giulini being perhaps the most different from Levine in approach -- but still great. You need more than one recording of this music anyway -- but Levine should be on your list.