I listened to this recording for the first time yesterday and I have to say I was blown away by the first movement. Krips’ tempo is slower than I’m used to but the energy the orchestra puts out makes up for it. I’m seeing the piece in a new light. And that final statement of the introductory theme in the horns? Sublime. Never heard it so beautifully played. Thanks for the recommendation!
I'm so glad you're giving this fantastic recording the appreciation it deserves. I think this is the very best performance of this symphony. Krips, in my opinion, chooses the "right" tempos and I hear details in this recording that I do not hear in many other recordings.
I know I am going to be shouted down by this. I love Schubert's 9, my favourite recordings are Blomstedt x 2 (Dresden and San Francisco), Szell of course, and Mackerras/Orchestra of the Age of Enlightenment (one of the very few period instrument recordings I like). However, the one recording that is compeltely gripping- and my go-to- -- is Furtwangler's 1952 Berlin Philharmonic recording.
Mr. H., You have recently been batting a thousand! The Krips Schubert 'Great' has long been one of my all time favorite performances and recordings, captured in superb recorded sound. The whole thing is just supremely musical.
I totally agree. And when it comes to Schubert’s „unfinished“ b-minor Symphony, for me it will be Krips again, now with the Vienna Philharmonic (from +-1969, on Decca)
I'm with you there, the Krips Unfinished balances perfectly the grace and the drama in the work. The strings also don't get drowned out in the opening as they can be in some recordings.
My second CD ever was this work with Masur/Leipzig given to me as a bar mitzvah gift from my piano teacher. I listened to it so many times that it’s hard to hear it any other way! I’ve only played it three times. Twice with MTT and once with Hans Graf. Great interpretations.
The original jacket you showed was for the Decca issue. The London (American) one had on its front, among other things, an enormous "C" festooned with flowers. The performance is unforgettable.
I realize I may get a lot of grief for this, but I imprinted on the absolutely gorgeous Dohnanyi/Cleveland recording on Telarc. I full realize it may not whip up the excitement of other recordings, and yes....all those repeats will strike some as a bit tedious. But dang....it's just so beautiful in its execution and sound. Yeah....I've heard many, including this Krips, that I truly love, but I will always have a soft spot for the Dohnanyi.
I have the Krips that Dave is recommending and it has been a "Reference" recording. almost since it came out. The edition I have is a pressing by Franklin Mint on heavy vinyl which I bought in the '70's. To the performance is added supreme technical care with the pressing, so it continues to be treasured...and still sounds great after 50 years. Earlier, Dave recommended the Szell and the Münch recordings which I also have. But I actually learned this symphony of "heavenly length" (according to Robert Schumann) from the Toscanini/Philadelphia recording which was resurrected and released the first time in the 60's. I had a first edition of that, also, and keep it as a pre-stereo reference standard.
This Schubert, The Great, recording engineered by Gordon Parry is the first Great stereo recording from Kingsway Hall and Parry was on a hot streak afterwards engineering classics such as Argenta/Campoli Tchaikovsky VC and Argenta Espana Golden days!
Another inspired, but let's face it, expected "Greatest Recording." Time and again I marvel at how wonderfully played and recorded the Krips recording is. If at gunpoint, I had to cull all my recordings and keep only ten, Schubert's Ninth and Krips would definitely be one I'd save. I hope I'll never have to make that choice. A fantastic choice Dave! Take care!
I agree - one of the truly great recordings of this symphony.I initially got this (LP) based on it receiving a Rosette in the Penguin Guide. Odd that the same critics praised Solti’s misguided VPO recording.BTW Mackerras takes all repeats in his Virgin recording - well played, but KMN.😳
Oh! Krips. I think that had a penguin rosette ? I just had to listen, and yes, it's terrific. One of the magic ingredients seems to be rhythm. BTW Glenn Gould was a big admirer of Krips. when Gould came to London they played Beethoven 1-4 and cancelled 5!
Penguin rosette, ha! That’s why you picked it, Dave? You’re always copying the Brit critics! Just kidding Dave, we know where you stand on that….it’s just one of those lightning strikes in the same place one in a million things……seriously, what a lovely recording. It seems like a whole generation of American critics couldn’t stand the idea of Schubert being harmonious or full of grace along with having the requisite drama, but this indeed has all of that sunlight let in that Toscanini, for all of his undeniable virtues, did NOT allow into his performances of the work. Jochum had that quality too, but his (stereo DG) 9th isn’t quite on this level. The slow mvt of Krips is so wonderfully natural in pacing as well, it skips and dances like a charm….perfection! Another day, I’ll enjoy something hard driving like Munch, but today give me another dose of Krips, please!
Great is great. They aren't ALWAYS wrong--just most of the time. Had that recording not been with the LSO on DECCA, they would have ignored it completely.
Krips' 9th for certain belongs in the pantheon of the greatest recordings EVER of this symphony! To me it's somehow the greatest VPO 9th, that they never made.... I've loved it since I first laid my ears on it - and in the beginning, when I had just gotten the cd with the equally splendid 8th (the "unfinished"), that actually is with Krips and the VPO, I had time and again to take my recourse to the cd cover to remember, which of the symphonies was the one recorded in Vienna. This might, of course, say more about my ineptitude as a listener as about the recordings - but I guess, there might be a few more listeners out there, who respond to the 'echt Vienese' quality of Krips' interpretation. In contrast to Furtwängler's DG-recording of the symphony (another splendid recording to which one can return again and again) with it's more traditional, Austro-German metaphysical/transcendental approach, and Szell's somewhat more classicist ditto, relying more on architectural structure and the immensely nuanced shading of timbre/sound (most audible in the excellent transfer in the big Szell box) , though without loosing out when it comes to romantic urgency and tension, Krips' version oozes charm and conveys the sense of a to some extent carefree (though not careless) organic unfolding of the whole with the contrasts in themes and their development embedded in the texture as are contrasts of scenery and the landscape as such embedded in nature as a whole. There are other worthy contenders to the Pantheon: Munch (as mentioned by Hurwitz), Toscanini (though, I wish the sound had been better), Böhm in his live Dresden DG-recording, Walter, and Klemperer being no slouch either...and, I guess, the list could go on a little further, but, as mr. Hurwitz rightfully points out, not for too long, as there are far between truly excellent versions of this elusive symphony. It only takes a few miscalculations to turn the symphony's "Himmlische Länge" ('Heavenly length', Schumann) into trop de longeurs, trop d'ennuis.
Check out Ormandy/Philadelphia (Sony Japan cd & should be in the forthcoming (Feb) Ormandy Columbia Stereo II box); Rhythmic mastery & beautifully played.
Sweet! If I may put in a good word, Krips's late Mozart symphonies strike me as elegant but not prissy. And I can imagine that's not easy to do either.
Dave, I will give the Krips recording a listen, out of respect for your opinion. I have always enjoyed Jeffrey Tate’s recording with the Staatskapelle Dresden. I wonder what you think about it?
Always had a fondness for Shaw's testy comment that this symphony as being "a more exasperatingly brainless composition was never put on paper.". But I do think that comes from, as you say Dave, from many bad performances. The Krips and Munch make this great and beautiful and definitely not brainless.
I always thought that Schubert's 9th in the hands of lesser conductors than Furtwangler sounded like a disney-esque collection of Austrian folk-tunes. I can see Shaw's comment.
Shaw could write entertaining, well-crated essays about almost anything, but the content of his music criticism was, more often than not, utter garbage. Exasperatingly brainless, even.
I listened to this recording for the first time yesterday and I have to say I was blown away by the first movement. Krips’ tempo is slower than I’m used to but the energy the orchestra puts out makes up for it. I’m seeing the piece in a new light. And that final statement of the introductory theme in the horns? Sublime. Never heard it so beautifully played. Thanks for the recommendation!
I'm so glad you're giving this fantastic recording the appreciation it deserves. I think this is the very best performance of this symphony. Krips, in my opinion, chooses the "right" tempos and I hear details in this recording that I do not hear in many other recordings.
I know I am going to be shouted down by this. I love Schubert's 9, my favourite recordings are Blomstedt x 2 (Dresden and San Francisco), Szell of course, and Mackerras/Orchestra of the Age of Enlightenment (one of the very few period instrument recordings I like). However, the one recording that is compeltely gripping- and my go-to- -- is Furtwangler's 1952 Berlin Philharmonic recording.
I won’t shout you down. I wholeheartedly agree; the Furtwangler recording is thrilling and is in a class by itself.
Mr. H., You have recently been batting a thousand! The Krips Schubert 'Great' has long been one of my all time favorite performances and recordings, captured in superb recorded sound. The whole thing is just supremely musical.
One of my perennial favorites. I listen to it often, most recently just a few days ago. Truly a performance for the ages.
Perfection.
I knew a fiddle player who used to call Schubert's Great C Major "The Tendonitis Symphony".
In fact the strings players called it the "Great C monster"
I totally agree. And when it comes to Schubert’s „unfinished“ b-minor Symphony, for me it will be Krips again, now with the Vienna Philharmonic (from +-1969, on Decca)
I'm with you there, the Krips Unfinished balances perfectly the grace and the drama in the work. The strings also don't get drowned out in the opening as they can be in some recordings.
My second CD ever was this work with Masur/Leipzig given to me as a bar mitzvah gift from my piano teacher. I listened to it so many times that it’s hard to hear it any other way! I’ve only played it three times. Twice with MTT and once with Hans Graf. Great interpretations.
The original jacket you showed was for the Decca issue. The London (American) one had on its front, among other things, an enormous "C" festooned with flowers. The performance is unforgettable.
I realize I may get a lot of grief for this, but I imprinted on the absolutely gorgeous Dohnanyi/Cleveland recording on Telarc. I full realize it may not whip up the excitement of other recordings, and yes....all those repeats will strike some as a bit tedious. But dang....it's just so beautiful in its execution and sound. Yeah....I've heard many, including this Krips, that I truly love, but I will always have a soft spot for the Dohnanyi.
No lie detected, it's the best. Krips is probably my second favorite.
I have the Krips that Dave is recommending and it has been a "Reference" recording. almost since it came out. The edition I have is a pressing by Franklin Mint on heavy vinyl which I bought in the '70's. To the performance is added supreme technical care with the pressing, so it continues to be treasured...and still sounds great after 50 years. Earlier, Dave recommended the Szell and the Münch recordings which I also have. But I actually learned this symphony of "heavenly length" (according to Robert Schumann) from the Toscanini/Philadelphia recording which was resurrected and released the first time in the 60's. I had a first edition of that, also, and keep it as a pre-stereo reference standard.
Yeah, these wine-red Franklin Mints!! I have them, too! A treasure!
@@Delius1958 Indeed. Best pressings every and not $50 a pop like DGG now.
This Schubert, The Great, recording engineered by Gordon Parry is the first Great stereo recording from Kingsway Hall and Parry was on a hot streak afterwards engineering classics such as Argenta/Campoli Tchaikovsky VC and Argenta Espana Golden days!
When Krips was on top of his game he created some very special results 👍
Another inspired, but let's face it, expected "Greatest Recording." Time and again I marvel at how wonderfully played and recorded the Krips recording is. If at gunpoint, I had to cull all my recordings and keep only ten, Schubert's Ninth and Krips would definitely be one I'd save. I hope I'll never have to make that choice. A fantastic choice Dave! Take care!
I agree - one of the truly great recordings of this symphony.I initially got this (LP) based on it receiving a Rosette in the Penguin Guide. Odd that the same critics praised Solti’s misguided VPO recording.BTW Mackerras takes all repeats in his Virgin recording - well played, but KMN.😳
Oh! Krips. I think that had a penguin rosette ? I just had to listen, and yes, it's terrific. One of the magic ingredients seems to be rhythm.
BTW Glenn Gould was a big admirer of Krips. when Gould came to London they played Beethoven 1-4 and cancelled 5!
Penguin rosette, ha! That’s why you picked it, Dave? You’re always copying the Brit critics! Just kidding Dave, we know where you stand on that….it’s just one of those lightning strikes in the same place one in a million things……seriously, what a lovely recording. It seems like a whole generation of American critics couldn’t stand the idea of Schubert being harmonious or full of grace along with having the requisite drama, but this indeed has all of that sunlight let in that Toscanini, for all of his undeniable virtues, did NOT allow into his performances of the work. Jochum had that quality too, but his (stereo DG) 9th isn’t quite on this level. The slow mvt of Krips is so wonderfully natural in pacing as well, it skips and dances like a charm….perfection! Another day, I’ll enjoy something hard driving like Munch, but today give me another dose of Krips, please!
Great is great. They aren't ALWAYS wrong--just most of the time. Had that recording not been with the LSO on DECCA, they would have ignored it completely.
Krips' 9th for certain belongs in the pantheon of the greatest recordings EVER of this symphony! To me it's somehow the greatest VPO 9th, that they never made.... I've loved it since I first laid my ears on it - and in the beginning, when I had just gotten the cd with the equally splendid 8th (the "unfinished"), that actually is with Krips and the VPO, I had time and again to take my recourse to the cd cover to remember, which of the symphonies was the one recorded in Vienna. This might, of course, say more about my ineptitude as a listener as about the recordings - but I guess, there might be a few more listeners out there, who respond to the 'echt Vienese' quality of Krips' interpretation.
In contrast to Furtwängler's DG-recording of the symphony (another splendid recording to which one can return again and again) with it's more traditional, Austro-German metaphysical/transcendental approach, and Szell's somewhat more classicist ditto, relying more on architectural structure and the immensely nuanced shading of timbre/sound (most audible in the excellent transfer in the big Szell box) , though without loosing out when it comes to romantic urgency and tension, Krips' version oozes charm and conveys the sense of a to some extent carefree (though not careless) organic unfolding of the whole with the contrasts in themes and their development embedded in the texture as are contrasts of scenery and the landscape as such embedded in nature as a whole.
There are other worthy contenders to the Pantheon: Munch (as mentioned by Hurwitz), Toscanini (though, I wish the sound had been better), Böhm in his live Dresden DG-recording, Walter, and Klemperer being no slouch either...and, I guess, the list could go on a little further, but, as mr. Hurwitz rightfully points out, not for too long, as there are far between truly excellent versions of this elusive symphony. It only takes a few miscalculations to turn the symphony's "Himmlische Länge" ('Heavenly length', Schumann) into trop de longeurs, trop d'ennuis.
Damn... Another record to buy. STOP!! ;-) I love his Mozart’s Die Entführung aus dem Serail, an opera I enjoy more than Zauberflöte.
And funny your adacdote with Christophe Huss. He’s the critique at my newspaper Le Devoir...
Yummy, Sachertorte with pizzicato!
Check out Ormandy/Philadelphia (Sony Japan cd & should be in the forthcoming (Feb) Ormandy Columbia Stereo II box); Rhythmic mastery & beautifully played.
An upcoming Columbia/Ormandy Stereo II box? Yay! The Ormandy Stereo 1 box has been the greatest single purchase I ever made.
Sweet! If I may put in a good word, Krips's late Mozart symphonies strike me as elegant but not prissy. And I can imagine that's not easy to do either.
Krips had the viennese beat in his blood, a sort of drunkeness as in his fabulous Don Giovanni
It feels like he does, for sure. It's one of the things that struck me when listening to this 9th.
I was so far happy with Günter Wand. I will have to compare with Krips !
Me too❤
Dave, I will give the Krips recording a listen, out of respect for your opinion.
I have always enjoyed Jeffrey Tate’s recording with the Staatskapelle Dresden. I wonder what you think about it?
Always had a fondness for Shaw's testy comment that this symphony as being "a more exasperatingly brainless composition was never put on paper.". But I do think that comes from, as you say Dave, from many bad performances. The Krips and Munch make this great and beautiful and definitely not brainless.
I always thought that Schubert's 9th in the hands of lesser conductors than Furtwangler sounded like a disney-esque collection of Austrian folk-tunes. I can see Shaw's comment.
Shaw could write entertaining, well-crated essays about almost anything, but the content of his music criticism was, more often than not, utter garbage. Exasperatingly brainless, even.