Name: Beethoven, Symphonie Nr. 9 d-Moll op. 125
Start: 2016-10-14T00:00:00.000Z
End: 2016-10-14T00:00:00.000Z
Location: Musikverein

Organization

Conductor

Christian Thielemann

Soprano

Annette Dasch

Mezzo-soprano

Mihoko Fujimura

Tenor

Piotr Beczała

Bass

Georg Zeppenfeld

Orchestra

Wiener Philharmoniker

Others

Wiener Singverein

Musikverein

Beethoven, Symphonie Nr. 9 d-Moll op. 125

Vienna

Austria

Christian Thielemann is one of the leading conductors of our time. He has recorded Ludwig van Beethoven's nine symphonies with the Vienna Philharmonic.

"Striking immediacy and the impression that works are being reborn at the moment of their interpretation. There is no more beautiful musical illusion," wrote Vienna's "Der Standard" about the performance of Beethoven's nine symphonies. "Die Presse" from Vienna praised "an artistic understanding that makes wonderful experiences possible."
Christian Thielemann, born in Berlin in 1959, began his career as Herbert von Karajan's assistant in Berlin and then moved to the Deutsche Oper am Rhein as first conductor. As the youngest General Music Director in Germany, he worked at the Nuremberg Opera House and the Deutsche Oper Berlin. In 2004 he became general music director of the Munich Philharmonic; since autumn 2012 he has conducted the Sächsische Staatskapelle Dresden. Thielemann is a guest at the major opera houses, festivals and orchestras all over the world.

The Vienna Philharmonic, founded in 1842, is considered the most renowned orchestra in the world. With their unmistakable sound, they enchant people all over the world, not just lovers of classical music.
The 9th symphony, which Beethoven composed when he was completely deaf, was first performed on May 7, 1824 in Vienna. Despite the imperfect reproduction, the public success was great, only the professional world wavered for a long time between complete rejection and enthusiastic approval. Above all, the last movement, in which Beethoven used the words of poets and human voices, contrary to the applicable stylistic laws, was criticized.
Beethoven had been thinking about setting Schiller's Ode "An die Freude" to music since 1793, but it was not until the autumn of 1823, while he was working on this symphony, that he chose the "Joyful Melody" as the theme of the finale. This decision arose from the realization that only a choir could express his feelings.

This recording was made in Vienna's Musikvereinssaal as part of the symphonic cycle "Beethoven9".

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