When this performance was first released (on Bruno Walter Society LP No. BWS-742 in 1980) critic Mortimer H. Frank wrote in the USA journal Fanfare: I have always felt that Bruno Walter was at the height of his powers during the years 1941-54. Certainly his recordings from that period reveal a more flamboyant, disciplined, and energetic conductor than the Walter who - during his last years (1957-61), when he was in his '80s and recovering from two heart attacks - rerecorded in stereo with an inferior ad hoc orchestra the bulk of his basic repertory. Indeed, the Walter of those years sometimes sounds like a pale, timid imitation of what he once had been. At his best, Walter was a conductor of taste, temperament, and power - a far more dramatic and intense performer than his surviving discs often reveal. This is well illustrated in this newly released Beethoven Ninth, recorded in concert on November 13, 1947. Those who never heard Walter in his prime may be shocked by this London performance in which the first movement has a fiery, tough tension at times suggestive of Toscanini. With stabbing, powerful accents, crashing fortes, and uncommon vigor, Walter insistently presses forward in a reading of thrilling drama and power The Scherzo (with neither of its repeats observed) dances with demoniac fervor, although its "trio" would have been more effective at a slightly faster trempo... this Beethoven Ninth reveals a conductor of trenchant kinetic urgency. Those who have doubted Walter's greatness may well change their view after hearing it.

Beethoven, Karajan and the Berlin Philharmonic is one of the most perfect combinations ever to have emerged from the classical music world. When the Ninth Symphony is performed at a New Year’s Eve concert, it becomes an even more spectacular event. Karajan’s rousing interpretation of Beethoven's most admired symphony has long acquired legendary status. Now Euroarts is releasing it in a recording made in Berlin’s Philharmonic Hall on New Year’s Eve 1977 in celebration of the conductor’s 100th birthday this year. Born in Salzburg on 5 April 1908, Herbert von Karajan was one of the most widely respected performing musicians appearing in the past century. He influenced fellow musicians and public taste for generations through his live appearances and recordings, especially in the role of Principal Conductor of the Berlin Philharmonic, which he led for more than 30 years, moulding the orchestra into an ensemble of peerless power, tonal beauty and stylistic flexibility. The Ninth is an affirmation of optimism and beauty, written when Beethoven was almost completely deaf and the final movement is considered by many to be the composer's crowning glory. It had been Beethoven's lifelong dream to set Schiller's “Ode to Joy” to music, for the poem expressed the fulfilment of Beethoven's most passionate desire: peace and brotherhood in the world. Giving eloquent voice to this plea are the world-renowned soloists Anna Tomowa-Sintow, Agnes Baltsa, René Kollo and José van Dam. This concert recording on DVD has all the elements that audiences came to expect from Karajan – strong, elegant conducting and a truly moving musical event.

Import Hybrid-SACD pressing.

01 Symphony No. 2 in D major, Op. 36: I. Adagio molto - Allegro molto 12:30
02 Symphony No. 2 in D major, Op. 36: II. Larghetto 10:40
03 Symphony No. 2 in D major, Op. 36: III. Scherzo 3:48
04 Symphony No. 2 in D major, Op. 36: IV. Allegro molto 6:41
05 Symphony No. 7 in A major, Op. 92: I. Poco sostenuto - Vivace 14:06
06 Symphony No. 7 in A major, Op. 92: II. Allegretto 8:46
07 Symphony No. 7 in A major, Op. 92: III. Presto, assai meno presto 9:58
08 Symphony No. 7 in A major, Op. 92: IV. Allegro con brio 9:16

指挥家 Georg Solti 指挥芝加哥交响乐团演奏勃拉姆斯交响曲和两首序曲，1978 和 1979 年录音，1991 年 Decca 发行套装。此套唱片被认为是勃拉姆斯交响曲优秀的演奏录音之一。

ロシアの巨匠スヴェトラーノフが、手兵ロシア国立響と残したラフマニノフ交響曲全集からの分売。演奏される機会の少ない交響曲第1番をラフマニノフ演奏の第一人者の指揮で楽しむ。
1894年，他的第一次个人音乐会取得成功。在这段时间里，他对朋友彼得的妻子，有吉普塞血统的安娜产生了爱情，写了《波西米亚随想曲》献给彼得。
1895年，他创作完成了D小调第一交响曲。这部作品在1896年的俄罗斯交响音乐会上首次公演。当时的指挥格拉祖诺夫擅自删去了一些片段，并在配器上越厨代庖。当演出进行到最后几小节时，拉赫玛尼诺夫从音乐厅逃了出来，无助的在街头徘徊，陷入悲愤与绝望之中。Grove Dictionary of Music把他的作品归为“第九流”，嘲讽声接踵而至。这件事在拉赫玛尼诺夫心上投下了阴影。
第一号交响曲是拉赫玛尼诺夫22岁时的作品，并不十分成熟，但其中已隐藏着他的个性特色，如夫幅度的起伏、充满表情的倾诉等。该曲为D小调，OP.13，作于1895年，1896年由格拉祖诺夫指挥首演。共4个乐章：1．最缓板导人部，转主部不太快的快板，奏呜曲式。导入部动机贯穿始终，进入主部后，在弦乐轻快的节奏下，单簧管呈示第一主题，若干动机作小发展后，转为中板，在发展小提琴的曲调下，双簧管呈示第二主题。发展部仍以第一主题为中心．经自由变化的再现部后，以第一主题变形而成的音型，精练后构成尾声。2．，}气勃勃的快板，F大调，回旋曲式。据第一乐章导人部动机构成短小导人部后，第一小提琴奏回旋曲主题．A—B—A—C一A—B—A结尾结构。3．小广板，三段体仍由曲首动机导人．单簧管呈示第一主题，按双簧管、长笛、第一小提琴的顺序承接，构成极富表情的优美旋律。第二主题由圆号切分音与弦乐动机构成纠缠．成为中段核心。4．热烈的快板，D大调，三段体。导人部仍以曲首动机为主导．进入主部后，据导人部曲首动机而成的丰题．纠缠前各乐章因素，多姿多彩地展开。中段用第二、第三乐章出现过的素材作各种发展，第三段为主部再现，结尾处回想第一主题，通过力度与色彩变化来作收束。