Review from Amazon:
Since the entry below is worthless, I thought I'd write a more useful review of this title. When I first started seriously collecting classical music, I tended to avoid buying mono recordings. While I fell in love with golden age stereo performances, mono ones from a few years earlier just didn't sound as good. I tried to listen to historically significant discs, like the Casals Bach Cello Suites, Rachmaninoff Piano Concertos with the composer on piano, and the Furtwangler Beethoven 9th. But no matter how celebrated these performances were and how great the playing was, I just couldn't get passed the overall poor sound quality of the mono recordings. However, there are always exceptions to every rule, and this CD was definitely one of them.
This recording of the Schubert Symphony No. 9 coupled with the Haydn Symphony No. 88, by the Berlin Philharmonic under the baton of legendary conductor Wilhelm Furtwangler, is a mono recording from 1951-52. But this disc, part of the DG Originals Series has terrific sound, and my only complaint is it ever so slightly lacks the overall brightness and separation that stereo provides. In terms of an empathetic, passionate rendition, this is unparalleled. The Szell and Krips versions in early stereo of Schubert's Ninth may be equal to Furtwangler's, but they certainly don't surpass it. But the added treat here is the Haydn 88. I love the Paris and London Symphonies, so I was very excited about the inclusion of the 88th. There are surprisingly few recordings currently available on CD of Symphonies 88-91, unless you buy one of those major Haydn box sets. In all, this is a wonderful pair of symphonies, recorded excellently (despite being in mono), and performed impeccably.
这张CD其实包含了舒伯特第九交响曲“伟大”，和海顿交响曲第88号"Letter V"，是DG唱片100周年100精选之一。继续发布福尔特文格勒的指挥作品，这一张也是不得不听的精品。
第九“伟大”交响曲的首乐章一开始由圆号缓缓的奏出主题，舒缓的旋律表现出一种深广意识，积聚了作者对人生、历史所感悟的“沉重”感，随着乐曲的进行，主题意识明显的逐渐加强，仿佛作者已经从以前的困惑苦恼中摆脱出来，而达到了一种更为高尚与超旷的思想境地，由此，可以看出它反映了当时维也纳音乐乐派（包括舒伯特自己）在深受多种多样的社会矛盾经历、走过艰难曲折的心路历程之后，在思想领域里面已经找到了一种自我解脱、自我超越的战斗武器。
聆听该乐章的时候，此前受第八“未完成”交响曲而迷漫在内心世界的那种沉闷、紧张状态便一扫而空！舒伯特的高尚人格、宽广胸襟都在这种自信十足的旋律中表现得淋漓尽致矣！乐章中深邃、肃穆性的情感升华让人激动不已，听者如果达到如此物我两忘的精神境界，岂非人生一大快事乎？
次乐章如诗一般的旋律，依旧沉稳、轻快，循序渐进的节奏令人难以忘怀，真挚细腻的情感轻袭而来，新致纤巧、生动有趣；情深意远。仿佛作者一个完整的内心世界，一条奔涌的思想与情感，如山中清泉潺潺而出.....
诗意与热情温柔的巧妙结合，对音乐主题发展的巧妙组合，处处显示了舒伯特其精妙绝伦的想象力。
第三乐章，旋律奔放，思想意境高远、深婉，乐章结构波澜起伏不定，格调高下抑扬，在这样优美的意境之中，快意之情显而易见；清丽中又似含蓄有加，韵味悠长、绵绵不尽，强烈而又舒缓的放射出积极而又浪漫的光芒。
其中，乐章中部反复出现的舒缓、回肠荡气的旋律令人难以忘怀。
终乐章以一个惊人的长度再次增加了乐曲气势磅礴的伟大力量，犹如火山爆发般的急剧和有力节奏伊始，感情波澜层层迭迭、萦回不尽。作者为了加强抒情感人的艺术效果，将一个短小但气势恢宏的旋律支撑着整个乐章，使整个乐章铿强有力，不断激起听者心中阵阵漪涟，频频扣击听者心弦，令人振耳发瞶、感奋不已。使音乐的主旨表达得含蕴深长，耐人寻味。
海顿的第八十八交响曲，G大调，Hob．1．88，作于1787年，这是应艾斯特哈吉乐团小提琴手约翰·彼得·托斯特之约而作，共4个乐章：
1．慢板，G大调序奏，由两个8小节的乐节构成，强弱音互成对比，以确立主调。主部为快板，G大调，奏鸣曲式。呈示部毫无抒情成分，以器乐的乐念发展为基础。第一主题先由弦乐呈示，再加入管乐器重复。经过部前半以一小节为单位的单纯模进保持主调，后半则以巧妙的和声导入属调。第二主题为第一主题的附属，无鲜明特点。发展部大约分成4部分，第一部分以第一主题动机为素材，以D小调为中心；第二部分为插入的5小节，以第二主题为材料；第三部分以第一主题为动机展开，后半部在内声部叠以第二主题动机；第四部分运用结尾材料，移入关系大调。
2．最慢板，D朋，主题取自赞美歌《赞颂恩赐一切恩宠的神》，由双簧管与大提琴表现，此主题共有5个变奏部。
3．小步舞曲，稍快板，G大调。小步舞曲第二段的前半移为G小调，后半由小步舞曲部旋律再现而再度回复G大调。中间部由属调构成，第二段由A小调经C大调再回复D大调。
4．终曲，抖擞的快板，G大调，奏鸣曲式。第一主题由各段反复的二段体构成，第二主题无性格，完全是快速音群的形态。发展部以发展第一主题的材料为主，有很巧妙的转调。再现部以二段体的第一主题部再现，结束于属七和弦的强奏重复后，省略经过部，直按进入第二主题再现，然后是终结部。

Schicksalslied为Op. 54，Amazon.com败家，豆瓣更败家，竟采取积毁销骨的信息修订方式，难道不知道真理只在少数人手中

So good that one could only wish it were better, János Ferencsik and the Hungarian State Orchestra's cycle of the complete symphonies of Beethoven just misses greatness. Little known in western Europe and nearly unknown in the United States, Ferencsik was the only member of the great generation of Hungarian conductors born around the turn of the twentieth century -- Szell, Reiner, Solti, Ormandy, Dorati -- who declined to leave his native country despite successive dictatorships by Fascists and Communists but stayed and rose to prominence in postwar Hungary. However, though an ardent Hungarian, Ferencsik was also a fervent believer in the Austro-Germanic symphonic tradition, and he regarded Beethoven's symphonies as the highest manifestation of that tradition. In these recordings made in stereo between 1969 and 1976, this combination resulted in performances that are both highly individualistic yet steeped in tradition. As soloists, the woodwinds are wonderfully characterful: check out closing pages of the Sixth's Andante molto mosso. As a body, the brass are smoothly muscular: check out the opening of the Fifth's Finale. As an ensemble, the strings are suave but strong: check out the whole of the Ninth's Adagio. And all by himself the timpanist is enough to shatter the firmament: check out the start of the Ninth's Scherzo. Ferencsik masterfully pulls all these individuals together, and these performances are consistently tight and propulsive. Unfortunately, Ferencsik's interpretations do not always rise to the level of the music, which is, after all the highest manifestation of the Austro-Germanic tradition. His lighter symphonies are lyrical but perhaps too straightforward, while his heavier symphonies are dramatic but possibly too hard pressed, and the resulting performances are convincing but not compelling. Hungaroton's stereo sound is rich, deep, and lush, but the soloists have an odd added reverb around their voices in the Ninth's Finale, which is quite disconcerting.

这不是伯恩斯坦的马勒全集（全集在此
），这是另外一个第5至第7交响曲的套装。拜托先看清楚再上传封面，添加曲目。

This DVD provides a rare experience for Günter Wand fans, many of whom probably did not have the opportunity to see him conduct live. The video dimension not only adds flesh to the artist on the podium, but also illustrates just how deeply Wand had absorbed Bruckner's musical personality in his consummate realization of the Ninth Symphony. As it turns out, this was to be Wand's final performance, and also his finest.

The conductor's audio recordings (also made live) generally revealed an increasing intensity as they progressed, but here a new element of dark anger has entered into Wand's interpretation, as if he were joining Bruckner in his struggle to come to terms with his own mortality. This is readily apparent in the exceptionally alert and committed orchestral playing, but also in Wand himself. Even with the physical limitations imposed on him by advanced age, Wand radiates white-hot intensity--especially with his eyes, which stare hypnotically at the brass throughout the tremendous first-movement coda. The scherzo exhibits a rhythmic energy and ferocity many younger conductors fail to generate, while the Adagio, where Wand's strings sing with an aching sweetness, is heart-rending in its yearning for life, even after the great climax, one of the most gut-wrenching ever recorded. The NDR Symphony plays magnificently, with each section giving its all, the brass in particular.


Wand's late-in-life pairing of Schubert's Unfinished with Bruckner's Ninth serves to point out the aesthetic similarities between the works (musical as well: Bruckner's Adagio is very Schubertian at its center). Again, Wand goes for broke and his orchestra plays full out, exuding confident virtuosity. However, the performance also has gentler contours in accordance with Schubert's less rhetorical style. After a terse and dramatic first movement, the Andante floats serenely, always recovering its graceful peace after the famously explosive interruptions.


The well-planned video production intelligently mixes wide shots with close-ups of the conductor and individual orchestra sections, the latter usually emphasizing key instruments at critical points in both works. Video and sound quality are both excellent. For Wand fans and Brucknerphiles alike, this DVD is indispensable.

--Victor Carr Jr, ClassicsToday.com

クルト・ザンデルリンク指揮
ベルリン交響楽団
録音:1979年[PCM デジタル録音]

CD

【演奏】
マタチッチ（指揮）、NHK交響楽団
【録音】
1975年12月10日、NHK ホール、ライヴ

Sergiu Celibidache leads the Berliner Philharmoniker in this historic performance of Bruckner's Symphony No. 7, recorded live at the Philharmonie, Berlin in 1992. The concert, his last with the Berliner Philharmoniker, marked the maestro's reunion to the orchestra after a gap of 38 years.

今や大人気のヤンソンスですが ひと昔 ヤンソンスと言えばアルヴィドでございました。その父ヤンソンスの決定盤と言える名演がCDで甦りました。ダイナミックにして 人間味溢れる音楽は大変魅力的。73年のムラヴィンスキー来日盤に匹敵する大演奏。音質もすこぶる良好で ちょっと年代ばなれしています。なお解説に大ヤンソンスのディスコグラフィーが付いています

Schumann: Symphony No. 4 in D minor, Op. 120
Brahms: Symphony No. 2 in D major, Op. 73
·
Dresdner Philharmoniker
Herbert Kegel
Recorded: 1980-10-14&1988-11-22
Recording Venue: Kongresshalle Leipzig, Gewandhaus Leipzig