Herbert von Karajan's 1976 rendition of Ludwig van Beethoven's Symphony No. 9 in D minor, "Choral," Op. 125, has had its advocates over the years, and many think this is his best version of the symphony. Even so, others more skeptical may find that this performance is too carefully contrived to show off the Berlin Philharmonic's exceptional chops; that the recording is too fastidiously engineered to pick up every last instrumental passage, important or not; and that the whole package is marketed too pointedly as a "great ...
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Herbert von Karajan's 1976 rendition of Ludwig van Beethoven's Symphony No. 9 in D minor, "Choral," Op. 125, has had its advocates over the years, and many think this is his best version of the symphony. Even so, others more skeptical may find that this performance is too carefully contrived to show off the Berlin Philharmonic's exceptional chops; that the recording is too fastidiously engineered to pick up every last instrumental passage, important or not; and that the whole package is marketed too pointedly as a "great performance," which it is not. If sharpness of gesture and potency of force define Karajan's interpretation, along with a ruthless attention to details that seems almost fetishistic, then listeners who like his driven yet hyper-meticulous style will find all they desire in this recording. But if they suppose this performance has any subtlety, grace, majesty, eloquence, mystery, or ecstasy, then they only imagine it, because this is about as mechanical, forced, sterile, and calculated...
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