And thus began the greatest voyage of all time.

First prelidium and fuga are missing. Those are NOT 24 but 23 of the WTC2... İn this terms it is incomplett...

42:49 44:07 45:56 (47:41) 48:34

Ah yes. The ever surly Killick.

i like the sense of momentum in this version

I love hoopoes and cellos and fellows who sail

La suonò mio figlio a un saggio quando era piccolo.

In my humble opinion, PLA´s interpretation is second only to that of Grigori Sokolov (kzbin.info/www/bejne/jGbXnHmoft5nrqs) ... I remember having seen a video in which PLA was shown to prepare the Steinway on which he recorded Bach´s ultimate masterpiece with Steinway´s principal piano-tuner and -intonator individually ... for each single track ... Amazing how far some musicians are willing to go in order to reach perfection ...

フルトヴェングラーとはまた違った魂の5番を聴かせてもらいました。 ゲヴァントハウスの伝統の響きを最大限に発揮したシャイーは 本当に素晴らしい指揮者だ。

シャイーになかなか巡り会えなかったが素晴らしい再開ができました。 さらにベートーベンの2番は一番好きな曲でほんと音源に感謝します！

Very finely played sir, I believe.

Cette précision métronomique m'indispose quelque peu ; c'était l'époque ou l'on croyait que Bach devait être joué comme une machine à coudre. Heureusement on en est revenu de cette vision simpliste, totalement fausse et anti-musicale.

Fantastic performance comparable to Toscanini

Fantastica interpretazione di Rosolfo Bonucci! Suoni di un altro mondo

Scrape scrap scrape, and never a tune you can dance to

Without fail, every few years I find myself back in Molly Harte's music room, witnessing two complete strangers about to come to blows over this piece

Durante subtitled the Concerto No 8 in A major, ‘La Pazzia’ (‘Folly’). It is a curious piece which pays only token respect to the established pattern of alternating tutti and solo sections. The opening movement, ‘Allegro affettuoso’, with its brief, agitated introductory bars, followed by a short recitativo passage and longer cantabile section, has some of the improvisatory character and spontaneity of the mid-century north German Empfindsamer Stil or sensitive style. Yet the apparently strange sequence of ideas, which determines the character of the entire movement, mirrors a taste for quirky display that can also be found in some of Vivaldi’s advanced concertos. The second movement (‘Affettuoso’) provides an example of Durante’s gift at cantabile writing, bringing to mind, once again, in its initial melodic and rhythmic ideas, the ‘sensitive’ writing of C P E Bach, further north. The short Allegro finale, by contrast, approaches the mature style of Vivaldi’s ripieno (without soloists) concertos, with their frequently encountered early symphonic leanings.

2:35 5:09 Don't mind me. Just noting some of my favorite bits.

Sencillamente excelente. La orquesta hace gala de un virtuosismo comparable a las 2-3 mejores del mundo. Tempos, dinámicas, ataques, limpieza, se oye todo en su sitio. Está entre las grandes lecturas de siempre. Magnífico Chailly. Una lectura de referencia.

Never too late to discover this diamond 💎 Thank you

Buenas Noches! espero este bien! le informo que NO tiene audio el video Andrea!

il finale preso con il metronomo voluto da beethoven da della sinfonia un significato assai diverso .... e il baricentro suo diventa il finale, con la sua struttura assai dilatata .... so per esperienza che non è facile portare l'orchestra a questa velocità, ma il risultato è straordinario.

Overture: 00:01 Rondeau: 10:24 Sarabande: 12:11 Bouree: 15:12 Polonaise: 17:22 Double: 18:33 Menuet: 21:05 Badinerie: 22:23

qual'è la terza ligua della opertina ?

Blind with the eyes of an eagle...

Belle démonstration de virtuosité de l'orchestre et belle prise de son, mais est-ce vraiment Beethoven ? personnellement je ne pense pas et je préfère très nettement les versions des Kleiber père et fils, de Jochum 51, de Furtwängler, bref des vrais interprètes de Beethoven.

This music is really beautiful!

Brilliant performance. Most inspired interpretation of this symphony that I know of.

It is indeed very fast, but I like it

Des larmes qui coulent et des frissons qui parcourent le corps entier. Le grand Bach est bien devant nous et Helmut Walcha est le seul à avoir pu le ressusciter.

GROSSARTIG !!! Tepper Michael.

THIS is the most exciting Symphony No. 1, that I have heard in 50 years of loving it! ♥♥♥♥

6:56, 7:55

applausi senza limiti

I too was brought here by O'Brian, and I'm very glad I was. I do enjoy baroque music yet was unfamiliar with Locatelli. This will make a wonderful accompaniment as I read. Here, try this: kzbin.info/www/bejne/fnS9gHuie8SDf8k

Fastest 1st movement even I heard (842 bars in 15 minutes)

Increíble

Quando ero adolescente sentivo criticare Toscanini perché troppo veloce nell'eseguire Beethoven. Meglio i direttori di scuola germanica perché ritenuti più fedeli all'autore! Questa esecuzione dura 4 minuti meno di quella di Toscanini e non è poco, comunque Beethoven non va eseguito con il cronometro in mano, quello che conta è il risultato. Bella questa esecuzione ma non mi fa dimenticare la versione di Toscanini dell'anno 1939 che a mio modesto parere rimane insuperata. Consiglio il confronto.

Is he trying to out Toscanini Toscanini?

HEX!!!

A great performance of an amazing symphony that has been overshadowed by some of the odd numbered symphonies. It's an extraordinary symphony and is equal to any of the others before the 9th.

0:00 FANTASIA - Largo 1:05 Allegro assai 3:32 Largo 4:59 ALLEMANDA - Larghetto 7:49 PASTORALE - Adagio 10:23 GIGA - Allegro

what a hurry! I prefer Karajan majestic pace...

Magnificent. Bravisisimo! Thanks for posting.

No sound until 14:47 :'(

Second movement is meant to be Adagio! Not Andante, not Allergetto!

I absolutely despise these recordings of the Beethoven symphonies!!!! I was searching for a modern digital recording for the Beethoven 1st and 2nd symphonies. I thought this was a safe bet; a musicianly conductor leading a fine traditional orchestra. I purposely avoided the recordings of John Elliot Gardiner and Christopher Hogwood. I do not want the sound of period instruments playing these symphonies. I find those recordings to be interesting reference points, however, I still want the warmth, sonority and depth of sound that modern instruments have. In today's world, there has been a Stalin-like classical purge and program that has seemed to make a determination that Beethoven in particular, should not be performed any longer on modern instruments. I thought this debate had been settled years ago when a young Glenn Gould recorded the Goldberg Variations. That revolutionary recording from 1955 put to bed the idea that Bach should never be performed on piano; Bach should never be performed with pedal - all of the ideas of musical nerds who pretend to be scholarly. Nowadays there is a conspiracy that proclaims that all of the Beethoven performances of Furtwangler, Szell, Karajan, Kleiber etc. are rubbish; Beethoven, as well as Haydn, Mozart and Schubert should only be performed on period instruments. The symphonies need to sound similar to what they sounded like when first performed in the late 18th and early 19th century. In these performances, Mr Chailly takes a fine, modern orchestra and requests that they play without vibrato, without depth, without the sound of a modern orchestra. WHAT CRAP!!!!!! The musical elites that have hoisted this tyranny on all of the rest of us will eventually burn in hell!!!!!! If a thin clarity is what you want, fine. Purchase the recordings of Gardiner and Hogwood as well as Malcolm Bilson. To each his own. However, why can't there be a current recording played in the traditional manner of Artur Schnabel, Alfred Brendel, Carlos Kleiber, George Szell, Herbert von Karajan etc.? The changes that were made to instruments during the early 19th century were all met enthusiastically by the composers of the time. The valves that were added to trumpets and french horns, the double escapement and metal soundboards added to the pianos - all of these innovations were welcomed and exploited by Liszt and others. Nowadays, the scholarly elite have seemed to determine that 19th century composers were all set in their ways and that they only intended their music to be performed as it was first performed. Why not rid modern concert halls of electricity and modern day plumbing? Why not require the classical listener to arrive to a performance in a horse-drawn carriage? What a ludicrous and intolerant way of thinking!!!!

I absolutely despise these recordings of the Beethoven symphonies!!!! I was searching for a modern digital recording for the Beethoven 1st and 2nd symphonies. I thought this was a safe bet; a musicianly conductor leading a fine traditional orchestra. I purposely avoided the recordings of John Elliot Gardiner and Christopher Hogwood. I do not want the sound of period instruments playing these symphonies. I find those recordings to be interesting reference points, however, I still want the warmth, sonority and depth of sound that modern instruments have. In today's world, there has been a Stalin-like classical purge and program that has seemed to make a determination that Beethoven in particular, should not be performed any longer on modern instruments. I thought this debate had been settled years ago when a young Glenn Gould recorded the Goldberg Variations. That revolutionary recording from 1955 put to bed the idea that Bach should never be performed on piano; Bach should never be performed with pedal - all of the ideas of musical nerds who pretend to be scholarly. Nowadays there is a conspiracy that proclaims that all of the Beethoven performances of Furtwangler, Szell, Karajan, Kleiber etc. are rubbish; Beethoven, as well as Haydn, Mozart and Schubert should only be performed on period instruments. The symphonies need to sound similar to what they sounded like when first performed in the late 18th and early 19th century. In these performances, Mr Chailly takes a fine, modern orchestra and requests that they play without vibrato, without depth, without the sound of a modern orchestra. WHAT CRAP!!!!!! The musical elites that have hoisted this tyranny on all of the rest of us will eventually burn in hell!!!!!! If a thin clarity is what you want, fine. Purchase the recordings of Gardiner and Hogwood as well as Malcolm Bilson. To each his own. However, why can't there be a current recording played in the traditional manner of Artur Schnabel, Alfred Brendel, Carlos Kleiber, George Szell, Herbert von Karajan etc.? The changes that were made to instruments during the early 19th century were all met enthusiastically by the composers of the time. The valves that were added to trumpets and french horns, the double escapement and metal soundboards added to the pianos - all of these innovations were welcomed and exploited by Liszt and others. Nowadays, the scholarly elite have seemed to determine that 19th century composers were all set in their ways and that they only intended their music to be performed as it was first performed. Why not rid modern concert halls of electricity and modern day plumbing? Why not require the classical listener to arrive to a performance in a horse-drawn carriage? What a ludicrous and intolerant way of thinking!!!!

I absolutely despise these recordings of the Beethoven symphonies!!!! I was searching for a modern digital recording for the Beethoven 1st and 2nd symphonies. I thought this was a safe bet; a musicianly conductor leading a fine traditional orchestra. I purposely avoided the recordings of John Elliot Gardiner and Christopher Hogwood. I do not want the sound of period instruments playing these symphonies. I find those recordings to be interesting reference points, however, I still want the warmth, sonority and depth of sound that modern instruments have. In today's world, there has been a Stalin-like classical purge and program that has seemed to make a determination that Beethoven in particular, should not be performed any longer on modern instruments. I thought this debate had been settled years ago when a young Glenn Gould recorded the Goldberg Variations. That revolutionary recording from 1955 put to bed the idea that Bach should never be performed on piano; Bach should never be performed with pedal - all of the ideas of musical nerds who pretend to be scholarly. Nowadays there is a conspiracy that proclaims that all of the Beethoven performances of Furtwangler, Szell, Karajan, Kleiber etc. are rubbish; Beethoven, as well as Haydn, Mozart and Schubert should only be performed on period instruments. The symphonies need to sound similar to what they sounded like when first performed in the late 18th and early 19th century. In these performances, Mr Chailly takes a fine, modern orchestra and requests that they play without vibrato, without depth, without the sound of a modern orchestra. WHAT CRAP!!!!!! The musical elites that have hoisted this tyranny on all of the rest of us will eventually burn in hell!!!!!! If a thin clarity is what you want, fine. Purchase the recordings of Gardiner and Hogwood as well as Malcolm Bilson. To each his own. However, why can't there be a current recording played in the traditional manner of Artur Schnabel, Alfred Brendel, Carlos Kleiber, George Szell, Herbert von Karajan etc.? The changes that were made to instruments during the early 19th century were all met enthusiastically by the composers of the time. The valves that were added to trumpets and french horns, the double escapement and metal soundboards added to the pianos - all of these innovations were welcomed and exploited by Liszt and others. Nowadays, the scholarly elite have seemed to determine that 19th century composers were all set in their ways and that they only intended their music to be performed as it was first performed. Why not rid modern concert halls of electricity and modern day plumbing? Why not require the classical listener to arrive to a performance in a horse-drawn carriage? What a ludicrous and intolerant way of thinking!!!!

This is really a great performance! Beethoven and Chailly: two Masters!