Yoav Talmi ,Oslo Philharmonic,Chandos LP. Includes the Caragan version of the finale. I'm a true believer in this controversial completion. Daniel Barenboim conducting the Berlin Philharmonic Orchestra, 1997 (using a pre-publ. Carragan ed.) - Teldec CD 3984 21485-2

Järvi offers an extremely beautiful performance, responsively played and, most crucially, sensitive to key transitions. There are many subtleties, while the finale’s angrily strutting second set will have your woofers quaking. Incidentally, in Järvi’s Adagio those hymn-like string chords are mightily sonorous and the no-holds-barred climax – with percussion this time – is extremely effective though the ritardando 'in' is perhaps a mite excessive. Claudio Abbado, VPO. Decca. I haven't heard his DG remake with the same orchestra, but this is the version I got to know this puzzlingly neglected symphony. I have a special fondness for symphonies 4 and 7, which receive most airplay in my listening room. But I enjoy the 5th and 8th greatly, too. The 9th proves in a class by itself.Wildner’s conviction is immediately apparent in the first movement: Listen as he builds the opening’s two great climaxes with arresting force, then infuses the following lyrical second subject with an ingratiating warmth. Fine as the first movement is, it’s actually the Adagio and Finale that benefit most from Wildner’s probing conducting, as both movements sound with a rare formal coherence married to dramatic impact. As a bonus, the first disc of this double set also includes the composer’s intermediate version (1876) of the Adagio. Georg Tintner, CM (22 May 1917–2 October 1999) was an Austrian conductor whose career was principally in New Zealand, Australia, and Canada. Although best known as a conductor, he was also a composer (he considered himself a composer who conducted).

As a child he was a singer in the Vienna Boys' Choir, the first Jew ever to be accepted; [1] at that time the choir was directed by Franz Schalk. At the Vienna State Academy he studied composition with Joseph Marx and conducting with Felix Weingartner. Soon he was assistant conductor of the Vienna Volksoper. Klemperer,New Philharmonia,EMI. The version I learned this great symphony on, and I became so accustomed to its very broad tempi other performances sounded too fast to me, but I've since gotten accustomed to them.

The latest in this line, or so it would seem, is Georg Tintner, well known in New Zealand and in Canada (where he has worked a good deal with the National Youth Orchestra), but scarcely heard of elsewhere. I'm least familiar with 5 but rather like Wand/NDRSO and posting this reminds me that I'm overdue for another go, perhaps with Skrowaczewski/SRSO this time, which I don't think I've heard since shortly after I bought it! 6--Horst Stein & the WP; 7--HvK BP or WP; 8-HvK/WP (Boulez is overdue for re-evaluation, however); 9--Giulini/WP. What's appealing about the 'full monty' is the feeling it gives of the symphony's Schubertian pedigree: heavenly length joining hands with a deep sense of melancholy and melodic Angst. For the performance of 1876, the inner movements were not altered, the violin solo in the Adagio was kept, and the internal Scherzo repeats remained cancelled. In the first movement, a cut was made in the coda. In the Finale, the fantasy on the second theme following the “Neuer Satz” was made more concise, a cut was also made in the coda, the peroration was recomposed and the additional trombone was removed. [9] Second Version, 1877 [ edit ] The score calls for a pair each of flutes, oboes, clarinets, bassoons, four horns, two trumpets, three trombones, timpani, and strings.