Peep Show From No. 9 2004 in Pdf

This DVD presents Seiji Ozawa conducting two great choral masterpieces, beloved by audiences around the world. Orff's Carmina Burana, boisterous and lyrical, sets medieval songs in a celebration of life's pleasures. Beethoven's monumental Ninth Symphony, concludes with the uplifting 'Ode to Joy', a timeless plea for universal brotherhood.

Judged on the musicality and style of the performance, Kurt Masur's live 1981 reading of Ludwig van Beethoven's Symphony No. 9 is comparable with many mainstream interpretations of its time, and may be regarded as a reasonable choice among the affordable CDs put out by Berlin Classics. Masur and the Leipzig Gewandhaus Orchestra are certainly at home in this symphony, and the interpretation and the execution are well-matched. For historical value, this recording is significant for marking the opening of the new Gewandhaus hall, which Masur was instrumental in planning since he began his tenure in 1970.

The "Great" C major Symphony was the last symphony that Schubert composed – a “Finished” to follow his "Unfinished", the first two movements of which he had just completed before discontinuing work on it (for reasons unknown). Schubert began this composition in August 1824, or possibly even as late as March 1825. Most of the work on it took place in the summer of 1825, during the longest journey of his life. It took him from Vienna via Linz, Steyr, Gmunden (where he found the scenery "truly heavenly"), Salzburg and then up to Bad Gastein, where he saw some magnificent alpine peaks. The first page of the score manuscript is dated "March 1828" – possibly the month in which he finally completed the work.

The one drawback of live albums is that the listener is left on their own to visualize what is happening on the stage. For most pop/rock recordings this is not a serious detriment. But for a highly stylized and theatrical show such as Sarah Brightman's Harem World Tour: Live From Las Vegas, the music and visuals go hand-in-hand and this edited CD version of the program lacks the impact felt by the enthusiastic live audience. With applause heard within instrumental passages, including the elongated opening, it leaves a listener puzzled as to what is happening.

The one drawback of live albums is that the listener is left on their own to visualize what is happening on the stage. For most pop/rock recordings this is not a serious detriment. But for a highly stylized and theatrical show such as Sarah Brightman's Harem World Tour: Live From Las Vegas, the music and visuals go hand-in-hand and this edited CD version of the program lacks the impact felt by the enthusiastic live audience. With applause heard within instrumental passages, including the elongated opening, it leaves a listener puzzled as to what is happening.