Ozawa BSO/Phillips M9 revist...

[Leo K]

I have returned to the Ozawa M9/BSO/Phillips twice this week, and I'm again impressed with the lyrical beauty of the BSO, and how Ozawa is control of every measure, not overemphisizing the drama, but patiently letting the M9 reveal itself in all its paradoxes.  Indeed, Ozawa has a special approach to this work that I haven't heard elsewhere, although Olson and de Waart come to mind (yet the BSO cannot be beat).  I love Ozawa's planning and patience...the result is lyrical and alive.  This is a new way in hearing this score for me, and I'm just bowled over by the accumulating details and execution.

Bravo all around!

Here is what John Kim has written about this recording...(hope you don't mind John!):

"Ozawa  recorded the work twice [commerically], once with BSO (Philips) the second with Saito Kinen Orch. (Sony). Both are excellent; his trademarks in this symphony are crisp, elegant and alert playing, clear delination of many polyphonic lines, a unique structure in which the 1st movt climaxes are a bit scaled down (purposefully) compared to the slow but intense passages and the finale's climax that is perfectly balanced against the rest of the movt. In fact, under Ozawa the Finale sounds just right, neither too short nor long (26 min), achieving a rare sense proportion and architecture. No that he lacks passion and ardor; they are there when required. David Hurwitz said he had never heard a better orchestral playing in this piece when Ozawa & BSO toured and played the symphony in NY. The Sony recording boasts the same features but the playing of the Japanese orch. isn't at the same level as BSO. The Philips CD is available only in the complete cycle set."

--Todd

[John Kim]

Todd,

Thanks for your report and posting mine 

I am glad you became to notice the strengths of this recording.

This M9th has stood the test of time really well. I still like the way Ozawa lays out the vast first movt., the way he builds up the climaxes which is quite unique, and the way he proportions the finale. It is very special indeed.

Best,

John,

[John Kim]

IMO, Ozawa has the BEST middle section in I. between the second and third climaxes, especially where the whole orchestra plays an intense passage based on variations of the second theme. No other conductor came close in terms of the intensity, the tragic feeling, and majesty.

John,