Beethoven: Symphonies No 9 "Chorale"
指挥 ：Furtwangler
乐团 ：Bayreuth Festival Orchestra &
Chorus
演唱 ：Brouwenstjin,Malaniuk,Windgassen,Weber
录音日期 ：1954.8.8 Bayreuth
CD编号 ：ARPCD 0309
指挥 ：Furtwangler
乐团 ：Bayreuth Festival Orchestra &
Chorus
演唱 ：Brouwenstjin,Malaniuk,Windgassen,Weber
录音日期 ：1954.8.8 Bayreuth
CD编号 ：ARPCD 0309
指挥 ：Furtwangler
乐团 ：Bayreuth Festival Orchestra &
Chorus
演唱 ：Brouwenstjin,Malaniuk,Windgassen,Weber
录音日期 ：1954.8.8 Bayreuth
CD编号 ：ARPCD 0309
据资料记载富特文格勒1942.4.19日在柏林演出了“黑色贝九”之后的一连几天一直在维也纳率WPO演出贝九，其中的一些演出或许曾经留下录音，或许将来的某一天会发行，但就现在而言，尽管WPO的过度沉稳和作品不大契合，这张唱片仍是现存的所有WPO贝九中最佳的一场演出。
指挥：Karl Böhm
演奏：Wiener Philharmoniker
演唱：Jessye Norman, Brigitte Fassbaender, Placido Domingo,
Walter Berry, et al.
合唱团：Konzertvereinigung Wiener Staatsopernchor
录音：Wien, 11/1980
CD编号：Deutsche G 445 503-2
资源出处：my own cd
专辑中文名: 贝多芬交响曲全集
艺术家: Furtwangler
资源格式: APE
版本: EMI
References
发行时间: 1990年
地区: 德国
语言: 德语
指挥： Wilhelm Furtwängler
演出乐团： Bayreuth Festival Orchestra
演唱：
Elisabeth Schwarzkopf
Elisabeth Höngen
Hans Hopf
Otto Edelman
合唱团： Bayreuth Festival Chorus
演出地点： Festspielhaus, Bayreuth
录音日期： 29th Jul. 1951
CD编号： NAXOS HISTORICAL 8.111060
资源出处(Credit)： 原发
1951年7月29日，拜罗伊特音乐节重新开幕，富特文格勒在开幕庆典上指挥演出了贝多芬的《第九号交响曲》并留下一份传奇录音—她被形容为“世纪的绝响”，“空前绝后”......“拜罗伊特贝九”也从此成为了她的特定符码。人们似乎都淡忘了另外两场出色的，足以和“世纪献演”分庭抗礼的演出：1951年1月7日和1951年8月31日的《第九号交响曲》，演出乐团都是维也纳爱乐乐团。
指挥：Wilhelm Furtwängler
演出乐团：Wiener Philharmoniker
演唱：
Irmgard Seefried
Sieglinde Wagner
Anton Dermota
Josef Greindl
合唱团： Wiener Singakademie
演出地点：Festspielhaus, Salzburg(萨尔兹堡节日音乐大厅)
录音日期：31st Aug. 1951
CD编号：Orfeo C 533 001 B
资源出处(Credit)：原发
还有若干知名版本：
著名的所谓“黑色”《贝9》，到目前为止唯一的一个版本，Achipel。
《The Devil's Music Master - The Controversial Life And Career of
Wilhelm Furtwangler》一书，其中的一个章节的标题就是"The Devil's
Birthday"，在第279页源引Hitler在1942年4月30日晚餐上的原话，他是这样描述我们心中的大师富特文格勒：
Great conductors are as important as
great singers. Had there been a sufficiency of good conductors
during the time of the Weimar Republic, we should have been saved
the ridiculous spectacle of the rise to eminence of a man like
Bruno Walter, who in Vienna was regarded as a complete nonentity.
It was the Jewish press of Munich, which was echoed by its Viennese
counterpart, that drew attention to the man and suddenly proclaimed
him to be the greatest conductor in Germany. But the last laugh was
against Vienna; for when he was engaged as conductor of the superb
Viennese orchertra, all he could produce was beer-hall music. He
was dismissed, of course, and with his dismissal Vienna began to
realize what a dearth there was of good conductors, and sent for
Knappertsbusch.
He with his blond hair and blue eyes, was certainly a German, but
unforunately he believed that, even with no ear, he could, with his
temperament, still produce good music. To attend the Opera when he
was conducting was a real penance; the orchestra played too loud,
the violins were blanketed by the brass, and the voices of the
singers were stifled. Instead of melody one was treated to a series
of intermittent shrieks, and the wretched soloists looked just like
a lot of tadpoles, the conductor himself indulged in such an
extravaganza of gesture that was better to aviod looking at him at
all.
The only conductor whose gestures do not appear ridiculous is
Furtwangler. His movements are inspired from the depths of his
beings. In spite of the meagre financial support he received, he
succeeded in turning the Berlin Philharmonic into an ensemble far
superior to that of Vienna, and that is greatly to his
credit.