If you would believe the big words of Maestro Celibidache the Record or CD is the destruction of the music - because she can be not authentic honest acoustic space she could never solve the emotions a live concert offers then there are two answers: He was right and wrong at the same time.

This release is the continuation of the Wiener Symphoniker's Road to Beethoven project, an undertaking in preparation of the 250th anniversary of the birth of the Viennese by choice and patriarch of classical music in 2020. Following the huge success of the respective releases of the cycle so far, the expectations are high indeed. The third part featuring Symphonies No. 2 and 7 received numerous accolades and ranked high in the annual best lists of international critics. The German classical music magazine Concerti, for instance, praised: "There, Philippe Jordan with the Wiener Symphoniker succeeded in creating something amazing: The symbiosis of the fine Viennese sound and the directness and transparency of historical performance practice, dynamically flexible and driven by emphasis." The Wiener Symphoniker wrote music history with the premieres of works by Bruckner, Ravel and Sch�nberg. Under the direction of such illustrious conductors as Wilhelm Furtw�ngler, Herbert von Karajan, Carlo Maria Giulini or Georges Pr�tre, it gained worldwide fame for it's Viennese sound style. In light of this more than hundred-year magnificent history, it is all the more astonishing that the Orchestra has never so far recorded Beethoven's nine symphonies, which are often described as the peak of the symphonic repertoire. This gap in the Orchestra's discography has been in the process of being closed since autumn 2017: The Orchestra is releasing all nine symphonies of the great Viennese by choice at half-yearly intervals on a total of five albums. The whole cycle will then be available on the 250th anniversary of Beethoven's birth in 2020. They were recorded live under the direction of Music Director Philippe Jordan in the Golden Hall of the Musikverein during an acclaimed cycle in spring/summer 2017.

For the first time in their history, the Wiener Symphoniker will release a complete Beethoven symphonies cycle. The Wiener Symphoniker wrote music history with the first performances of works by Bruckner, Ravel and Schoenberg. And under the baton of such illustrious music directors as Wilhelm Furtwängler, Herbert von Karajan, Carlo Maria Giulini or Georges Prêtre they acquired worldwide fame for their unique Viennese sound. Considering its rich, more than a century long history, it comes as a surprise that the orchestra has never before recorded a full cycle of the nine symphonies by Ludwig van Beethoven which are widely considered to constitute the apex of the symphonic repertoire. This shortcoming is about to be remedied: Starting in autumn 2017, the Wiener Symphoniker will release the full cycle on 5 albums. With a new release of the series to be issued every 6 months, the full cycle will be completed just in time for the 250th anniversary of the birth of Beethoven in 2020. The symphonies were recorded live during a critically acclaimed concert cycle in Spring/Summer 2017 in the Great Hall of the Musikverein Wien. At these concerts, the international press specifically praised Jordan’s approach to combining a traditional Viennese sound with a more contemporary, slimmed down interpretation of the material, original tempi and insights from the historically informed performance practice. Through a close reading of the score and by focusing on the content of the works, Jordan aimed to create – in his words – a “more natural, direct, humanised“ image of the famous composer.

Manfred Honeck leads the prestigious Wiener Symphoniker on a musical journey through Austria on this release. For more than 40 years the Wiener Symphoniker's traditional "Springtime in Vienna" concert has been one of the great highlights of the Austrian capital's musical calendar. Broadcasted on live TV, featuring renowned conductors and a bouquet of spirited melodies, teh orchestra has drive out the winter and rang in the arrival of the new, spring season. For the first time ever, the 2016 edition, conducted by one of Austria's greatest present-day conductors, Manfred Honeck, has been recorded and will be released worldwide. This album contains a colorful program, including the Third Movement from Beethoven's Pastoral as well as special "delicacies" from Max Schronerr, Carl Michael Ziehrer and excerpts from Richard Strauss' rarely performed ballet "Schlagobers".

The label of "Wiener Symphoniker" releases another memorable recording as a double CD with Gustav Mahler's Symphony No. 6 in a minor. Recorded under the direction of Chief conductor Fabio Luisi, this suspense filled live recording from 2011 focuses on the movement order authorized by Mahler himself first the Andante and then the scherzo.

New on Wiener Symphoniker this release comprises Schubert’s two greatest and much loved symphonies: Nos 8 and 9. It is worth pointing out that the cover of this release describes the symphonies as No. 7 Unfinished and No. 8 The Great using the numbering of the revised Deutsch catalogue and the Neue Schubert-Ausgabe (New Schubert Edition) complete catalogue of works mainly used today in Austria and Germany.

With regard to the universally esteemed Symphony No. 8 Unfinished its history continues to be a matter of much debate. Schubert authority Nikolaus Harnoncourt recognises the symphony was intended as a four movement score although he is convinced there must have been a point when Schubert decided the two completed movements were perfect on their own. In the first movement Allegro moderato chief conductor Philippe Jordan ushers the listener into Schubert’s enthralling and dramatic sound-world with a reading that maintains a remarkable inner tension. Marked in the Andante con moto is the bitter-sweet quality of drama and breathtaking allure that Jordan imparts. The woodwind playing is top drawer.

Harnoncourt firmly believes that the ‘Great’ C Major is “a colossal edifice in which Schubert remakes the symphony … anyone who has experienced this masterpiece is no longer the same as before.” Schubert’s final symphony is a work the composer described in his personal letters as “a grand symphony.” Here maestro Jordan gives a disarming reading that in turn combines magnificent drama and deep compassion. It is hard to ignore the Beethovenian/Wagnerian influence on the opening horn calls. The resolute playing of the expansive opening movement is tinged with a dark hue. Jordan excels in the Andante con moto maintaining an exemplary pulse throughout. I savour the encounter between the primarily pastoral quality of the fresh outdoors and the dramatic squally extremes. The dignified march theme on the oboe is a highlight. The spirited dance melodies of the Scherzo receive polished playing and resolute bite. Jordan exercises judicious control of the bold and courageous Finale: Allegro Vivace a movement full of colourful incident that feels both compelling and expressive.

Despite its excellence this Wiener Symphoniker coupling has to compete with a wealth of rival accounts. My first choice recording for the Unfinished is from the Berliner Philharmoniker under Günter Wand: raptly beautiful playing engages the listener from start to finish. Wand was recorded live in 1995 from the Philharmonie, Berlin on RCA Victor Red Seal. My single standout recording of the ‘Great’ C Major is from Claudio Abbado with the Orchestra Mozart assembled at live concerts in 2011 at Bologna Auditorium Manzoni and Bolzano Auditorium, Italy. Recently released Abbado’s captivating DG account with a wealth of orchestral detail is quite superbly played and recorded.

On the other hand it may be more sensible to buy a complete set of the Schubert symphonies. Although the competition is extremely fierce I can suggest four recommendable boxes. My first choice is conducted by Karl Böhm and the Berliner Philharmoniker recorded in 1963/71 in the exceptional acoustic of Jesus-Christus-Kirche, Berlin. As a Schubert conductor Böhm has few peers. He conducts typically warm and polished performances on Deutsche Grammophon. On Decca there is an excellently played and recorded set from István Kertész and the Wiener Philharmoniker recorded in 1963/71 at the Sofiensaal, Vienna.

There is a quite outstanding set from the Berliner Philharmoniker under Harnoncourt recorded live in 2003/06 at Philharmonie, Berlin on the orchestra’s own label. Harnoncourt has made lengthy and serious study of Schubert’s manuscripts removing the unauthentic revisions that have become part and parcel of the scores. From start to finish the well prepared Berliner Philharmoniker plays magnificently with a sense of spontaneity that carries the listener along on an enthralling journey. Rather under the radar but well worth investigating is the impressive 2013 release conducted by Lorin Maazel with the Symphonieorchester des Bayerischen Rundfunks. All the symphonies were recorded live by them in 2001 at the Prinzregententheater, Munich and after a decade have finally been issued on BR-Klassik.

Returning to this Wiener Symphoniker release, the recording engineers can be congratulated for a satisfying sound quality that is especially clear and well balanced. Jordan draws expressive yet firmly controlled playing from his Vienna orchestra. The tempi, rhythm, phrasing and dynamics are shaped into one impressive whole. This is an engaging CD that will grace any serious collection.

- Michael Cookson, MusicWeb International

A paradigmatic example of the Wiener Symphoniker's core repertoire, Mahler's First Symphony in D major was written only four years before the orchestra was founded in 1900. Not surprisingly, Mahler's symphonies and their interpretational challenges were among the main intersts of the orchestra and it's many renowned conductors from the very beginning. Above that Mahler's Symphony No. 1, being the first oeuvre of a Vienna revolutionary, is more sutable for the start of this new Vienna Orchestra label.

After the critically acclaimed recording of Beethoven's nine symphonies, the Wiener Symphoniker present now under the direction of their outgoing Music Director Philippe Jordan another cyclical recording: The Symphonies by Johannes Brahms. It had taken 14 years of preparatory work before Brahms ventured to complete his First Symphony in 1876. The four symphonies that emerged in the following decade are not only touching measurements of the human soul's landscape but also the central creative legacy of the great romantic composer. All four symphonies were recorded live in the Golden Hall of the Wiener Musikverein in autumn 2019 – a hall that arguably meets the tonal requirements of the works like no other. After all two of the four symphonies had been premiered here while the other two had been performed here for the first time in Austria. This latest production by the Wiener Symphoniker marks the end of Philippe Jordan's tenure as Music Director of the traditional Viennese orchestra but also represents the culmination of their internationally celebrated artistic collaboration. With the new publication, the Wiener Symphoniker are presenting the twenty-first release on their eponymous label founded in 2012.

The four releases in the Wiener Symphoniker's first full recorded Beethoven's symphony cycle met with universal acclaim from critics and audiences alike. Now the fifth part, in the form of the Symphony No. 9, is being released. The album is part of the Wiener Symphoniker's Road to Beethoven, a project to prepare for the year 2020, the 250th anniversary of the composer, a towering father-figure for classical music. With this new release, the Wiener Symphoniker are hoping to follow up on the great success of their four albums in the cycle. Both the first release with Symphonies Nos. 1 and 3 and the second with Nos. 4 and 5 have been picked as "album of the month" by various international music magazines. The latest release Nos. 6 and 8 was awarded in France for Troph�es Classique Radio. Based on these releases, the British Gramophone magazine nominated the orchestra for "Orchestra of the Year 2018". In particular, the magazine praised Jordan's approach of combining the classic Viennese sound with a more modern, leaner interpretation, original tempos and insights from historically informed performance. For Jordan, the content of the music was paramount. His goal was not to revere Beethoven as a monument but rather to present him in a more "natural, direct and personal" way.