Beethoven Complete Symphonies 2 / Symphony 2 Op 36

On this CD:

1. Symphony No. 2 in D major, Op. 36
Composed by Ludwig van Beethoven
Performed by Concertgebouw Orchestra Amsterdam
Conducted by Willem Mengelberg

2. Symphony No. 7 in A major, Op. 92
Composed by Ludwig van Beethoven
Performed by Concertgebouw Orchestra Amsterdam
Conducted by Willem Mengelberg

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Andante Cantabile Con Moto
III: Menuetto & Trio: Allegro Molto E Vivace
IV: Adagio - Allegro Molto E Vivace
I: Allegro Ma Non Troppo
II: Andante Molto Mosso
III: Allegro - In Tempo D'allegro - Tempo I
IV: Allegro
V: Allegretto

Tracks:

I: Allegro Con Brio
II: Marcia Funebre: Adagio Assai
III: Scherzo & Trio: Allegro Vivace
IV: Finale: Allegro Molto - Poco Andante - Presto
Gross Fuge

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Larghetto
III: Scherzo & Trio: Allegro
IV: Allegro Molto
I: Allegro Con Brio
II: Andante Con Moto - Piu Mosso - Tempo I
III: Allegro -
IV: Allegro - Presto

Tracks:

I: Adagio - Allegro Vivace
II: Adagio
III: Menuetto: Allegro Vivace - Trio: Un Poco Meno Allegro
IV: Allegro Ma Non Troppo
I: Poco Sostenuto - Vivace
II: Allegretto
III: Presto - Assai Meno Presto
IV: Allegro Con Brio

Tracks:

I: Allegro Vivace Con Brio
II: Allegretto Scherzando
III: Tempo Di Menuetto
IV: Allegro Vivace
Overture
Overture
Overture
Overture

Tracks:

I: Allegro Non Troppo, Un Poco Maestoso - Christa Ludwig
II: Molto Vivace - Presto - Christa Ludwig
III: Adagio Molto E Cantabile - Andante Moderato - Christa Ludwig
IV: Presto - Recitativo - Allegro Assai - Alla Marcia - Christa Ludwig
Overture - Christa Ludwig

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro Scherzando
I: Allegro Con Brio
II: Adagio
III: Rondo: Molto Allegro

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro
I: Allegro Moderato
II: Andante Con Moto
III: Rondo: Vivace

Tracks:

Fantasia For Piano, Chorus And Orchestra
I: Allegro
II: Adagio Un Poco Mosso -
III: Rondo: Allegro

Amazon.com essential recording

Otto Klemperer's Beethoven is one of the towering achievements in the history of recordings. By today's standards, these performances are hopelessly old-fashioned: dark, heavy, and frequently very slow. But they are also the grandest, most unsentimental, most purposeful versions in the catalog. In addition, the relatively slow tempos (only in the fast movements--the slow ones are pretty swift) and forward wind balance permit more detail to be heard than in most original-instrument performances. At budget price and with the entire piano concerto cycle thrown in for good measure, this is greatness incarnate. --David Hurwitz

Customer Reviews:

Great Performance.......2007-07-07

There are many different ways to perform Beethoven and each one is valid.
If you like it fast - go to Toscanini or Norrington. If you prefer slow, powerful and majestic, this is your set. Towards the end of his distinguished career, the great Otto Klemperer set down his final views of the performance of these symphonnies. The set is a coherent whole and will give great pleasure for ever. The challenging mix of the young Barenboim and the aged Klemperer worked surprisingly well and thus the concertos may also be recommended. There are odd additional items which add to the pleasure. Finally do not forget to purchase his memorable set of 'Fidelio' to complete your traversal of a great conductor giving great performances of a composer that he loved. Finally the price is ridiculously low and provides quality and quantity at a great price. Thus you should be able to buy the opera set from the savings made!

Great Analog Beethoven Cycle.......2007-05-07

This Klemperer cycle is just one of a dozen or so GREAT analog Beethoven symphony cycles that were recorded during Analog's golden age starting about 1958. These cycles are easily a match for digital and they should still be around for another 1,000 years, if the Lord tarries. These sets include: Karajan (twice, early 60s and late 70s) Bohm, Krips, Jochum, Bruno Walter, Leinsdorf, Rene Leibowitz, Szell, Ormandy, Bernstein, Steinberg, and Solti. This morning I listened to the Klemperer recordings of Beethoven's symphonies 5, 6, & 7. Very enjoyable, I got my Beethoven RDA fix.

Of all these Analog sets, I most enjoy the Leibowitz Spring 1961 cycle with the Royal Philharmonic. I have this cycle on an audiophile early 90s European import Edition Phoenix label special pressing "on extra virgin vinyl." These are by far the best analog symphonic lps I have ever heard from a recording standpoint. BY FAR! And they will rock your house.

You can almost justify Karajan's 4 recorded Beethoven cycles and one video based upon improvements in recording technology. Thru Rhapsody, I have listened to his mid 50s cycle and the orchestra sounds great, but the recording quality is sub par compared to Analog's golden age. So the rational for 4 cycles would be, (1) recent great improvements in recording technology (early 60s), (2) it has been 15 years and he has grown as an artist (late 70s), (3) we now have digital! Let's do one of the first Beethoven digital cycles (80s).

Klemperer is a no-brainer. I do not have to think twice about plopping one of his lps onto my turntable or hitting the play button at Rhapsody. When the music starts, the listening pleasure begins. Don't miss his Bruckner symphony recordings!

An essential collection.......2007-04-25

How best to describe Otto Klemperer's perspective on Beethoven's symphonies: grand, heroic, intense, insightful, stubborn, obstinate, detailed, dramatic, monumental, granitic, deeply emotional, never sentimental. This boxed set of the complete symphonies and concerti embodies all of these elements as stands as one of the great achievements of recorded music.

These performances were recorded with the Philharmonia Orchestra at its peak, in the sumptuous acoustics of Kingsway Hall in London and in fine and detailed sound, and mostly in the mid-1950's during one of the brief charmed periods of Klemperer's life. EMI's impresario Walter Legge had made him permanent conductor of the Philharmonia, and when Klemperer embarked on this project in his 70's, he was in relatively good mental and physical health (Klemperer could show symptoms of manic depression and survived many health crises - brain tumor, broken bones, paralysis - which would have stopped most people).

By this time Klemperer had slowed the tempi of the fast movements of the Beethoven symphonies (listen to his early 1950's recordings of the 5th and 6th on Vox to hear by how much). This tendency is more pronounced in these studio recordings than in the live performances which were recorded during that era. The slowness is mostly saved by Klemperer's use of "sprung" rhythms, which keep the slow tempi from feeling laggardly.

Klemperer's earliest recordings in this series - symphonies 3, 5 and 7 - predate stereo and were recorded in excellent monaural sound. He rerecorded all three of these symphonies in stereo, but those recordings were made after he burned himself by falling asleep while smoking in bed. All three performances feature slower tempi than the earlier ones (whether this was the conductor's preference or the result of physical incapacity is open to conjecture). In particular, the rerecorded 7th suffered from lax phrasing, inattentiveness and perverse tempi. That is NOT the version contained in this set: fortunately, EMI had simultaneously recorded the earlier version of the 7th in "experimental" stereo, and it is that earlier version which is released here (and in remarkably good stereo). The versions of the 3rd and 5th are the rerecorded stereo ones.

You will find no finer studio versions of the 2nd, 4th, 6th, 7th or 8th. All are insightful, beautifully detailed and powerful. The 2nd clearly looks forward to the 3rd and not back toward Hayden, the 4th is boisterous and vital, the 6th bucolic and sumptuous (not a quality normally associated with Klemperer), the 7th gains in drama what it loses in swiftness and lightness, and in the 8th in particular we see the conductor's empathy to Beethoven's sense of humor. Klemperer had a deep affinity for the "Eroica", and the rerecorded version here, while slower than the 1955 recording, was dubbed by "High Fidelity"'s Harris Goldsmith (no Klemperer fan, he) as "the best Eroica going slow" and is a monumental masterpiece (the second movement is shattering). The 1st, while leisurely, is a lovingly crafted.

That leaves the 5th and 9th. There is no doubt in my mind that the earlier, mono 5th is superior to the remake in this set. We lose that sense of an inevitable onslaught, especially in the outer movements. And the 9th, while similar in conception to the live versions recorded around the same time (on Testament with the Philharmonia and on Music&Arts with the Concertgebouw), suffers from diffuse sound and occasional lack of focus. I emphasize that these recordings of both symphonies are still head and shoulders above most of the competition; we're talking about different levels of greatness here.

Are there superior Klemperer recordings of these symphonies? Yes; but all are live, and despite the relatively good reprocessed sound, they don't reveal the same level of detail that these studio recordings do. Klemperer was a very different conductor in front of an audience, and there is more vitality and drama in the live versions of the 3rd (Testament, with the Danish Symphony), 6th 7th and 8th (Music&Arts with the Concertgebouw) and the 9th (see above). Music&Arts' set of the complete symphonies, recorded live in Vienna in 1960, is long out of print and had cramped sound with poor detail - a supplement to this set, not a replacement.

As to the piano concerti: they are better than one might expect. Barenboim, although steeped in the Germanic performance tradition, is more naturally aligned with the Furtwangler and Edwin Fischer than with Klemperer. However, the two of them actually work together extremely well and this is a fine, insightful set.

Any complete cycle of Beethoven, symphonies or concerti, will have drawbacks. There will be unevenness in the performances, as there are here. But there are advantages to hearing one musician's perspective on the works, especially when (as here) the performer has depth of understanding, integrity of vision, and a structural understanding of the pieces.

The digital remastering is excellent and the sound barely shows its age. This may not be your only complete set of Beethoven's symphonies, but it should be one of them. And at a price this low, it's a bargain too.

The best value in classical music on CD at the moment..........2007-01-02

What is the best value in classical discs available today ? Who knows, but I defy anyone to beat the EMI compilation of Klemperer' recordings of the complete Beethoven Symphonies, Piano Concertos (with Barenboim), several overtures the Choral Fantasia etc etc. 9 discs for only $44 ( well that was the price I paid). You have got to be kidding... I only had two concerns with buying this. First on the age of the recordings, all more than 40 years old. No worry at all. This is a masterpiece of reconstruction. The sound quality indistinguishable from any modern recording. Secondly , the performances themselves. I had been warned that Klemperer notoriously chose rather slow tempi. Again I needn't have worried. I immediately went to the slow movements of the 2nd piano concerto and the fourth symphony, where many slow tempists have in the past come unstuck. The piano concerto was an absolute revelation. The combination of the youthful Barenboim and the Philharmonia's masterful playing time and gain had me on the edge of my seat. " Yes,go on, well...." Slow it may have been. Boring, never. The same applies in spades to the slow movement of the fourth. Right from the eerie opening, which is yes, very slow indeed, I knew this movement would be a revelation and I can honestly say I have never hear it better played. Follow this with a scherzo bounding in energy and thumping finale and you will never get a better performance of this, one of Beethoven's "lesser" symphonies. And I haven't even got round to the "biggies" yet! The box set looks unattractive and the portrait of Klemperer makes him appear a first class nerd. Pay absolutely no attention to this....

Wonderful Performances.......2006-04-07

I have admittedly not made it through the entire set as of yet, but feel sufficiently blown away by the First Symphony and the Eroica - particularly the second movement of the latter - to weigh in here. With respect to the tempo issue, I must - at least so far - argue in favor of Klemperer's decision to slow things down a bit. I think the effect is, as someone else has observed, a clearer and more visceral experience of Beethoven's composition. It brings out the feeling. The sound comes up a little short on the low end, but it isn't a major distraction. My only problem lies in EMI's inexplicable lack of any discussion of the performances. The notes are bland, dry descriptions of the pieces themselves, with some basic history thrown in. Given the fact that there are probably hundreds of different CDs of Beethoven's symphonies out there, all with similar explanatory notes, it is infuriating that nothing is said about these particular performances. This is in contrast with the EMI Bach set (with Yehudi Menuhin) in which there is a wonderful essay that discusses Menuhin's work in historical context.

Beethoven Collection: Symphonies Nos. 1-9, Complete Recording (Box Set)

Average customer rating:

Beethoven Collection
Amazing!
An excellent introduction to beethoven's symphonies.
Beethoven Collection
Top music!

Beethoven Collection: Symphonies Nos. 1-9, Complete Recording (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Classical | Box Sets | Stores | Music

25 Mozart Favorites
25 Tchaikovsky Favorites
25 Vivaldi Favorites
25 Bach Favorites
25 Beethoven Favorites

ASIN: B000001VVY
Release Date: 1990-10-25

Tracks:

Symphony No. 5 Op. 67 C Minor: Allegro con brio
Symphony No. 5 Op. 67 C Minor: Andante con motto
Symphony No. 5 Op. 67 C Minor: Scherzo - Allegro
Symphony No. 5 Op. 67 C Minor: Finale - Allegro
Symphony No. 4 Op. 60 B Flat Major: Adagio - Allegro vivace
Symphony No. 4 Op. 60 B Flat Major: Adagio
Symphony No. 4 Op. 60 B Flat Major: Menuetto, Allegro vivace Trio: un poco meno allegro
Symphony No. 4 Op. 60 B Flat Major: Allegro ma non troppo

Tracks:

Symphony No. 3 Op. 55 E Flat Major, 'Eroica': Allegro con brio
Symphony No. 3 Op. 55 E Flat Major, 'Eroica': Marcia funebre. Adagio assai
Symphony No. 3 Op. 55 E Flat Major, 'Eroica': Scherzo-Allegro vivace
Symphony No. 3 Op. 55 E Flat Major, 'Eroica': Finale-Allegro molto
Symphony No. 8 Op. 93 F Major: Allegro vivace e con brio
Symphony No. 8 Op. 93 F Major: Allegretto scherzando
Symphony No. 8 Op. 93 F Major: Tempo di menuetto
Symphony No. 8 Op. 93 F Major: Allegro vivace

Tracks:

Symphony No. 6 Op. 68 F Major: Allegro ma non troppo
Symphony No. 6 Op. 68 F Major: Andante molto mosso
Symphony No. 6 Op. 68 F Major: Allegro
Symphony No. 6 Op. 68 F Major: Allegro
Symphony No. 6 Op. 68 F Major: Allegretto
Symphony No. 2 Op. 36 D Major: Adagio molto - Allegro con brio
Symphony No. 2 Op. 36 D Major: Larghetto
Symphony No. 2 Op. 36 D Major: Scherzo Allegro
Symphony No. 2 Op. 36 D Major: Allegro molto

Tracks:

Symphony No. 7 Op. 92 A Major: Poco sostenuto - vivace
Symphony No. 7 Op. 92 A Major: Allegretto
Symphony No. 7 Op. 92 A Major: Presto - Assai meno presto
Symphony No. 7 Op. 92 A Major: Allegro con brio
Symphony No. 1 Op. 21 C Major: Adagio molto - Allegro con brio
Symphony No. 1 Op. 21 C Major: Andante cantabile con moto
Symphony No. 1 Op. 21 C Major: Menuetto (Allegro molto e vivace)
Symphony No. 1 Op. 21 C Major: Finale Adagio - Allegro molto e vivace

Tracks:

Symphony No. 9 Op. 125 In D Minor: Allegro ma non troppo, un poco maestoso - Beethoven
Symphony No. 9 Op. 125 In D Minor: Molto vivace - Beethoven
Symphony No. 9 Op. 125 In D Minor: Adagio molto e cantabile - Beethoven
Symphony No. 9 Op. 125 In D Minor: Presto - Allegro assai - Beethoven

Customer Reviews:

Beethoven Collection.......2007-05-14

I just got this for my brother-in-law as a gift and he loves it!

Amazing!.......2007-01-24

Having Beethoven's Symphonies in one, very affordable, set is heaven! The recordings are clear and crisp. Each symphony is truly a masterpiece from the very soft tones of the woodwinds to the thundering sounds of horns. It is amazing to listen to certain passages of Beethoven and realize the genius and otherworldliness of his talent.

An excellent introduction to beethoven's symphonies........2007-01-11

The sound is excellent, and the musicianship and conducting is excellent.

Beethoven Collection.......2006-07-23

Beethoven is my favorite composer. No matter how upset or tired I am, his music calms me down, just like a big, gentle hug.
But the cheap CDs have poor quality. And the good ones are too expensive for me. When I found this collection, with such a good price on Amazon.com, I couldn't believe it. Shortly after I purchased it, I received it. The quality is great. I am enjoying it. Thank you

Hoda

Top music!.......2006-07-19

Everything else you can get over, but classical music like Beethoven is stuff you just can't get sick of. A whole collection of Beethoven's Symphonies for such a small price, Wow!. Classical music is so relaxing and peaceful that you can't go wrong with spending time chillin out to this pure classic. The symphonies are great but after this you've got to go get the sonata's etc and I guarantee you won't be dissapointed!

Think about it, they don't call it classical for nothing.

Average customer rating:

Beethoven, Muti, And Philadelphia
Nice.
I'm happy with choosing this set
Disappointing Beethoven from a conductor I usually like
Incomparable! Bring on 10 stars!

Beethoven: Complete Symphonies

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Beethoven: Complete Piano Sonatas / Daniel Barenboim
Brahms: Complete Symphonies
Complete Symphonies (Box)
Beethoven: Complete symphonies
Symphonie Fantastique

ASIN: B00000C2KJ
Release Date: 1998-11-03

Tracks:

Symphony No.5 In C Minor, Op.67: I. Allegro con brio
Symphony No.5 In C Minor, Op.67: II. Andante con moto
Symphony No.5 In C Minor, Op.67: III. Allegro
Symphony No.5 In C Minor, Op.67: IV. Allegro - Presto
Symphony No. 1 In C Major, Op.21: I. Adagio molto - Allegro con brio
Symphony No. 1 In C Major, Op.21: II. Andante cantabile con moto
Symphony No. 1 In C Major, Op.21: III. Menuetto & Trio: Allegro molto e vivace
Symphony No. 1 In C Major, Op.21: IV. Adagio - Allegro molto e vivace

Tracks:

Symphony No. 2 In D Minor, Op 36: 1. Adagio molto-Allegro con brio
Symphony No. 2 In D Minor, Op 36: II. Larghetto
Symphony No. 2 In D Minor, Op 36: III. Scherzo & Trio: Allegro
Symphony No. 2 In D Minor, Op 36: IV. Allegro molto
Symphony No.4 In B Flat Major, Op 60: I. Adagio - Allegro vivace
Symphony No.4 In B Flat Major, Op 60: II. Adagio
Symphony No.4 In B Flat Major, Op 60: III. Menuetto: Allegro vivace - Trio: Un poco meno allegro
Symphony No.4 In B Flat Major, Op 60: IV. Allegro ma non troppo

Tracks:

Symphony No.3 In E Flat Major, Op.55 'Eroica': I. Allegro con brio
Symphony No.3 In E Flat Major, Op.55 'Eroica': II. Marcia funebre: Adagio assai
Symphony No.3 In E Flat Major, Op.55 'Eroica': III. Scherzo & Trio: Allegro vivace
Symphony No.3 In E Flat Major, Op.55 'Eroica': IV. Finale: Allegro molto - Poco andante - Presto
Overture: Fidelio, Op.72b
Overture: Die Weihe des Hauses, Op.124

Tracks:

Symphony No.6 In F Major, Op.68 'Pastoral': I. Allegro ma non troppo - Beethoven
Symphony No.6 In F Major, Op.68 'Pastoral': II. Andant molto mosso - Scene By The Brook - Beethoven
Symphony No.6 In F Major, Op.68 'Pastoral': III. Allegro - Merry Gathering Of The Country Folk - Beethoven
Symphony No.6 In F Major, Op.68 'Pastoral': IV. Allegro - Storm And Tempest - Beethoven
Symphony No.6 In F Major, Op.68 'Pastoral': V. Allegretto - Shepherds' Song. Happy And Thakful Feelings After The Storm - Beethoven
Overture: Leonore NO.3, Op.72a - Beethoven

Tracks:

Symphony No.7, A Major, Op.92: I. Poco sostenuto - Vivace
Symphony No.7, A Major, Op.92: II. Allegretto
Symphony No.7, A Major, Op.92: III. Presto - Assai meno presto
Symphony No.7, A Major, Op.92: IV. Allegro con brio
Symphony No. 8 In F Major, Op.93: I. Allegro vivace e con brio
Symphony No. 8 In F Major, Op.93: II. Allegretto scherzando
Symphony No. 8 In F Major, Op.93: III. Tempo di menuetto
Symphony No. 8 In F Major, Op.93: IV. Allegro vivace

Tracks:

Symphony No. 9 in D minor, Op. 125 - I Allegro ma non troppo, un poco maestoso - L.V. Beethoven
Symphony No. 9 in D minor, Op. 125 - __ Molto vivace - Presto - L.V. Beethoven
Symphony No. 9 in D minor, Op. 125 - III Adagio molto e Adagio molto e cantabile -- Andante moderato - L.V. Beethoven
Symphony No. 9 in D minor, Op. 125 - Presto - L.V. Beethoven

Customer Reviews:

Beethoven, Muti, And Philadelphia.......2005-12-03

The nine symphonies of Beethoven are not only a high watermark in the classical music genre, but indeed a high watermark for all of music and humanity in general. They are remarkable also for the sheer fact that Beethoven was often in poor health when he composed them, and struggling with deafness as well. From the first two symphonies, both in the Haydn/Mozart sphere, to the ground-breaking "Eroica" and moving up to the immense universes of the Ninth, Beethoven helped set the stage not only for the music of the 19th century, but also even the 20th as well.

Not surprisingly, there have been dozens upon dozens of box sets devoted to Beethoven's symphonies over the decades. But this one by the Philadelphia Orchestra under Riccardo Muti stands tall with other Beethoven sets for the way this great orchestra navigates its way through these works under the direction of a great conductor who had the unenviable task of carving out a niche for himself in Philadelphia, where the reputations of Leopold Stokowski and Eugene Ormandy still loom large.

The box set consists of:

CD-1: SYMPHONIES NOS. 5 & 1

CD-2: SYMPHONIES NOS. 2 & 4

CD-3: SYMPHONY NO. 3 (EROICA); OVERTURE TO "FIDELIO"; CONSECREATION OF THE HOUSE OVERTURE

CD-4: SYMPHONY NO. 6 (PASTORAL); LEONORA OVERTURE NO. 3

CD-5: SYMPHONIES NOS. 7 & 8

CD-6: SYMPHONY NO. 9 (CHORAL); CHERYL STUDER (soprano); DELORES ZIEGLER (mezzo-soprano); PETER SEIFFERT (tenor); JAMES MORRIS (bass); WESTMINSTER CHOIR (Joseph Flummerfelt, chorus director)

Recorded between 1985 and 1988, this box set may not enjoy the same amount of praise richly and deservedly placed on those by Solti, Karajan, Bernstein, or Szell, but the performances contained in them are very true to the composer's intentions without sacrificing spirit or orchestral texture. The 1st, 2nd, 4th, and 8th symphonies are very Classical in their performances, while nos. 3, 5, 6, & 7 are sterling examples of balancing classical structure with Romanticism. The addition of three overtures, two of them from the composer's one and only opera "Fidelio", is also welcome. And then there's the Ninth Symphony, with its immense power and the triumphal "Ode To Joy" finale, superbly pulled off by Muti and the orchestra with a distinguished quartet of vocal soloists and the Westminster Choir.

Every self-respecting music aficionado should have a Beethoven symphonic box set in their collection, and this one is a fine addition to the many great such box sets out there.

Nice........2005-11-03

It's true what most reviewers are saying about the more subtle interpretation, but I kind of like it that way. I have this box (which does have a 6 CD jewelbox-by the way) and the Solti version. While Sir Georg is my usual default, I find this one making it's way to the player more often.

I'm happy with choosing this set.......2005-02-04

I wanted to get a great recording of the Beethoven Symphonies and scoured the Internet looking for quality recordings. It came down to this set and Karajan's set, and this won due to price.

I'm aware of Karajan's set, and I'm not going to say anything bad about it. It's loud and boisterous, but just ask yourself this--would Beethoven have liked it? Of course.

Muti's interpretation is more subtle and less bombastic. If it were a flavor, it would be vanilla. But what's wrong with vanilla? Sure, the Philadelphia Orchestra is not as prestigious as Berlin or Vienna. And yes, they are playing on modern instruments, not period instruments.

But here's what you get, and here's why I think this is the best value set out there. You get all nine symphonies, plus three overtures: Fidelio, Leonore No. 3, and the Consecration of the House. The Ninth features opera star James Morris as one of the soloists and the Westminster College Choir. It's a digital recording (1986). Oh yes, and it's thirty dollars cheaper.

I actually prefer the more "classical" approach to the symphonies that Muti provides (don't worry, the Ninth is still purely Romantic). I'm sure one can find better recordings piecemeal (or perhaps collectively), but the fact remains that these recordings are very good and cannot be dismissed.

FYI-- The CDs are not in a jewel case but a cardboard box with stiff paper sleeves for each of the 6 CDs. Liner notes are good but not great.

Disappointing Beethoven from a conductor I usually like.......2003-09-02

I'm afraid I agree with the fellow who found the sound of these recordings dim--details in the strings and woodwinds remain unclear even after hours of fiddling with an equalizer. I agree that Karajan's and Toscanini's Beethoven are the pits, and I'd rather listen to Muti's Beethoven given the choice. There is no denying the beauty of the playing. Still, Muti is too much of a romantic for Beethoven--those subtle changes of tempo that are so effective and necessary in Tchaikovsky (Muti's is among the best) in Beethoven become fussy, distracting and effeminate, weakening forward momentum. I wish I liked this set--the price is certainly right--but...

Incomparable! Bring on 10 stars!.......2002-12-18

I have had this set for a month or two now and have wanted to write a review, but I have been overwhelmed by the idea of critiquing every symphony because each recording is so outstanding in its own right that I wanted to say something about each one. I realize that a few words about some of the recordings say volumes about the whole set.

First of all, one of the reviews suggested that this set was more classical in interpretation than the 'bombastic romantic' interpretations by Solti, von Karajan or Furtwangler and even Bruno Walter. Toscanini was a speed [fan] although tender moments do pop out. Another brought out his experience with all of the sets of his Beethoven recordings and tried to compare them.

I say that this set is incomparable because there is no set out there to compare it with, because the set has its bombastic moments and tender, classical moments, if you will. For instance, the larghetto movement of the second symphony, which is a struggle between major and minor melodies in only the way Beethoven could weave them. After the recapitulation of the two themes and toward the end of the movement there is an ascending melody lower strings answered in a descending theme by the violins that is so wonderfully and romantically played, the strings soar so beautifully (Muti has a way with Maestoso, such as a passage in the first movement of Tchaikovsky's sixth in a descending scale by the orchestra ) the majesty is astounding. That is not 'classical'! His recordings of the 2nd and 4th are like no others. Maestro Muti also brings out melodies that I have never heard in any other Beethoven redordings. The fifth is a marvel of invention, I know every single note of this symphony by heart and the Maestro brings out things I haven't heard before. The adagio and the finale of the seventh are so wonderful. The second and third movements are a marvel in the 9th also.l also think that the eigth is a marvel. I have heard at least 100 performances of it and non other compare. The third is also a wonder. And to have the overtures. What a wonderful bonus. I almost forgot to mention the 'Pastoral'. I had been waiting for years and years to listen a recording that matched Bruno Walter's old recording of it. The reason is the majesty of the last movement. All the recordings that I owned or listened to did not come close (maybe Ormandy did), but this one did and I am so greatful. I usually graded a Beethoven set by the sensitivity of the sixth. (I used to have several sets of Beethoven but all was lost in a fire several years ago).

I cannot end without saying something about the Philadelphia Orchestra's playing. I have said before that Maestro Muti brought a refinement to the orchestra that, I think, adds to their virtuosity. They play so powerfully as well as beautifully. The strings in the second and eigth symphonies as well as the sixth and seventh. The brass powerful yet sensitive. I guess that I could go on and on. I am an unashamed PHO lover and devotee and have been most of my life. I wish the Maestro hadn't left because Sawallisch has brought back the power without the refinement, like he is playing a piano, not a great orchestra. It is just too bad that Maestroes Muti and Ormandy didn't have the new hall to play and record in. I understand that there are also new recordings with the PHO on Deutche Gramaphon. I can hardly wait to hear them. BPO, CSO, CCO Amsterdam, VPO, yes they are great orchestras but PHO you are in your own class and always have been.

Beethoven: Complete Symphonies; Sir Simon Rattle/Vienna Philharmonic
Average customer rating:

majestic 6th

American and Britain: A Special (Inverse) Relationship?

Bad!

Look elsewhere

Simon Rattle's Beethoven, Somewhat Sloppy Playing, Weird Interpretations, Below Average Sound Quality

Beethoven: Complete Symphonies; Sir Simon Rattle/Vienna Philharmonic
Thomas Hampson , Birgit Remmert , Sir Simon Rattle , and Vienna Philharmonic Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
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The Nine Symphonies

Mahler - Symphony 10 / Berliner Philharmoniker · Rattle

Beethoven: The Complete Symphonies

ASIN: B000084T5W
Release Date: 2003-04-08

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Andante Cantabile Con Moto
III: Menuetto & Trio: Allegro Molto E Vivace
IV: Adagio - Allegro Molto E Vivace
I: Allegro Con Brio
II: Marcia Funebre: Adagio Assai
III: Scherzo & Trio: Allegro Vivace
IV: Finale: Allegro Molto - Poco Andante - Presto

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Larghetto
III: Scherzo & Trio: Allegro
IV: Allegro Molto
I: Allegro Con Brio
II: Andante Con Moto
III: Allegro
IV: Allegro - Presto

Tracks:

I: Adagio - Allegro Vivace
II: Adagio
III: Menuetto: Allegro Vivace. Trio: Un Poco Meno Allegro
IV: Allegro Ma Non Troppo
I: Allegro Ma Non Troppo (Awakening Of Happy Feelings On Arriving In The Country)
II: Andante Molto Mosso (By The Brook)
III: Allegro - Sempre Piu Stretto - In Tempo D'Allegro - Tempo I - Presto (Merry Gathering Of The Country Folk)
IV: Allegro (Thunder And Storm)
V: Allegretto (Shepherds' Song. Beneficient Feelings With Thanks To The Godhead After The Storm)

Tracks:

I: Poco Sostenuto - Vivace
II: Allegretto
III: Presto - Assai Meno Presto
IV: Allegro Con Brio
I: Allegro Vivace E Con Brio
II: Allegretto Scherzando
III: Tempo Di Menuetto
IV: Allegro Vivace

Tracks:

I: Allegro Non Troppo, Un Poco Maetoso - Barbara Bonney
II: Molto Vivace - Presto - Barbara Bonney
III: Adagio Molto E Cantabile - Andante Moderato - Tempo I - Andante Moderato - Adagio - Lo Stesso Tempo - Barbara Bonney
IV: Presto - Allegro Assai - Barbara Bonney
Presto - Recitativo - Allegro Assai - Allegro Assai Vivace (Alla Marcia) - Andante Maestoso - Adagio Ma Non Troppo Ma Divoto - Allegro Energico E Sempre Ben Marcato - Allegro Ma Non Tanto - Presto - Maestoso - Prestissimo - Barbara Bonney

Customer Reviews:

majestic 6th.......2007-06-12

Immediate caveat. I have heard only the 6th symphony from this set, and I heard it only on the car radio. But...far from being a "turkey" as one very capable reviewer called it, I would rate this as one of the greatest renditions of the 6th I have ever heard -- not only was the playing first rate, but the phrasing and somewhat measured treatment transformed my conception of the 6th from a second-rate (for Beethoven) collection of pretty melodies into a majestic statement about the human condition. So by all means take advantage of the many opportunities to hear samples for yourself before counting this set out of contention.

American and Britain: A Special (Inverse) Relationship?.......2006-07-24

I'm relatively newly initiated into the world of classical music. For the past twelve months, I've been working my way round the works that have been celebrated as masterpieces over the last four centuries or so. I rent CDs from my city library, listen to the radio, attend the occasional concert, read reviews of classic recordings on Amazon and elsewhere. I'm trying to educate myself; or, to put it more accurately, in the words of Fred Plotkin (whose books on opera and classical music I've consumed along the way, courtesy of Amazon): I'm "learning to love" this type of music. Or trying to.

Beethoven - no surprise - is proving one of the brightest of highlights.

I've listened to a number of Beethoven recordings which have received fine reviews on these and other pages. I've enjoyed some more than others; but, to be honest, I lack the musical vocabulary to articulate exactly why.

After listening to some of Karajan's Beethoven, some of Furtwängler's, some of Ashkenazy's, and more, I turned, just this morning, to Rattle's cycle.

My rating is based on just one initial hearing and I may come back to modify it. But, this is not the driving reason for my posting. My view is not significant at all; I have no deep experience, no substantive points of reference, no personal musical heritage. However, it is other thoughts made me post these comments.

I reviewed the reviews of these nine Rattle symphonies on the UK version of Amazon (co.uk) and I reviewed them on the global/US version (.com). The disparities were striking. There is a near complete polarisation. In essence: the Brits rave about this set; the American's consider it immensely disappointing.

As a newcomer I am left not knowing what to infer. Is it a simple case of national loyalty (in which the Brits rate it higher than they objective ought to because of Rattle's nationality, while the Americans lean in the opposite direction because of theirs)? Is it that US and British listeners enjoy different kinds of interpretations (e.g. are Americans perhaps more entertained by larger, more powerful, interpretations) and does this Rattle performance split the vote (note the complete difference of opinion between the two sides of the Atlantic regarding the Pastoral Symphony)? Or is it all so relative that one can never agree or disagree with anyone else's criticism (note the numerous disagreements about just about each of the nine symphonies - the "love it or hate it" positions)?

So: I give it a three. I think that's about right. It's ok: I've heard other versions that I prefer; I've heard other versions that I like less. And three is about the average review rating, once you take both the US and American views into account.

Another thought, to myself, to end with: do I (do others?) actually prefer the analysis, the discussion, the criticism, to the music? If so, is that really bad; really sad?

Bad!.......2006-06-08

What is going on? Where's all the depth of Beethoven? This is just as mediocre as Zinman's cycle, which also makes use of Del Mar.

Personally I like something between Bohm's meticulous intepretations and Karajan's free style. Rattle here is utterly unimpressive.

Look elsewhere.......2006-05-02

Of all the Beethoven cycles the Vienna Philharmonic has recorded this is surely the less well done and the less interesting. I still can?t understand why the Berlin Philharmonic elected this young and not terribly talented conductor. If you want all the symphonies in a cycle look for Harnoncourt, Blomstedt or Masur with the Gewandhaus orchestra. Leave this alone.

Simon Rattle's Beethoven, Somewhat Sloppy Playing, Weird Interpretations, Below Average Sound Quality.......2006-02-05

I really want to like Simon Rattle but many times either he or the EMI engineers make it impossible. I bought this Beethoven cycle of his two weeks ago, anticipating some interesting musical results, I popped in the 5th symphony ( a good first test ) to see if Rattle can hold his own. I didn't expect the best 5th ever, just enough for Rattle to hold up against his predecessors. As soon as I heard the first four notes, I said to myself, " Oh God, no! ". I kept listening and kept trying to remain optimistic, sadly my first impressions were all correct. First thing you'll realize, this set has sound that is quite lousy at best and absolutely detrimental to the music-making at worst. It's a sedate, opaque sound with little depth or projection and once in a while a big orchestral crash comes out of nowhere during the climaxes. As for the performances, they're not horrible. Yes the Vienna Philharmonic play in this quasi-period instrument manner for many of the symphonies and it simply is more a distraction than a sincere method of interpretation on Rattle's part.

The first two symphonies sound lifeless in this opaque sound even though Rattle finds warmth and beauty in the larghetto of number 2, the VPO seem stretched for power in the finale. Compare this to Karajan and hear the difference. Bernstein in his VPO cycle was much better than Rattle too.

The performance of the Eroica is actually good I have to admit, however Rattle's intrusive personal blemishes mar the performance. Just listen to some of the tuttis, Rattle always seems intent on emphasizing the details and not the main power of the argument. The coda in the last movement of the Eroica is curiously slow, I can't understand why. Simon's endless point making is particularly egregious in the other big finales, like the 5th symphony where the piccolo comes out of nowhere and starts screeching away over the muted orchestra and this is happening during the climax of the development section! It was very bizarre. Well, things get even crazier in the choral finale of the 9th when the chorus right at the end goes mute and the raging piccolo attacks again with brute force! The choral work right before the final prestissimo is fast but then the prestissimo itself is curiously slow, what's up with that? The male members of the chorus almost seem to be invited to shout instead of sing in several spots!

The Pastoral suffers the most from the violins playing in the vibrato-less period manner. This symphony must convey warmth to be successful. Rattle's reading is expansive but the restricted, dull sound suffocates the orchestra and the reading passes by like a funeral. It seems like Rattle understands the Pastoral but it can't be helped when recorded so poorly. The 7th symphony is also boring with a dull as hell finale. Compare this to Karajan and be amazed.

Rattle's Ninth, here the conception and execution is very much in the grand tradition. He brings in the full modern orchestra and plays his heart out. Intense first movement, a slightly slow scherzo but then a gorgeous, expansive adagio and a well sung finale barring a few bizzare touches that I mentioned above. This is a very good performance but once again the engineers at EMI are wholly at fault for their lackluster sound. Whenever I questioned whether there was something wrong with the sound or maybe I was going deaf, I simply popped in my Karajan or Bernstein versions and heard things much more clearly. A reviewer below mentioned that at times the recorded sound sounds like it is coming from an alarm clock radio and
sadly at times I have to agree. This set is in dire need of a remastering job. Hopefully those idiots at EMI come through and salvage this cycle because it's not that bad. Not great but not awful and it does offer some insights into how Rattle thinks. Just listen to the Eroica Funeral March, Rattle knows this music is grand and full of sorrow and plays it that way, not like the moronic period-instrument conductors who always set some hectic tempos for funerals!

Alas, a weird but interesting set marred by some poor engineering, too bad. Thankfully there is always Karajan to the rescue!

Complete Beethoven Edition, Vol. 1: Symphonies

Average customer rating:

Truly Powerful Accounts, Still The Best Complete Cycle You Can Buy, Remastered With Love And Care
Great music
Don't believe the critics...
The greatest composer at work.
"The Karajan Sound" doesn't work for Beethoven

Complete Beethoven Edition, Vol. 1: Symphonies
Ludwig van Beethoven , Walter Berry , Herbert von Karajan , and Berlin Philharmonic
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Janowitz, Gundula | Divas | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Complete Beethoven Edition, Vol. 4: Fidelio/Leonore

ASIN: B000001GZ4
Release Date: 1997-10-14

Tracks:

Sym No.1 in C, Op.21: 1. Adagio Molto - Allegro Con Brio
Sym No.1 in C, Op.21: 2. Andante Cantabile Con Moto
Sym No.1 in C, Op.21: 3. Menuetto. Allegro Molto E Vivace
Sym No.1 in C, Op.21: 4. Finale. Adagio - Allegro Molto E Vivace
Sym No.3 in E flat, Op.55 'Eroica': 1. Allegro Con Brio
Sym No.3 in E flat, Op.55 'Eroica': 2. Marcia Funebre. Adagio Assai
Sym No.3 in E flat, Op.55 'Eroica': 3. Scherzo. Allegro Vivace
Sym No.3 in E flat, Op.55 'Eroica': 4. Finale. Allegro Molto

Tracks:

Sym No.2 in D, Op.36: 1. Adagio Molto - Allegro Con Brio
Sym No.2 in D, Op.36: 2. Larghetto
Sym No.2 in D, Op.36: 3. Scherzo. Allegro
Sym No.2 in D, Op.36: 4. Allegro Molto
Sym No.4 in B flat, Op.60: 1. Adagio - Allegro Vivace
Sym No.4 in B flat, Op.60: 2. Adagio
Sym No.4 in B flat, Op.60: 3. Allegro Vivace
Sym No.4 in B flat, Op.60: 4. Allegro Ma Non Troppo

Tracks:

Sym No.5 in c, Op.67: 1. Allegro Con Brio
Sym No.5 in c, Op.67: 2. Andante Con Moto
Sym No.5 in c, Op.67: 3. Allegro
Sym No.5 in c, Op.67: 4. Allegro
Sym No.6 in F, Op.68 'Pastoral': 1. Awakening Of Cheerful Feelings Upon Arrival In The Country...
Sym No.6 in F, Op.68 'Pastoral': 2. Scene By The Brook (Allegro Molto Moto)
Sym No.6 in F, Op.68 'Pastoral': 3. Merry Gathering Of Country Folk (Allegro)
Sym No.6 in F, Op.68 'Pastoral': 4. Thunderstorm (Allegro)
Sym No.6 in F Op.68 'Pastoral': 5. Shepherd's Song: Happy And Thankful Feelings After The Storm...

Tracks:

Sym No.7 in A, Op.92: 1. Poco Sostenuto - Vivace
Sym No.7 in A, Op.92: 2. Allegretto
Sym No.7 in A, Op.92: 3. Presto
Sym No.7 in A, Op.92: 4. Allegro Con Brio
Sym No.8 in F, Op.93: 1. Allegro Vivace E Con Brio
Sym No.8 in F, Op.93: 2. Allegretto Scherzando
Sym No.8 in F, Op.93: 3. Tempo Di Menuetto
Sym No.8 in F, Op.93: 4. Allegro Vivace

Tracks:

'Coriolan' Ov in c, Op.62
Sym No.9 in d, Op.125: 1. Allegro Ma Non Troppo, Un Poco Maestoso
Sym No.9 in d, Op.125: 2. Molto Vivace
Sym No.9 in d, Op.125: 3. Adagio Molto E Cantabile
Sym No.9 in d, Op.125: 4. Presto - Allegro Assai
Sym No.9 in d, Op.125: 4. Presto - 'O Freunde, Nicht Diese Tone!' - Allegro Assai - Allegro Assai... - Gundula Janowitz/Hilde Rossel-Majdan/Waldemar Kmentt/Walter Berry/Wiener Singverein

Amazon.com

This 1963 set was conceived as an integral recording, and released as such, rather than piecemeal. It is consistent in terms of sound and interpretation, and the solid performances hold up to repeated hearing. Karajan may not have been as highly individualistic an interpreter as some in the generation that preceded him, but he possessed the same kind of authority--as these readings show. They emphasize tautness of line, grip, momentum, and mechanical precision, and convey exceptional energy without the roughhewn qualities some interpetations emphasize. The highlight of the set is a suave, darkly handsome account of the Eroica,. The only disappointment is a senselessly rushed Pastorale. The Berlin Philharmonic, which had chosen Karajan as its conductor for life just six years before the sessions began, plays with extraordinary discipline, power in reserve, and an understated but convincing sense of expression. One notes already the superb string ensemble and excellent work in the winds that would come to be seen as the orchestra's stock--in-trade, even if the horns are still rather weak and the trumpets thin. Here is the well-dressed, darkly handsome Beethoven of the portraits painted circa 1800, in performances that are dashing and determined but never in danger of careening out of control. The sound is good for the vintage: balanced, reasonably detailed though not close, and clear. DG's latest remastering has brought out as never before the original recordings' warmth and atmosphere. --Ted Libbey

Customer Reviews:

Truly Powerful Accounts, Still The Best Complete Cycle You Can Buy, Remastered With Love And Care.......2006-08-11

This is the famous early 1960's Karajan recording of Beethoven's 9 symphonies. This is Karajan at his absolute best, the orchestra and conductor seem to be a world removed from lesser conductors and ensembles. The Berlin Philharmonic has a real air of swaggering confidence in these recordings and Karajan seems to be on a mission to make a lasting impression, which he does! The exceptional rhythmic drive, the unbelievable intergrity of ensemble have to be heard to be believed and the best part of all is that this cycle as sold here is remastered using DG's "Original Image Bit-Processing" which makes the recordings shine like new. These remastered versions completely supersede the earlier maroon box-set of the same recordings, yes the one with the cool Karajan picture on the front of the box.

The cycle I'm reviewing is like I said, the first of 3 DG cycles, the old mono EMI set is not competitive with the 3 DG cycles. So what distinguishes this first DG set from the other Karajan cycles, not to mention the dozens of cycles by other conductors?

Symphony 1 is played just like mature Beethoven, not second hand Mozart or Haydn. You relish hearing this symphony played in the grand manner with complete conviction as opposed to the typical quasi-period fashion that is considered good manners today! Forget good manners, I want a great performance! Karajan does that but I would have liked a slightly slower tempo in the andante movement.

Symphony 2 is one of the best you'll ever hear. It has everything, power, vigor, just hear the BPO go for the gusto in the codas to the outer movements, no one else can duplicate that! So intoxicating. The larghetto is wonderful too, even though I have heard more loving portrayals of this movement. But you really get the sense of joy that the musicians have in this music and is that perhaps Karajan moaning in pleasure? If you listen on headphones really closely, it's possible to hear the typically stone-faced authoritarian conductor elicit moans of pleasure from the music that his orchestra is creating before his ears.

Symphony 3, this Eroica is one for the ages. With the opening movement taking flight you know this is going to be great. Karajan certainly looks back to the bold and dramatic Toscanini performances of old but what Karajan brings to the interpretation is that beauty of sound typically associated with him. It is not a hinderance at all, the whole work sounds suave, dark, cool and mysterious. The funeral march is great, all 17 minutes of it, Karajan's longest take and it is involving every step of the way. The scherzo and finale are also bubbling with life and total commitment. As good as this Eroica is though, I still would have to nominate Karajan's final digital Eroica from the 1980's on the "Karajan Gold" label as being the conductor's best. The first movement on that "Karajan Gold" Eroica is faster and more explosive while the funeral march, although faster and less mysterious compensates in it's sheer power with high-intensity dramatic contrasts.

Symphony 4 is one Karajan never did better than in this 1960's set although some would say it was matched by a later digital record. I can't complain about a single thing here except Karajan's continual insistence to drop the final movement's exposition repeat. Speaking of repeats, yes I know Karajan drops most of Beethoven's repeats which is fine by me except in some cases. He keeps the repeats in the opening movements of Symphonies 1, 5 and 8. He also repeats the exposition in the finale of Symphony 1. Basically he keeps in line with his conducting generation on this matter, which is fine by me. Even with that thought, the short and sweet extra exposition run-through in the final movement of Symphony 4 he should have kept too!

Symphony 5, wow this is a keeper! It is one of the most intense 5ths ever recorded. The opening movement is terrifying, forget about Carlos Kleiber! The only conductor who comes even remotely close to Karajan's fury here is Guilini with the Los Angeles Philharmonic in a record from the 1980s. After the grim and powerful opening, Karajan gives his most loving and spacious account of the andante before moving into a precise, impactful scherzo which leads inevitably into the imposing finale. The horns are magnificient throughtout this finale and near the end of the recapitulation there is a massive crash, a huge wall of sound that will pin you back to your seat! That's only if you are in a seat, you might be jumping in the air, waving your invisible baton with a serious case of conductor envy! This is a really macho performance, Karajan delivers one of the best 5ths of all time.

Symphony 6, the Pastoral is smooth-sailing or rather it is smooth-sailing where smooth-sailing is not wanted. The first 2 movements are too fast and too slick. The scherzo of the peasants is done very well, with plenty of unbridled energy but it lacks a crucial repeat which makes this movement incomplete. The storm is ultra dramatic in the best Karajan tradition, you gotta love it. The finale sails along with astounding beauty and grace, so basically the performance has it's many faults but also some merits and the Berlin Philharmonic are on their toes throughout. I saw Karajan's filmed version of the Pastoral on DVD directed by Hugo Niebeling and Karajan has a smile on his face almost the whole time. It's no doubt he loved this music, I just wish his first 2 movements were not as hectic and I wish he kept the repeat in the scherzo. Karajan did later keep the repeat in his 1970's version, but then dropped it again for the digital 1980's version which is his worst Pastoral of all.

Symphony 7, contagious energy and optimism are the hallmarks of this performance. Karajan always conducted in the Toscanini trend of the fast flowing tempo in the allegretto, which bugs me because at a slower speed like that of Furtwangler the allegretto is much more communicative spiritually. In the allegro con brio finale Karajan is barely matched by anyone, he drives the orchestra like a rollercoaster, just the way it should be! Nothing but greatness.

Symphony 8 is a fantastic performance, however I still prefer the later digital "Karajan Gold" 8th over this one. There is nothing remotely wrong with this one, just that the later version sounds even more intense and has digital sound.

Symphony 9, there is still plenty of controversy to go around about which Karajan Ninth is his best. I think the Ninth from the 1970's is slightly ahead of this 60's version but that does not take away anything from this vigorious interpretation which is miles away from the heaven storming spirituality of Furtwangler. Karajan clearly favors Toscanini, so did Szell for instance but whereas Szell can seem cold at times, Karajan is always on fire here. The adagio is more spacious in the 1970's version and that version has a truly volcanic conclusion in the finale's coda. No matter, if you buy this set, you'll still get one of the better Ninths around even though Furtwangler's conception of this music will forever be superior to Karajan's in my mind and in the minds of many music lovers.

In conclusion, this cycle, with it's remastered sound, is the clearest investment if you are looking for a complete set of Beethoven's immortal symphonies. Karajan's digital Eroica is better in my opinion. Also, you might want to get Bruno Walter or Karl Bohm's version of the Pastoral. Karajan's digital Eighth is also slightly better and Karajan's Ninth from 1977 is perhaps finer than the one you're looking at here. If you want more great Ninths, check out Furtwangler in 1942 on Music and Arts and on EMI in 1951. For something more modern, Solti on Decca in 1972. Have fun shopping!

( P.S. I forgot to mention that the Coriolan Overture is also included in this package. It is the first track on the last disc, preceding the Ninth Symphony which begins on track 2. Typically dramatic in the best Karajan tradition, the overture is the icing on the cake of this unbeatable Beethoven collection. )

( P.P.S. March 2007. Upon further listening I have come to the realization that the Ninth included in this set is clearly superior to Karajan's later 1977 Ninth. The sound is much more vibrant in the Ninth here in 1962, Karajan is more thrilling and the singers are far more impressive. Karajan also repeats the first section of the scherzo, something that he didn't do in his later remakes of this symphony. So definitely this 1962 account is superior to the 1977 version and the 1980's version as well, because the 1980's recording lacks the amazing singers that Karajan has here. As far as the Eroica is concerned, my allegiance still lies with the digital Karajan Gold version from the 1980's. )

Great music.......2006-02-24

Comparing different versions of the play, this is the best one I could find. It also includes a booklet for the background introduction. If you're a music lover, you should have this one.

Don't believe the critics..........2005-11-26

For some reason, this remastered edition is poorly rated. However, go check out the reviews of the 1963 non-remastered Karajan edition for a better idea of what you are in store for. This set is considered an integral collection of the Beethoven symphonic output, and a quick listen will show you why. Karajan delivers knockout, even defintive renditions of the 3rd, 4th, 8th and 9th symphonies in this set, along with a very strong 5th and 7th. His "Eroica" and "Choral" are probably amongst the greatest accounts of Beethoven's two largest-scale symphonies, and his 4th and 8th may be the best recordings available.
Karajan's sound emphasizes a sense of urgency and a rather streamlined approach to Beethoven. In a sense, these recordings are illustrative of the "old-school" approach to Beethoven, the way the old masters used to conduct his symphonies, rather than a modernistic, highly interpretive approach (e.g. Norrington, Gardiner, the 1999 Abbado cycle). To me, the old-school approach works much more effectively for a composer like Beethoven than the less emotional modern accounts, with their highly varied tempi and rather rough-hewn sound. However, like most things this is a matter of taste.
The sound in this release is greatly improved; DG utilized their Original Image Bit Processing technique on these 1962 recordings, and as a result, the sound is more balanced, the signal-to-noise ratio is greatly improved, and the overall clarity of sound in both the high-end and low-end is enhanced. I compared this set to the previously released version and it's not even close. This set sounds almost as good as Karajan's 1977 cycle, and that set has great sound.
A must-have for fans of Beethoven or Karajan as it represents the magnum opus of both artists.

The greatest composer at work........2004-05-07

For years I always held myself off not to buy any Beethoven album. And I was luckily abble to resist any temptation and good musical sets. But when I heard that DG was about to start to release a 87 cd piece with all Beethovens stuff on it, I surely wanted to have that set. So now Im buying every mounth 1 or 2 parts. The Symphonies is the first one in the box, and so my introduction to the set in its entirely. And I really am not dissapointed till now. The Symphonies are a fabulous piece of musical achievements. Although at first I did not like them all, I was totally taken by several ones, like the second or the 5th, the 7th and especially the 9th. No other man can made such beautifull and swelling music as Beethoven. I have a complete Wagner too, and many other classical recordings. But the drama of Beethoven is unsurpassed. I however have no materials to combine it with, so I dont know if the recordings are good. But concidered the reputation of Karajan, I think wrong is a word we should use. All I know it are good recordings in sound, they sound all very nice and to me its played very smooth. I however have a 9th that was conducted by Bohm, and that one was indeed more slow. That 9th is there 79 min, so I always liked the slow aproach, but I cannot deny that the tightness and the smoothness Karajan is doing them is amazing too.

Too me I always thought no musical composer was such a man of his age as Wagner or Beethoven. They could have been drowned to deep in the romance tub. And the music is expressing this romance time very much, I think therefor the drama in these 2 composers is indeed so extrordinary ans special. To mee they are and always will be the best and greatest musicians that ever lived.

"The Karajan Sound" doesn't work for Beethoven.......2001-04-21

While I was initially very enthusiastic about this cycle, comparing it with several other sets has drastically reduced my opinion of it. Karajan's tempi cannot be faulted - flowing slow movements and electrifying fast movements; and though he does not take all the repeats, he's not alone in omitting many of them! The only places I find the missing repeats a serious problem are in the scherzos of the Sixth and Seventh Symphonies. And of course, the playing of the Berlin Philharmonic is incredibly beautiful; sometimes the beauty of the playing is beyond belief. The orchestral playing cannot be faulted - or can it?

In my opinion, it can; not in the technical aspect, but in the actual sound produced. Karajan had a very distinctive, unique orchestral sound that he used, basically without modification, for every piece he ever performed. The characteristics of this sound are refined beauty, streamlined, aerodynamic smoothness, and a texture heavily dominated by the strings. While this texture may work for Romantic works by composers such as Bruckner and Mahler, it definitely does not sound right in works of the Classical period, by composers such as Mozart, Haydn and Beethoven. Classical works require a leaner, more transparent, sound than the "Karajan Sound." Beethoven, contrary to popular belief, is a CLASSICAL composer, not a Romantic one. A good Beethoven sound requires A) incisive but resonant timpani, B) pure and transparent strings, C) sonorous, powerful brass and D) radiant woodwinds. The Karajan Sound gives us resonant but not especially incisive timpani, in addition to gorgeous but opaque string textures which dominate the rest of the orchestra. Therefore, I think Karajan's sound is inappropriate for Beethoven, and so seriously undermines the performance.

The drawbacks of this sound are apparent in every symphony, in every movement. Take, for example, the first movement of the Ninth. The opening tremolo is ominous but unclear, and when the first subject emerges from the mists, the sound is dominated by those cloying string textures. What makes this especially disappointing is that Karajan is one of the very few people who judge the tempo in this movement correctly - some are too fast (Toscanini), others are too slow (Solti, Bernstein, Davis, Giulini, etc.). Just comparing Karajan with superior performances by a conductor like Klemperer will make my point. In that first movement of the Ninth, Klemperer's opening tremolo is perfectly clear, but is no less ominous or mysterious than Karajan's, and the first subject is given in an ideal blend of brass, timpani and strings. Another particular disappointment is the Allegretto of the Seventh. Karajan is one of the very few to take it at a true, flowing Allegretto, but the overweight string textures ruin it again.

Aside from the drawbacks in the approach, however, this is a great set. As mentioned, the tempos are perfect (with the exception of the Pastoral, a disaster in every way - repeats, texture and tempos), and the orchestra is never less than beautiful. In addition, this Ninth boasts arguably the finest solo quartet on records (Janowitz, Rössel-Majdan, Kmentt and Berry).

The sound is good for the most part, but sometimes sounds hazy and indistinct. The timpani are placed rather far back in the sound spectrum, which is a serious problem, particularly in places like the Scherzo of the Ninth, where the timpani are obviously crucial. Even more serious, though, is the backward balance and shifting perspectives on the chorus in the finale. The presentation in DG's Complete Beethoven Edition is gorgeous, with multiple informative essays and wonderful color reproductions of relevant documents and paintings.

Overall, although these recordings have garnered much acclaim over forty years, I don't think they really justify it. Karajan was never at his best in Classical repertoire. His strengths were the Romantic masters like Bruckner and Strauss, where he pulled off some overwhelming performances. He should also be heard in Puccini. But in Beethoven? I don't think so.

I am still searching for the best Beethoven symphony set. Klemperer (EMI) is very high on the list for his monumental grandeur and glorious orchestra (the Philharmonia), but his set is let down by extremely slow tempi in fast movements (in particular the Scherzos of the Sixth and Ninth and much of the Eighth). Davis (Philips) has wonderful playing, if a bit on the fat side, from the Staatskapelle Dresden, but he falls into the slow tempi trap, which is far more serious here than with Klemperer because Davis doesn't come close to Klemperer's electricity. Toscanini on RCA takes a very fast, intense approach. Karajan's performances have always been called Toscaninian, but I refuse to accept that because Toscanini's lean orchestral texture is on the other side of the spectrum from Karajan's. Toscanini's approach works marvelously in the early symphonies, but his very rigid approach, with an almost total lack of rubato, makes for serious problems in the later symphonies. Barenboim (Teldec) is currently at the top of my list for his wonderful orchestra and superb tempi, in addition to his intense, magisterial conducting. His failing is that he is in many places altogether too eccentric; the opening of the Ninth, for instance, is far too slow to be coherent, while the finale of the Seventh falls apart because of absurd tempo fluctuations. The set that looks most promising to me at the moment is Böhm's Vienna Philharmonic set from the 1970's, where slow tempos are present but are not nearly so much of a problem as in Klemperer and Davis because of Böhm's rhythmic pointing and lyrical incandescence - in addition to a glorious sound from the Vienna Philharmonic that meets all four requirements of the "Beethoven Sound" I listed above. If the rest of the cycle is anything like half as good as his 1971 Pastoral, it will jump to the top of my list!!

Beethoven: Complete Symphonies, Vol. 1
Average customer rating:

Beethoven's classical side... ?

And here's my evidence:

Beethoven: Complete Symphonies, Vol. 1

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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Bach - Orchestral Suites & Violin Concertos / Marriner

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ASIN: B0000041EN
Release Date: 1996-06-11

Tracks:

Symphony No. 1 In C, Op. 21: Adagio molto - Allegro con brio
Symphony No. 1 In C, Op. 21: Andante cantabile con moto
Symphony No. 1 In C, Op. 21: Menuetto. Allegro molto e vivace
Symphony No. 1 In C, Op. 21: Finale. Adagio - Allegro molto e vivac
Symphony No. 3 in E Flat, Op. 55 'Eroica': Allegro con brio
Symphony No. 3 in E Flat, Op. 55 'Eroica': Marcia funebre. Adagio assai
Symphony No. 3 in E Flat, Op. 55 'Eroica': Scherzo. Allegro vivace
Symphony No. 3 in E Flat, Op. 55 'Eroica': Finale. Allegro molto

Tracks:

Symphony No. 2 in D, Op. 36: Adagio molto - Allegro con brio
Symphony No. 2 in D, Op. 36: Larghetto
Symphony No. 2 in D, Op. 36: Scherzo. Allegro
Symphony No. 2 in D, Op. 36: Allegro molto
Symphony No 4 in B flat, Op 60: Adagio - Allegro vivace
Symphony No 4 in B flat, Op 60: Adagio
Symphony No 4 in B flat, Op 60: Allegro vivace
Symphony No 4 in B flat, Op 60: Allegro ma non troppo

Customer Reviews:

Beethoven's classical side... ?.......2004-02-27

When Beethoven wrote these first four symphonies, he was well on his way to defining romanticism. He even broke some incredible new ground here; for example, it's been said that no symphony written before 1804 was as long as the Eroica. Beethoven fills the score of the Eroica with genius and ceremonial time that gives the work great significance. Of course, that work is highly recommended.

However, I can't speak as highly of this recording. Perhaps Masur is playing these works more properly than I'm accustomed to hearing them, but nevertheless, they sound too classical. Certainly, the scoring is more on the classical side of Beethoven's writing, BUT that doesn't mean that the playing can't take into account the loudness and largeness of the rest of Beethoven's career. Simply put, I feel these recordings are played too conservatively, too limitedly, too, well, classically.

That's just me, though. They are played well--all the notes are correct and they're all there--but this not the Beethoven you'd expect from Karajan or Solti or Bernstein. This is more of a Sir Neville Marriner Beethoven, but I bet that's what Masur was going for. He does it well, just not to my preference.

So, if you are looking to buy this recording because you like Philips Double-CDs (and I do, too!), or if you already have symphonies 5-9 (like I did) and are looking to get the rest, please take heed of this review. You may be disappointed.

And here's my evidence:.......2000-07-05

The Penguin Guide: (1996)

"In sheer naturalness of utterance, unforced expressiveness and the superlatively disciplined response of the orchestral playing, the Gewendhaus set has a good deal to offer. The first two symphonies are attractively fresh, with the slow movement of the Second memorable. The Eroica is uncommonly fine, particularly in its nobly paced slow movement which is totally free of excessive emphasis in expression. In the Fourth Symphony Masur is particularly successful, and the Gewendhaus orchestra respond with marvellously alert playing. In the slow movement Masur brings great imagination and poetry to his reading; the homogenous, cultured orchestral sound of the Gewendhaus Orchestra and its rhythmic resilience and vitality are in themselves a sense of pleasure. ...the first set of these three Duos is certainly recommendable."

Beethoven: The Complete Symphonies
Average customer rating:

Among the Best Beethoven Symphony recordings, even 45+ years after they were recorded...

Beethoven: The Complete Symphonies

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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ASIN: B00008PW48
Release Date: 2003-01-01

Tracks:

1-4 Symphony No. 1 In C Major, Op.21
5-8 Symphony No. 2 In D Major, Op.36
9- Coriolan-Overture
1-4 Symphony No. 3 In E-Flat Major "Eroica",Op.55
5-8 Symphony No. 8 In F Major, Op.93
1-4 Symphony No. 4 In B-Flat Major, Op.60
5-9 Symphony No. 6 In F Major " Pastorale", Op. 68
1-4 Symphony No. 5 In C Minor, Op. 67
5-8 Symphony No. 7 In A Major, Op.92
1-5 Symphony No. 9 In D Minor, Op.125

Album Details

5 CD Box set. Columbia Legends Series.

Customer Reviews:

Among the Best Beethoven Symphony recordings, even 45+ years after they were recorded..........2006-06-03

Bruno Walter (1876-1962) made his final recording of the Beethoven Symphonies in 1959-60, as age and ill health had taken their toll on him, but it doesn't show, except perhaps in Symphony 9 of this cycle. Recorded with the Los Angeles based Columbia Symphony Orchestra, made up of members of the L.A. Philharmonic, plus studio and freelance musicians, Walter's Beethoven shows a connection with his studies with Gustav Mahler (1860-1911) and the great Austrian/German tradition of conductors. (Mahler's other students included Otto Klemperer and Oscar Fried, two other great 20th century conductors.)

All the Symphonies under Walter's leadership show a large string section, and juicy, Romantic sound. Walter does not observe repeats in Symphony 5: I and IV; Symphony 8: I, or Symphony 9: II, which today have become the standard. Walter emphasized strings over winds, which some listeners today will not be accustomed to. Tempos are usually moderate in First and last movements, which were usually faster under conductors like Szell and Ormandy.

Symphonies 2, 3, 4, and 6 are among the best ever committed to disc, and in stereo, too! Symphonies 1, 5, 7 and 8 are very good, but not as good as some competing recordings by Szell (1, and 7), Reiner/Chicago (5,7) or Scherchen (8). Symphony 9 is the only poor recording in the set: a badly cracked and very obvious trumpet note at the final climax in I is really disconcerting, and the chorus and soloists in IV seem to not be on Walter's wavelength: slow tempos mar the excitement which should be found in the "Ode to Joy" movement. In Symphony 9, Walter emphasizes humanity and Romantic warmth over excitement. (For excitement, check out George Szell/Cleveland Orchestra, Sony Classical).

I consider Walter's Beethoven to be one of the CLASSIC stereo recordings of Beethoven Symphonies, along with Szell/Cleveland (Symphonies 1, 3, 4 and 9 - Sony); Bernstein/Vienna (DG) and Bohm/Vienna (DG, on 3 individual 2-CD sets). Highly recommended.

Average customer rating:

Not recommended
DON'T GET IT

The Complete Beethoven Symphonies

Manufacturer: Intersound Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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ASIN: B000003QW5
Release Date: 1993-12-01

Tracks:

Symphony No. 1 In C Major, Op. 21: Adagio molto; Allegro con brio - London Festival Orchestra
Symphony No. 1 In C Major, Op. 21: Andante cantabile con moto - London Festival Orchestra
Symphony No. 1 In C Major, Op. 21: Menuetto: Allegro molto e vivace - London Festival Orchestra
Symphony No. 1 In C Major, Op. 21: Adagio; Allegro molto e vivace - London Festival Orchestra
Symphony No. 2 In D Major, Op. 36: Adagio molto; Allegro con brio - London Philharmonic Orchestra
Symphony No. 2 In D Major, Op. 36: Larghetto - London Philharmonic Orchestra
Symphony No. 2 In D Major, Op. 36: Scherzo: Allegro - London Philharmonic Orchestra
Symphony No. 2 In D Major, Op. 36: Allegro molto - London Philharmonic Orchestra
Overture To The Creatures Of Prometheus, Op. 43 - London Festival Orchestra

Tracks:

Symphony No. 3 In E-Flat Major, Op. 55, Eroica: Allegro con brio - Bamburg Philharmonic Orchestra
Symphony No. 3 In E-Flat Major, Op. 55, Eroica: Marcia funebre: Adagio assai - Bamburg Philharmonic Orchestra
Symphony No. 3 In E-Flat Major, Op. 55, Eroica: Scherzo: Allegro vivace - Bamburg Philharmonic Orchestra
Symphony No. 3 In E-Flat Major, Op. 55, Eroica: Finale: Allegro molto - Bamburg Philharmonic Orchestra
Symphony No. 4 In B-Flat Major, Op. 60: Adagio - Allegro vivace - London Festival Orchestra
Symphony No. 4 In B-Flat Major, Op. 60: Adagio - London Festival Orchestra
Symphony No. 4 In B-Flat Major, Op. 60: Allegro vivace - London Festival Orchestra
Symphony No. 4 In B-Flat Major, Op. 60: Allegro ma non troppo - London Festival Orchestra

Tracks:

Symphony No. 5 In C Minor, Op. 67: Allegro con brio - Ljubljana Radio Symphony
Symphony No. 5 In C Minor, Op. 67: Andante con moto - Ljubljana Radio Symphony
Symphony No. 5 In C Minor, Op. 67: Allegro - Ljubljana Radio Symphony
Symphony No. 5 In C Minor, Op. 67: Allegro - Ljubljana Radio Symphony
Symphony No. 6 In F Major, Op. 68, Pastoral: Awakening Of Cheerful Feeling On Arriving In The Country: Allegro ma non troppo - London Festival Orchestra
Symphony No. 6 In F Major, Op. 68, Pastoral: Scene By The Brook: Andante molto mosso - London Festival Orchestra
Symphony No. 6 In F Major, Op. 68, Pastoral: Merry Gathering Of Country-Folk: Allegro - London Festival Orchestra
Symphony No. 6 In F Major, Op. 68, Pastoral: Thunderstorm; Tempest: Allegro - London Festival Orchestra
Symphony No. 6 In F Major, Op. 68, Pastoral: Shepherd's Song; Happy, Thankful Feelings After The Storm: Allegretto - London Festival Orchestra

Tracks:

Symphony No. 7 In A Major, Op. 92: Poco sostenuto - Vivace - Slovak Philharmonic
Symphony No. 7 In A Major, Op. 92: Allegretto - Slovak Philharmonic
Symphony No. 7 In A Major, Op. 92: Presto - Assai meno presto - Slovak Philharmonic
Symphony No. 7 In A Major, Op. 92: Allegro con brio - Slovak Philharmonic
Symphony No. 8 In F Major, Op. 93: Allegro vivace e con brio - London Festival Orchestra
Symphony No. 8 In F Major, Op. 93: Allegretto scherzando - London Festival Orchestra
Symphony No. 8 In F Major, Op. 93: Tempo di menuetto - London Festival Orchestra
Symphony No. 8 In F Major, Op. 93: Allegro vivace - London Festival Orchestra
Overture To Fidelio - New Philharmonic Orchestra Of London

Tracks:

Symphony No. 9 In D Minor, Choral: Allegro ma non troppo, un poco maestoso - London Festival Orchestra Of London
Symphony No. 9 In D Minor, Choral: Molto Vivace - Presto - Molto vivace - London Festival Orchestra Of London
Symphony No. 9 In D Minor, Choral: Adagio molto e cantabile - Andante moderato - London Festival Orchestra Of London
Symphony No. 9 In D Minor, Choral: Allegro assai - London Festival Orchestra Of London
Overture To Egmont, Op. 84 - London Symphony Orchestra

Customer Reviews:

Not recommended.......2002-04-25

The performances are dull and dragging, but the greatest problem with this collection is the 3rd Symphony, whose first HALF of its 2nd movement have been CUT! (If you're not familiar with this piece, that includes about 7 minutes of music). For serious Beethoven fans, there are many fabulous and exciting box sets of Beethoven's Symphonies, Szell, Karajan (1963 recording), even Solti, and then Gardiner and Hogwood on period instruments (the latter two are such fast performances as to be especially thrilling). For those new to classical music and Beethoven, I'd recommend buying the symphonies one at a time, maybe even from some of the conductors listed above.

DON'T GET IT.......2000-07-29

This collection may seem enticing to someone who would like to become familiar with classical music without spending a lot of money. I bought this many years ago before I knew a whole lot about classical music, for the price. The Beethoven symphonies will provide you with a lifetime of musical enjoyment and appreciation. Get one of the best collections available: Szell and the Cleveland Orchestra.

Average customer rating:

The most underrated of the greatest conductors?
An incredible Cycle!!!
Gentle Intensity: Bruno Walter's Beethoven
Overall, one of the finest Beethoven interpretations
Bruno Walter, Beauty and Beethoven's Nine

The Complete Symphonies
L.V. Beethoven , and Bruno Walter
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Classical | Box Sets | Stores | Music

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Tchaikovsky: Symphonies Nos. 1-6

ASIN: B0000027UK
Release Date: 1991-12-05

Tracks:

Symphony No.1 Op.21 in C Major: I. Adagio molto; Allegro con brio - Ludwig Van Beethoven
Symphony No.1 Op.21 in C Major: II. Andante cantabile con moto - Ludwig Van Beethoven
Symphony No.1 Op.21 in C Major: III. Menuetto: Allegro molto e vivace - Ludwig Van Beethoven
Symphony No.1 Op.21 in C Major:: IV. Finale: Adagio;Allegro molto e vivace - Ludwig Van Beethoven
Symphony No.2 Op.36 in D Major: I. Adagio molto; Allegro con brio - Ludwig Van Beethoven
Symphony No.2 Op.36 in D Major: II. Larghetto - Ludwig Van Beethoven
Symphony No.2 Op.36 in D Major: III. Scherzo: Allegro - Ludwig Van Beethoven
Symphony No.2 Op.36 in D Major: IV. Allegro molto - Ludwig Van Beethoven

Tracks:

Symphony No. 3, Op. 55, 'Eroica': I. Allegro con brio - Ludwig Van Beethoven
Symphony No. 3, Op. 55, 'Eroica': II. Funeral March, Allegro assai - Ludwig Van Beethoven
Symphony No. 3, Op. 55, 'Eroica': III. Scherzo, Allegro vivace - Ludwig Van Beethoven
Symphony No. 3, Op. 55, 'Eroica': IV. Finale, Allegro molto - Ludwig Van Beethoven
Coriolan Overture Op. 62 - Ludwig Van Beethoven

Tracks:

Symphony No. 4, Op 60 in B-Flat Major: I. Adagio ; Allegro vivace - L.V. Beethoven
Symphony No. 4, Op 60 in B-Flat Major: II. Adagio - L.V. Beethoven
Symphony No. 4, Op 60 in B-Flat Major: III. Menuetto - L.V. Beethoven
Symphony No. 4, Op 60 in B-Flat Major: IV. Allegro ma Non Troppo - L.V. Beethoven
Symphony No. 5, Op. 67 in C Minor: I. Allegro con Brio - L.V. Beethoven
Symphony No. 5, Op. 67 in C Minor: II. Andante con Moto - L.V. Beethoven
Symphony No. 5, Op. 67 in C Minor: III. Scherzo IV.- Finale (allegro) - L.V. Beethoven

Tracks:

Symphony No. 6, Op. 68, 'Pastorale' in F Major: I. Allegro ma non troppo: Awakening of serene impressions on arriving in the country - L.V. Beethoven
Symphony No. 6, Op. 68, 'Pastorale' in F Major: Ii. Andante Molto Moto: Scene by the brook - L.V. Beethoven
Symphony No. 6, Op. 68, 'Pastorale' in F Major: Iii. Allegro: Jolly gathering of country folk; IV. Allegro: Thunderstorm, tempest; V. Allegretto: Shepherd's song, gladsome and thankful feeling after the storm - L.V. Beethoven
'Leonore' Overture No. 2, Op. 72a - L.V. Beethoven

Tracks:

Symphony No. 7 In A Major, Op. 92: I. Poco sostenuto; Vivace - Ludwig Van Beethoven
Symphony No. 7 In A Major, Op. 92: II. Allegretto - Ludwig Van Beethoven
Symphony No. 7 In A Major, Op. 92: III. Presto - Ludwig Van Beethoven
Symphony No. 7 In A Major, Op. 92: IV. Allegro con brio - Ludwig Van Beethoven
Symphony No 8 in F Major, Op. 93: I. Allegro vivace e con brio - Ludwig Van Beethoven
Symphony No 8 in F Major, Op. 93: II. Allegretto scherzando - Ludwig Van Beethoven
Symphony No 8 in F Major, Op. 93: III. Tempo di Menuetto - Ludwig Van Beethoven
Symphony No 8 in F Major, Op. 93: IV. Allegro vivace - Ludwig Van Beethoven

Tracks:

Symphony 9, Op. 125, 'Choral' in D Minor: I. Allegro non troppo, un poco maestoso - Ludwig Van Beethoven
Symphony 9, Op. 125, 'Choral' in D Minor: II. Molto vivace: Presto - Ludwig Van Beethoven
Symphony 9, Op. 125, 'Choral' in D Minor: III. Adagio e molto cantabile: Andante moderato; Adagio - Ludwig Van Beethoven
Symphony 9, Op. 125, 'Choral' in D Minor: IV. Presto; Allegro assai - Choral Finale on Schiller's 'Ode to Joy' - Ludwig Van Beethoven

Customer Reviews:

The most underrated of the greatest conductors?.......2007-04-25

Bruno Walter may yet recapture his due credit as one of the supremely gifted interpreters of the titans of music. He is still recognized as such in particular repertoire, e.g. Brahms and Mahler. Many accept that Walter remains the greatest interpreter of Mahler's music. His Ninth with the Columbia Symphony is sublime with a final movement unmatched by anyone. Which just goes to show that this sometimes maligned orchestra is the equal of any.

It is important to make a point about the orchestras handpicked for Walter by Columbia Records (now Sony). The first incarnation, while Walter lived in NYC, was made up of NY Phil and Met players among others. In this Beethoven set and for most of the Columbia Sym recordings, however, we hear mostly players of the LA Phil, as Walter had taken up final residence in Beverly Hills. (The last movement of the Ninth is recorded in NYC, and it is not clear which players are involved there.) While some have nit picked the playing of the CSO in certain recordings from time to time, I find this criticism unwarranted. The CSO gave Walter everything he asked for and much more with often splendid musicality and simply beautiful tones. In this set there are outstanding examples of a superior orchestra in top form for a master. As spoiled as can be by the Karajan-era Berliners, I still can appreciate the musicianship of the CSO players and can never hear enough of them.

Nor is it fair to say here that Walter has slowed or mellowed in his old age, as it has been. Walter had conducted a very long time, and, like his mentor Mahler, always wanted each performance to be "new". This is evident throughout his career to anyone like me who has listened to most of his recordings spanning it. And his outlook on conducting technique changed over time. While one can say generally that he conducted quicker tempi in his younger, rather youngest years, he later on varied his tempi considerably with the same works from one performance to the next. And not unexpectedly his tempi tended, as with most performers, to be quicker during concerts. But in this Beethoven set we hear what became an evolved standard in his so-called late, or Indian Summer-period recordings for the most revealing detail and for constantly urging his players to make their instruments "Sing, sing!" It is a difference in emphasis, not the difference between tension and gentleness. Perhaps the "gentle" listener needs to listen more attentively, because the passion is all too evident both from the conductor and the players.

And this emphasis on letting the detail sing out is essentially allowing the musicians to be their most musical. The music itself is quite gloriously beautiful. It is the magic of Walter's stamp on the interpretation that the music can sound so "right" and capture the listener so completely -- ensuring that you are able to appreciate those sublime moments when the composer's genius and the player's art are fully mediated. Yes, there are countless moments like these in the entire range of Walter's recordings, not least those with this CSO.

A last word about the criticisms of the Ninth's last movement, which, regardless of your view, is certainly not a reason to overlook these wonderful recordings. One thing I've learned from owning and repeat listening of literally scores of recordings from most of the conductors of Beethoven's Ninth: there is none of them able to claim the mantel of the definitive version or performance. Every great performance of this symphony, including this one by Walter and others like the fiery Walter/LPO concert performance mentioned by another reviewer, is quite differently "correct" in its success. I would mention three other conductors: Furtwaengler in the wild wartime Berlin Phil and the 1951 Bayreuth Festival concerts; Klemperer's concert performances with the Philharmonia in 1957 and 1961 (avoid the studio version); and Karajan's recordings with the Philharmonia and three times with the Berlin Phil, each time with better recorded sound, interpretively equivalent albeit with nuanced differences. Only Karajan made comparable complete recorded sets of the Beethoven symphonies, and brought a different mastery to the stage. All of this is to say that this Ninth by Walter and the CSO is nothing to be ashamed of, rather it is -- even in the last movement -- an authentically glorious rendition worth every penny and much more. It has much to "say" about the music, not to mention some uniquely enchanting moments.

I second the remark by another reviewer that every lover of Beethoven must have Walter's CSO set on the shelf. This is also true of Walter's recordings of Mahler, Brahms, Bruckner, Mozart and the all too few samples of Wagner and Berlioz. Needless to say, listen often with sheer delight!

An incredible Cycle!!!.......2004-08-31

Rather than goading and beating his players sensely Walter was always a gentleman of conductors and was very much old world by the time the 50s came about. Never in a rush, these interpretations balance a view halfway between modern interpretation of Conducting and yet maintains the old world sense of proportion and blend. The Columbia symphony sounds wonderfully European...robust woodwinds out front and a natural unforced balance between winds and brass.

Rather recently I heard the Naxos Tintner set and was very dissapointed with the Beethoven installments..and in No. 4 you simply have to listen to Walter. The warmth and roundness of phrasing and the subtle dovetailing of phrases is an instance where Walter can never be matched. I also dislike the idea of doing Romantic interpretations with Chamber music forces...here the Columbia symphony is around 75 players and yet play with a smooth clean sound that is very delicate...

I have a great admiration for Szell as well and for different reasons...Szell is very clean and more tense generally which works for Beethoven. However, I really think any genuine collector must have Bruno Walter's complete recordings on the "shelf". They are simply great and appeal to the sensibilities of serving the music without fuss.

Gentle Intensity: Bruno Walter's Beethoven.......2003-07-19

These vintage recordings from the last fifties and early sixties capture all the warmth, insight, and gentle intensity of Bruno Walter's interpretative stance on Beethoven. Textures are clear, inner voices sing, and melodies flow with a gentle and passionate inevitability. The structure of the symphonies (despite the absence of any exposition repeats) unfolds with both clarity and narrative expansiveness. At times, Walter's art reveals a distinctive charm in the handling of rhythm: just note the opening of the second movement of the fourth, the genial ritardtando at the opening of the "Pastoral," or the almost coy viola patterns at the end of the second movement of the eight--absolutely inimitable Walterian timing.
Charm, however, is not the whole story. The epic grandeur of the "Eroica," the rhetorical gestures of the fifth, and the rhythmic vitality of the seventh all find unique expression in Walter's imagination: his third blends power with pathos, his fifth unites drive with ardent longing, and his seventh seamlessly and paradoxically weds febrile energy with Viennese swing. As for the ninth, the almost operatic passion of the first movement of the ninth, the granite-like strength of the scherzo, and the elysian warmth of the third movement are all unique in the Beethoven discography. Disappointingly, the crowning fourth movement lacks a foward moving structural impetous (how uncharacteristics of this set!); nevertheless, the soulful unfolding of the "Ode to Joy" theme in the strings is very moving. The choir tries to deal with the slow tempi--it seems that Walter is seeking some sort of metaphysical stasis to contrast with the drama of the opening movements--but ultimately, though there are many heart-warming touches, the finale fails to ignite. (This recording could be nicely supplemented by a "live" version of the ninth that Walter made with the London Symphony--what fireworks go off in that performance!!)
Despite this important blemish, this set of Beethoven symphonies is indispensable to the serious collector--endlessly fascinating in detail, warm in recorded sound, a living portrait of an artist who combined seraphic gentility, clarity of structure, and Dionysian passion to a unique and unrepeatable degree.

Overall, one of the finest Beethoven interpretations.......2003-05-01

While there are many historic Beethoven symphony recordings of great merit (Furtwangler, Toscanini, Von Karajan) the Walter recordings (1958-1963) are perhaps the most satisfying overall. Walter takes a decidedly un-modern approach to tempo (SLOW-ER!!) so you hear many things in especially the second, third, seventh and eighth you normally do NOT hear in the more popular brisk tempi of Toscanini, Bernstein or Von Karajan.

While Von Karajan's Ninth is probably THE gold standard for the greatest of Beethoven's symphonies, overall, the Walter set is important if you want to hear how Beethoven was interpreted before either the technical bravura of the 70's and 80's or the harkening back to "as Beethoven would have heard it if he weren't deaf" attempts of reconstructionists.

The sound isn't so clean and bright--these were older recordings, but the interpretations never fail to please me. Lots to listen to in this set for lovers of the Titan Beethoven.

Bruno Walter, Beauty and Beethoven's Nine.......2003-01-08

Bruno Walter believed in music as a moral force, its power to influence for good. His convictions are obvious in these great performances! They glow with generosity of spirit, very much `of the light', full of joy and beauty. No performances of these inexhaustible masterpieces so effectively reveal their beauty, but a beauty that is more than skin-deep. Walter reveals profound depths in the music. The first movement of the 9th is performed with exceptional, monumental strength, (pre-echoes of Bruckner).

We're privileged to have these recordings. They are in a very real sense beyond criticism; well recorded and sympathetically played by the Columbia Symphony Orchestra. This was an Indian Summer if ever there was!

Tracks:

Symphony No. 1 In C Major Op. 21: I. Adagio molto -- Allegro con brio
Symphony No. 1 In C Major Op. 21: II. Andante cantabile con moto
Symphony No. 1 In C Major Op. 21: III. Menuetto: Allegro molto e vivace
Symphony No. 1 In C Major Op. 21: IV. Adagio -- Allegro molto e vivace
Symphony No. 2 In D Major Op. 36: I. Adagio molto -- Allegro con brio
Symphony No. 2 In D Major Op. 36: II. Larghetto
Symphony No. 2 In D Major Op. 36: III. Scherzo: Allegro
Symphony No. 2 In D Major Op. 36: IV. Allegro molto

Tracks:

Symphony No. 3 In E Flat Major Op. 55 'Eroica': I. Allegro con brio
Symphony No. 3 In E Flat Major Op. 55 'Eroica': II. Marcia funebre: Adagio assai
Symphony No. 3 In E Flat Major Op. 55 'Eroica': III. Scherzo: Allegro vivace
Symphony No. 3 In E Flat Major Op. 55 'Eroica': IV. Finale: Allegro molto
Symphony No. 4 In B Flat Major Op. 60: I. Adagio -- Allegro vivace
Symphony No. 4 In B Flat Major Op. 60: II. Adagio
Symphony No. 4 In B Flat Major Op. 60: III. Allegro vivace
Symphony No. 4 In B Flat Major Op. 60: IV. Allegro ma non troppo

Tracks:

Symphony No. 5 In C Minor Op. 67: I. Allegro con brio
Symphony No. 5 In C Minor Op. 67: II. Andante con moto
Symphony No. 5 In C Minor Op. 67: III. Allegro
Symphony No. 5 In C Minor Op. 67: IV. Allegro
Symphony No. 6 In F Major Op. 68 'Pastoral': Allegro ma non troppo
Symphony No. 6 In F Major Op. 68 'Pastoral': II. Andante molto mosso
Symphony No. 6 In F Major Op. 68 'Pastoral': III. Allegro
Symphony No. 6 In F Major Op. 68 'Pastoral': IV. Allegro
Symphony No. 6 In F Major Op. 68 'Pastoral': V. Allegretto

Tracks:

Symphony No. 7 In A Major Op. 92: I. Poco sostenuto -- Vivace
Symphony No. 7 In A Major Op. 92: II. Allegretto
Symphony No. 7 In A Major Op. 92: III. Presto
Symphony No. 7 In A Major Op. 92: IV. Allegro con brio
Symphony No. 8 In F Major Op. 93: I. Allegro vivace e con brio
Symphony No. 8 In F Major Op. 93: II. Allegretto scherzando
Symphony No. 8 In F Major Op. 93: III. Tempo di menuetto
Symphony No. 8 In F Major Op. 93: IV. Allegro vivace

Tracks:

Symphony No. 9 In D Minor Op. 125 'Choral': Allegro ma nan troppo un maetoso
Symphony No. 9 In D Minor Op. 125 'Choral': II. Molto vivace
Symphony No. 9 In D Minor Op. 125 'Choral': III. Adagio molto e cantabile
Symphony No. 9 In D Minor Op. 125 'Choral': IV. Presto -- Allegro assai

Tracks:

Coriolan, Op. 62
The Ruins Of Athens, Op. 113
King Stephen, Op. 117
Leonore No.2, Op. 72a
Fidelio, Op. 72c
Egmont, Op.84
The Creatures Of Prometheus, Op. 43
The Consecration Of The House, Op. 124

Tracks:

Missa Solemnis: Kyrie
Missa Solemnis: Gloria
Missa Solemnis: Credo
Missa Solemnis: Sanctus
Missa Solemnis: Agnus Dei

Customer Reviews:

Excellent...period!.......2005-05-11

This Beethoven set features the Hanover Band playing on period instruments with less musicians than the average orchestra. These were recorded in a spacious, atmospheric acoustic approximating were Beethoven would have premiered them. The result is thoroughly enjoyable and still sound and feel great after repeated listening.

I also find them far preferable to Hogwood, Norington and Gardiner. Though the Bruggen set on the Phillips label are also pretty good as well. But these seem to have a magical quality about them that is hard to beat.

It's interesting to read about what are the "best" performances, as far as I can tell there are no weak spots to be found. One person wrote - the first was the only letdown - and yet, I found the first to be something quite special. I personally thought the 8th was the only slight drawback to the set, and yet someone else wrote it was their favorite. So who really knows?

This also makes a good second set if you already have a modern interpretation.

A delightful change.......2003-10-07

This is a thoroghly delightful set performed on period instruments and tempo. Well worth the price - I have repeatedly listened to the performances and they wear well. There is also a bonus - the recordings are encoded in Ambiasonic sound and will decode nicely on a home theater surround system. One caveat - the recordings were done in an accoustically live environment and if your system tends to the bright side, the recording will seem a tad on the bright side. If you have a complete set of the Beethoven symphonies with a contemporary interpretation, this set is a worthwile acquisition as a reference.

Hardwearing Velet.......2003-01-29

This Nimbus Beethoven set features the Hanover Band - playing on period instruments with fewer players than the average `symphony orchestra' - recorded in a spacious, atmospheric acoustic. The result is seductive, velvety and thoroughly enjoyable!

The performances are directed by Roy Goodman and Monica Huggett. It's not easy to tell them apart and I dare say the seasoned players of the Hanover Band would do almost as well without anyone `directing' them in these honest, workman-like performances. Nothing `revelatory' or earth-shattering. No fuses blow, no lightening strikes. But on the other hand we're not wearied by pointless idiosyncrasies that after hearing once only annoy. Quite the opposite in fact - the Hanover Band performances wear well after repeated listening, although the complacent, vacuous presentation of the slow movements of the 3rd and 9th symphonies can't be said to improve with re-hearing. But don't be put off - there's much here that's enjoyable. And it must be worth something for once not to have to endure a conductor who insists on impressing you with his `insights'!

Hanover Band Beethoven.......2001-07-22

A lot of critical attention has been drawn to the resonant acoustic in which these performances were recorded. The original Gramophone reviewer for example commended the 'natural' balance and perspective, while the Amazon's reviewer David Hurwitz (an anti-authentic critic if there ever was one!) referred to both sound and performance as 'utterly grotesque'! I personally favour the former evaluation; while the reverberance may not be to everybody's taste, it does mean that the brass can let rip without overwhelming the rest of the orchestra, and gives the string tone a warmth and bloom not found on other period cycles. While the woodwind may at times appear 'disembodied' this is a very minor cavil and again this is a subjective issue. As for the performances themselves, I personally find them far preferable to such rivals as Hogwood and Gardiner; the directorship of Goodman allows more freedom of expression than the former, while avoiding the at times wilful excesses of Gardiner. Overall these are played with zing and character, two qualities Beethoven would have surely admired.

Beethoven of varied quality.......2001-05-13

Do period instruments always make for a more authentic performance? Some would accept that as an axiom, but listening to this set shows that this is not always the case. Remember that Beethoven did not always write his visionary music with the instruments of his time in mind; for him, the limitations of those instruments were something to be overcome, not worked around. Accordingly, the Hanover Band sometimes struggles with this powerful and revolutionary music, producing recordings of varied quality.

For a group whose strengths lie in the music of the early Classical period, it is surprising that perhaps their weakest performance comes in the most Haydnesque of all the symphonies, the First. Monica Huggett takes the music at too measured a pace, and the result is a performance that plods along, in contrast to (for example) Karajan's peppy version of the First. The other more "conservative" symphonies (Second, Fourth, and Eighth), however, are excellent. The Sixth is the best of the set, with Roy Goodman and the Hanover Band managing to capture all the nuances of what is Beethoven's most textural symphony with the possible exception of the Ninth.

It is in the more powerful symphonies (Third, Fifth, and Ninth) where the Hanover Band struggles. It is easy to see the vision and striving of Beethoven in these performances, but they lack the excitement and verve of the greatest recordings, and in the end, they can sound hopelessly old-fashioned (in the Ninth wasting an outstanding effort by the soloists).

The biggest argument in favor of this set is, like all of Nimbus's sets, the bargain price, made even more tempting by the inclusion of a sampling of Overtures, and a fine Missa Solemnis (though it, too, is not without its shortcomings).

If you swear by period instruments, then this set is about as good as any. It is also good as a second set if you already have a modern interpretation. But ultimately, I believe, the best recording is one that comes closest to recreating the music that the composer heard in his head, rather than the music that he heard in the concert hall.

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