Beethoven: Coriolan Overture / Symphonies 4 & 5

On this CD:

1. Symphony No. 4 in B flat major, Op. 60
Composed by Ludwig van Beethoven
Performed by Swedish Chamber Orchestra
Conducted by Thomas Dausgaard

2. Coriolan Overture, Op. 62
Composed by Ludwig van Beethoven
Performed by Swedish Chamber Orchestra
Conducted by Thomas Dausgaard

3. Symphony No. 5 in C minor ("Fate") Op. 67
Composed by Ludwig van Beethoven
Performed by Swedish Chamber Orchestra
Conducted by Thomas Dausgaard

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.

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

Average customer rating:

Furtwangler's Beethoven
Amazing! Outstanding! Essential!
Glorious
Remastering an old recording
Just Get It

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

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Beethoven: The Complete Symphonies and Piano Concertos
Wagner: Extracts from the operas

ASIN: B00001W09Z
Release Date: 2006-01-01

Tracks:

Beethoven Symphonies

Tracks:

Sym No.5 in c, Op.67: I. Allegro Con Brio

Amazon.com essential recording

These may be the most gripping performances of Beethoven's symphonies you'll ever hear. No, not necessarily the most enjoyable or even the most accurate, but gripping--to say the least. In these wartime performances of Symphonies Nos. 3, 4, 5, 6, 7, and 9, Wilhelm Furtwängler is at his most expressive, angry self. Conducting six of the world's greatest symphonies for audiences in Nazi Germany, Furtwängler has an inner turmoil that seems to shoot straight through his baton. He drives the Vienna and Berlin Philharmonics to the edge of disaster, but miraculously they keep up--rising to the occasion. The Eroica and the Ninth are particularly emotion-filled; the latter features the great Bruno Kittel Choir and the BPO in fine form, but they--like everyone else here--are overshadowed by the conductor's bipolar mood swings and furious pacings. Brace yourself. These are shocking, awesome, thought-provoking performances that--thanks to a great remastering--have never sounded better. --Jason Verlinde

Customer Reviews:

Furtwangler's Beethoven.......2007-04-14

This set belongs next to Schnabel's piano sonatas and the Busch's string quartets as one of the great Beethoven sets in recorded history. There certainly is no better monetary value for Furtwangler's Beethoven. The 3rd, 4th, and 9th are especially definitive. Compared to Furtwangler's later performances, these are tighter, more intense, and faster-paced. It is mainly in the 6th and 7th that you miss the warmer Furtwangler of his later recordings.

No. 3 is intense, concentrated, and perfectly proportioned. I differ with some who consider the 12/8/52 to be Furtwangler's greatest 3rd. While the sound of that one is fantastic, to my ear it is just the slightest bit more slack in concentration when compared to the '44. In any case, these are easily the two best recordings of the work available, and they are both essential. Listen to the '52 for beauty of sound and phrases lengthened to their max, but the '44 would still be my desert island 3rd.

No. 4 is simply the greatest performance on record, giving a whole new level of emotional depth to this symphony.

No. 5 is for many Furtwangler's best. It is certainly well-played and perfectly proportioned. There are several Furtwangler recordings of No. 5 that are deserving of attention, and choosing between them is a matter of strong debate. For me, the two that arise above all others are the 5/23/54 and 5/25/47. The '54 is simply astounding. It is a perfect performance in fantastic sound for its time. It really knocks you out of your chair. This is the recording for people who want to know what all the fuss was about Furtwangler's Beethoven. (How on Earth did the man conduct like this just 6 months before his death?) The '47 is also special for its edge-of-your-seat spontanaity. While not as good in sound quality as the '54, it is more fleet and rhythmically free. The rousing coda of the finale has to be heard to be believed - Furtwangler at his most magical. There is also a deleted DG recording two days later in better sound, but not quite as inspired. The '44 is still a great performance, but for me Furtwangler reached greater heights in these two later recordings.

No. 6 is one that perhaps misses some of the warmth of Furtwangler's later recordings. It is still a great one, particularly in the storm, and the playing of the Berlin Philharmonic is magnificent. You really get the sense of the storm slowly subsiding and sunshine peering through the clouds in the final movement. Like the 5th's with which they are paired, the 5/23/54 and 5/25/47 are the performances that show Furtwangler at his best. The '54 is pretty definitive and in great sound.

No. 7 is exciting and dramatic. Though it has much to recommend it (listen to the beautiful tempo fluctuations in the scherzo), I sometimes miss the more patient pacing of Furtwangler's later recordings. The '53 DG recording is probably his best, with excellent tempo transitions and a rousing conclusion to the finale. The sound is also very present and clean for the period. The '50 EMI recording is not far behind.

No. 9 is simply the greatest orchestral recording ever made of anything. Yes, some will say it is too intense, but what else do you want with this symphony? You simply cannot go back to other interpretations after hearing this one. Only the '51 Bayreuth performance comes close. That one is a good alternative for hearing cleaner sound and some strong brass playing. The '54 Lucerne is by far the best-sounding. However, it does not have the same intensity as the other two. By comparison, it almost sounds tired. Of course this is all relative: The '54 Lucerne still puts every other recorded version after Furtwangler in the shade. And then there is also the '37, which is dimly recorded but still exhibiting Furtwangler's unique intensity.

And let us not forget the overtures, particularly the '43 Coriolan. Along with the '42 9th, this is also one of the greatest orchestral recordings ever made. Astounding drama and concentration. Unfortunately, Furtwangler's definitive '47 Egmont on DG is not presently available.

In short, run out and grab this set while also complementing it with a few of Furtwangler's later recordings. My desert island choices for Furtwangler's Beethoven symphonies would be:

3rd: '44 and 12/8/52, 4th: '43, 5th & 6th: 5/25/47 and 5/23/54, 7th: '53, 9th: '42 and '51

Amazing! Outstanding! Essential!.......2007-04-12

This set collects some of the greatest and awesome Beethoven interpretations in world history. Their classical status is unmatched: at the conductor's rostrum, we have Wilhelm Furtwängler at the height of his exceptional understanding of Beethoven's music. The context of the recordings is WWII, mainly in the wartime Germany (of course, Vienna belonged to Germany after the 1938 "Anschluss", but I choose to see Vienna as the capital of Austria). Like some other great artists and intellectuals, Furtwängler decided to stay in Germany during the Second World War. But unlike disgusting opportunists like von Karajan, he never joined the Nazi party - in fact, he even refused to shake Hitler's hand.

Of course, Furtwängler's impeccable moral contributes to his greatness. Just listen to his magnificent ninth, with its humanist message. It's a breathtaking performance that should move everyone to tears.

Here are the recordings dates of the performances in this box:

Symphony 3: Vienna Philharmonic Orchestra, 19-20 December, 1944.
Symphony 4: Berlin Philharmonic, 27-30 June, 1943.
Symphony 5: Berlin Philharmonic, 27-30 June, 1943.
Symphony 6: Berlin Philharmonic, 20-22 March, 1944.
Symphony 7: Berlin Philharmonic, 31 October-3 November, 1943.
Symphony 9: Berlin Philharmonic, 22-24 March 1942. (Solists are Tilla Briem, Peter Anders, Elisabeth Höngen, and Rudolf Watzke.)

Music & Arts' remasterings (made by Maggi Payne) are very good. Of course, what we have here are old mono, live recordings, so don't expect HiFi quality. But what you can expect are recordings of the century, essential for any music collection.

Strongly and warmly recommended!

Glorious.......2007-02-10

Impossible to put into mere words the effect of these tremendous performances: they are glorious, powerful, sublime. True these are
(excellently remastered) mono recordings of live performances more than 50 years old, so there is some noise and some harmonic distortions also. But the music and the performances completely and thoroughly transcend this, even on the finest audio equipment. Your Beethoven collection is simply not complete unless you have this one, and also the Bayreuther 9th from 1951 (also available on EMI classics). Indeed, once you have these, you may find you don't want to listen to any other cycles of these symphonies that you may have, however fine and technically perfect they may be.

Remastering an old recording.......2007-01-09

If you want to experience how Beethoven was played 40 years ago, then buy this CD set. But beware of sound quality and some technical glitches. In addition, audience noise can be distracting.

Just Get It.......2006-09-22

...even if this is the only CD of Beethoven's Orchestral Works you ever buy.
Even though they are in mono, old, noisy, with pitch variations at places (but still remarkably good transfers), for many of the works here it's safe to say that you have not really heard them unless you have experienced these recordings.
Four of the works (4,5,6,7) are great performances, but there are other great ones out there as well.
However, the recordings of the ninth (BPO Mar'42) and third (VPO Dec'44)symphonies as well as the Coriolan and Leonore III overtures are definitive and unique, and each of them is by itself worth the price of the whole set. The only downside to getting them is that it might become hard to be attentive to most other recordings afterwards.

Average customer rating:

One of Karajan's best Beethoven Symphony cycles
Fine Analog Performance
Bring me the desert island, please.
Karajan's best Beethoven cycle for combination of performance and sound
under the surface

Beethoven: Nine Symphonies

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Beethoven: Symphonies Nos. 1, 2, 4, 5

ASIN: B000001GBT
Release Date: 1990-07-03

Tracks:

Symphony No. 1 In C Major, Op. 21: 1. Adagio molto - Allegro con brio
Symphony No. 1 In C Major, Op. 21: 2. Andante cantabile con moto
Symphony No. 1 In C Major, Op. 21: 3. Menuetto. Allegro molto e vivace
Symphony No. 1 In C Major, Op. 21: 4. Adagio - Allegro molto e vivace
Symphony No. 4 In B Flat Major, Op. 60: 1. Adagio - Allegro vivace
Symphony No. 4 In B Flat Major, Op. 60: 2. Adagio
Symphony No. 4 In B Flat Major, Op. 60: 3. Allegro vivace
Symphony No. 4 In B Flat Major, Op. 60: 4. Allegro ma non troppo
Overture, Egmont, Op. 84: Sostenuto, ma non troppo - Allegro

Tracks:

Symphony No. 2 In D Major, Op. 36: 1. Adagio - Allegro con brio
Symphony No. 2 In D Major, Op. 36: 2. Larghetto
Symphony No. 2 In D Major, Op. 36: 3. Scherzo. Allegro
Symphony No. 2 In D Major, Op. 36: 4. Allegro molto
Symphony No. 7 In A Major, Op. 92: 1. Poco sostenuto - Vivace
Symphony No. 7 In A Major, Op. 92: 2. Allegretto
Symphony No. 7 In A Major, Op. 92: 3. Presto
Symphony No. 7 In A Major, Op. 92: 4. Allegro con brio

Tracks:

Symphony No. 3 In E Flat Major, Op. 55 'Erocia': 1. Allegro con brio
Symphony No. 3 In E Flat Major, Op. 55 'Erocia': 2. Marcia funebre. Adagio assi
Symphony No. 3 In E Flat Major, Op. 55 'Erocia': 3. Scherzo. Allegro vivace
Symphony No. 3 In E Flat Major, Op. 55 'Erocia': 4. Finale. Allegro molto
Overture Leonore No. 3, Op. 72A: Adagio - Allegro

Tracks:

Symphony No. 5 In C Minor, Op. 67: 1. Allegro con brio - L.V. Beethoven
Symphony No. 5 In C Minor, Op. 67: 2. Andante con moto - L.V. Beethoven
Symphony No. 5 In C Minor, Op. 67: 3. Allegro - L.V. Beethoven
Symphony No. 5 In C Minor, Op. 67: 4. Allegro - L.V. Beethoven
Symphony No. 8 In F Major, Op. 93: 1. Allegro vivace e con brio - L.V. Beethoven
Symphony No. 8 In F Major, Op. 93: 2. Allegretto scherzando - L.V. Beethoven
Symphony No. 8 In F Major, Op. 93: 3. Tempo di Menuetto - L.V. Beethoven
Symphony No. 8 In F Major, Op. 93: 4. Allegro vivace - L.V. Beethoven
Overture Fidelio, Op. 72B: Allegro - L.V. Beethoven

Tracks:

Symphony No. 6 In F Major, Op. 68 'Pastorale': 1. Awakening Of Cheerful Feelings Upon Arrival In The Country - Allegro ma non troppo
Symphony No. 6 In F Major, Op. 68 'Pastorale': 2. Scene By The Brook - Andante molto mosso
Symphony No. 6 In F Major, Op. 68 'Pastorale': 3. Merry Gathering Of Country Folk
Symphony No. 6 In F Major, Op. 68 'Pastorale': 4. Thunderstorm
Symphony No. 6 In F Major, Op. 68 'Pastorale': 5. Shepherd's Song: Happy And Thankful Feelings After The Storm
Overture To H. J. von Collin's Tragedy, Op. 62: Allegro con brio
Overture 'The Creatures Of Prometheus' To Salvatore Vigano's Ballet: Adagio - Allegro molto con brio
Overture 'The Ruins Of Athens' From The Music To A. von Kotzebue's Play: Andante con moto - Allegro, ma non troppo

Tracks:

Symphony No. 9 In D Minor, Op. 125: 1. Allegro manon troppo, un poco maestoso - Ludwig Van Beethoven
Symphony No. 9 In D Minor, Op. 125: 2. Molto vivace - Ludwig Van Beethoven
Symphony No. 9 In D Minor, Op. 125: 3. Adagio molto e cantabile - Ludwig Van Beethoven
Symphony No. 9 In D Minor, Op. 125: 4. Presto - Ludwig Van Beethoven
Symphony No. 9 In D Minor, Op. 125: 4. Presto - Final Chorus From Schiller's 'Ode To Joy' - Ludwig Van Beethoven

Amazon.com

This is hedonistic Beethoven, though in listening to these accounts one wonders sometimes whether Herbert von Karajan may not have confused sex with love, and physicality with emotion. At least he seems more concerned with opulence of sound and weight of texture than with psychology or substance. Yet while his interpretation has neither great emotion, nor struggle, nor a sense of spiritual release, it certainly has great beauty and exhilaration. The readings are typical of the "massaged" style of performance Karajan cultivated in Berlin during the 1970s, and which Andrew Porter famously critiqued when he likened the results to Kobe beef. There is a certain softness under all that muscularity, though for the most part Karajan shows his usual strong grip and maintains the balance of lyrical and kinetic elements. The Berlin Philharmonic, at its peak when these recordings were made, is a marvel: even if its playing is rarely fiery or spontaneous, its sound is plush, succulent, and exilaratingly rich. Karajan uses a big orchestra all the way through, even in Symphony No. 1--which as a result sounds rather massive, though not heavy (the brisk scale in the violins at beginning of the fourth movement is delightfully airy). In addition to their polish, his readings are notable for their high energy level. This is particularly true of the Eighth, one of the most successful items in the set, which is interpreted in a way that clearly shows its connection to Seventh. On balance, the accounts run from very good to outstanding (Nos. 4, 8 and 9), but only rarely do they approach the transcendent. The recordings, made in Berlin's Philharmonie, are close-miked and mastered at a fairly high level, and sound is impressively firm. --Ted Libbey

Customer Reviews:

One of Karajan's best Beethoven Symphony cycles.......2007-04-20

Herbert von Karajan (1908-1989) recorded the Beethoven Symphonies four different times: with the Philharmonia Orchestra (early 1950s, EMI); with the Berlin Philharmonic (1961-62, DG); again with Berlin (1975-77, DG: THIS recording), and finally, in Berlin (1982-85, DG). Most critics consider either the 1961-2 or THIS recording to be Karajan's best Beethoven Symphony cycle. (The EMI has cramped sound, and the last cycle shows Karajan's eccentric side: somehow it doesn't "jell" and sound like Beethoven to me - it's more Karajan than Beethoven.)

These have Karajan's best Beethoven Symphony 5 and Symphony 6 recordings. The Berlin Philharmonic has the lush, rich sound Karajan was known for and will be remembered for by future generations of music lovers. The other symphonies are all very fine, too.

I should state my allegiences are for Bohm/Vienna Philharmonic (DG, 1970-72) in most of these symphonies. I also like Szell/Cleveland (Sony) for Symphonies 1, 3, 4 and 9; and Bruno Walter/Columbia Symphony for Symphony 3,4,5, and 7 (Sony). Thomas Beecham's EMI recordings of Symphonies 2 and 7 with the Royal Philharmonic are worth seeking out.

Karajan is very fine, if you don't have an allegience to a given conductor, as I do to Karl Bohm.

Fine Analog Performance.......2007-03-12

Karajan has been one of my favorites for the past 30 plus years and I have many of his recordings on lp and cd. One of the few things I collect are lp box sets. This set I own on vinyl and it either just got posted to Rhapsody or I just ran into it. Rhapsody now has this set, his 1950s, and his digital 1980s posted. I have not run into the early 60s set yet at Rhapsody, but have it on vinyl and cd. I was a bit surprised to see yet another Karajan Beethoven Symphony cycle at Rhapsody and did a search at Amazon to find out what cycle it is.

Karajan did at least 4 complete Beethoven Cycles (50s, 60s, 70s, and 80s) on lp/cd plus one video cycle in the mid 80s that is just outstanding. Some may argue that this is overkill, and many argue about what cycle is best. As far as I know, no one has surpassed Karajan for the most complete cycles title (Jochum comes to mind who I think did three cycles). It is now possible to convert them all to mp3, put them on a single cd or into an mp3 player and do a taste test. Any of these cycles are fun to listen to and they are all well played, conducted, and recorded. The 50s cycle is probably the weakest from a sound/ recording engineer perspective and maybe the 80s is the best (though some do not like the early digital sound). I personally like the early 60s best plus I greatly enjoy the DVDs. I bought them from China through Ebay for about $30 including s/h.

The big difference for Karajan 80s vs 70s is that in the 80s he had health issues prior to his passing and he also started to get very elderly (born in 1908). I have viewed his DVDs of Tchiakovsky (sym. 4, 5, 6) and Dvorak (8, 9) and his Beethoven 9. He seems to be more vigorious on the Beethoven set, followed by the Tchaikovsky, and then the Dvorak. He seemed to me to be a little out of it on the Dvorak 9th and that symphony seemed to drag. I love his Tchiakovsky set from the 70s and the 80s video is almost as good. I read that Karajan had over 800 recordings!

Bring me the desert island, please........2005-12-17

I've always been an admirer of Karajan's Beethoven. I pretty much cut my Beethoven teeth on the much lauded (by me, too) sixties set. In many peoples' minds I suppose it will never be surpassed.

However, in nearly every respect, this mid-seventies undertaking is a better set. I have, as have others, quibbles with certain decisions Karajan makes. For example, he seems to have no problem occasionally ignoring Beethoven's calls for repeats, while at other times he observes them scrupulously. It seems to me that if Beethoven says to do it, then you should do it. Karajan, apparently, doesn't agree.

One could quickly lapse into a minutiae-induced stupor over details. However, a couple will suffice: This is, without doubt, Karajan's best recorded Sixth. That said, it must be admitted his overall concept of this symphony has always been, for some, a weak link. I agree. Simply, there are probably better Sixth's in the catalog, although none could possibly be better played, interpretation not withstanding. Also, this Fifth is to be preferred over the earlier version, ignored repeats and all. The Ninth, arguably the crown jewel of the earlier set, is remarkable here. The soloists are all admirable, even if they aren't Janowitz, Ludwig, et al.

All-in-all, a magnificent undertaking, beautifully realized on CD.

Finally, as most know, Karajan undertook the complete symphonies one last time, near the end of his career (and life) in the early eighties. They are great. The sound is generally great (although not really better in any demonstrable way than here). But Karajan and his Berlin orchestra were having legal, personal and personnel problems which would finally force the Maestro to leave Berlin all together for his final few recordings. At this stage, probably the less said about the utterly disgraceful treatment the ailing Maestro was subjected to, the better. However, that final recorded cycle suffers, I think, from these problems. There are, at times, a certain sloppiness to the procedings Karajan would never have tolerated earlier in his life.

Happily, we have cycle two, in glorious mid-seventies Berlin sound, as a living testament of Karajan's superlative Beethoven.

Karajan's best Beethoven cycle for combination of performance and sound.......2005-10-09

This cycle of Beethoven symphonies, recorded 1975-77 is Herbert von Karajan's strongest. It is also the best of his Beethovens for both performances and sound. Symphonies 5 and 6 are the best here of any others Karajan did, as are Symphonies 1, 2, 3 and 9.

Much of "the best" depends on personal preferences, but I prefer these to the last cycle, recorded 1982-84 for DG. The 1961-2 cycle (DG) is also very fine.

I won't go into details in the interest of keeping this review concise. But Karajan takes slightly slower tempos in Symphony 5: I and Sym. 6: I, II, making a better case for each work.

The sound is rather low level, and you may have to crank up your volume a bit + add some extra bass, as Deutsche Grammophon often shorts the bass a bit in some of their recordings. But the sound is clean, and overall very fine.

Read my reviews of Karajan's first DG cycle, also with the Berlin Philharmonic, for other details. This cycle is recommended, and highly thought of by many critics.

under the surface.......2003-09-18

This truly is an amazing set!
For me this set beats his famous 1963 recordings.
It seems that many people take it for a fact that most of his 1970 recordings lack power, passion and meaning without ever hearing those performances.

Yes you have that recognizable Karajan sound allover, but how this sound interacts with a certain composer or work you'll only find out by listening to it.
For example: I like the "kitschy" singing violins in this Beethovenset very much, it adds mysterie to the score.
The same singing violins (same recorded as well) however I dislike very much in his Bruckner-recordings.
Weird, because string-vibrato in general suits Bruckner's music better than Beethoven's.
But to me those strings rob Bruckner's music of its mystery and mystique.

As said, the main reason why people underrate this set and most of his '70 recordings is because of their general perception of Karajan's sound.
That Karajan sound isn't just the orchestral playing, but also the sound of the recordings and I agree that this sound can add too much "Karajan" to a musical work and can rob the music's identity
The Karajan soup, constantly flavoured by the same ingredients.
One particular flavour is the artificial sounding concert hall acoustic and it is this acoustic in partnership with those singing violins that might give some music that peculiar 1970 romantics feel: candlelight dinners, on the beach at the right time: when the sun is going down etc.

But it's not honest to judge all his music on these unlikable (or likable if you will) features
Under that polished surface of the recordings there is real passion, energy and drive and the playing isn't that polished at all.
Listen to the lower strings, they rub intensly and the brass isn't underplayed all the time, rather under-mixed.
I am probably the only person who rate these performances higher than his 1963 recordings, there I do not find the same energy, passion and speed.

Yes, the tempi are faster and I like them that way.
Of this set I particuarly like the 3rd, 5th, 6th, 7th and 8th symphony.
The first two symphonies are given a too massive performance, in these works only a period intsrument ensemble can do a fine job or the orchestra must be smaller.

His 9th is let down by a too slow and not very rhythmical defined 1st movement. The rest, especially the adagio is superb.
The adagios in general I like better played by a traditional orchestra instead of a period ensemble.

His 3rd is superb.
Great speed in the first movement and the orchestra is playing their socks of, what power, drive and passion!
Same with the 7th.
Yes the brass could be better profiled and articulated, but the overall stormy performance generously makes up for these minor complaints.

His 6th is still the best I ever heard, to my ears this work is the most romantic in atmosphere and therefore everything matches even that "kitschy" recording.
And that's actually pretty funny because Karajan didn't care much for this symphony.

All these performances are not that cold and polished as the recordings might suggest.
In comparison with Gardiner I noticed that Gardiner's performance is much more controlled, polished and somewhat more polite than Karajan.
I recommend this set without hesitation, for me these performances are still up with the best.
Judge for yourself.

Average customer rating:

5 star performance at a budget busting outrageous price
Szell's Beethoven in best sound, forty years later
Superbly Remastered Classic Beethoven Symphony Cycle From Szell and the Cleveland Orchestra
Music Production At Highest Level
As Good as it Gets

Beethoven: The Nine Symphonies

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002CHK6I
Release Date: 2004-06-29

Tracks:

I. Adagio Molto - Allegro Con Brio
II. Andante Cantabile Con Moto
III. Menuetto,. Allegro Molto E Vivace
IV. Finale. Adagio - Allegro Molto E Vivace
I. Adagio Molto - Allegro Con Brio
II. Larghetto
III. Scherzo. Allegro
IV. Allegro Molto

Tracks:

I. Allegro Con Brio
II. Marcia Funebre. Adagio Assai
III. Scherzo. Allegro Vivace
IV. Finale. Allegro Molto

Tracks:

I. Adagio - Allegro Vivace
II. Adagio
III. Menuetto. Allegro Vivace - Trio. Un Poco Meno Allegro
IV. Allegro Ma Non Troppo
Leonore Overture No. 3, Op. 72a

Tracks:

I. Allegro Con Brio
II. Andante Con Moto
III. Allegro
IV. Allegro
I. Allegro Vivace
II. Andante Cantabile
III. Menuetto. Allegretto
IV. Molto Allegro

Tracks:

I. Allegro Ma Non Troppo
II. Andante Molto Moto. Szene Am Bach
III. Allegro. Lustiges Zusammensein Der Landleute
IV. Allegro. Gewitter Sturm
V. Allegretto. Hirtengesang, Frohe Und Dankbare Gefuhle Nach Dem Sturm

Tracks:

I. Poco Sostenuto - Vivace
II. Allegretto
III. Presto - Presto Meno Assai
IV. Allegro Con Brio

Tracks:

I. Allegro Vivace E Con Brio
II. Allegretto Scherzando
III. Tempo Di Menuetto
IV. Allegro Vivace

Tracks:

I. Allegro Ma Non Troppo, Un Poco Maestoso
II. Molto Vivace
III. Adagio Molto E Cantabile - Andante Moderato
IV. Presto - Allegro Assai - Recitativo: O Freunde, Nicht Diese Tone! - Allegro Assai (Final Chorus On Schiller's 'Ode To Joy')

Tracks:

Egmont Overture, Op. 84
Coriolan Overture, Op. 62
King Stephen Overture, Op. 117
Leonore Overture No. 2, Op. 72b
Leonore Overture No. 1, Op. 138
Fidelio Overture, Op. 72

Tracks:

Overture. Adagio - Allegro Molto Con Brio
Introduction. La Tempesta. Allegro Non Troppo
No. 1. Poco Adagio
No. 3. Adagio - Allegro Con Brio
No. 3. Allegro Vivace
No. 4. Maestoso - Andante
No. 5. Adagio - Andante Quasi Allegretto
No. 6. Un Poco Adagio - Allegro
No. 7. Grave
No. 8. Allegro Con Brio
No. 9. Adagio
No. 10. Pastorale. Allegro
No. 11. Andante
No. 12. Solo Di Gioja. Maestoso
No. 13. Allegro
No. 14. Solo Della Cassentini. Andante
No. 15. Solo Di Vigano. Andantino
No. 16. Finale. Allegro

Customer Reviews:

5 star performance at a budget busting outrageous price.......2007-06-06

The cover for this cd boxed set came straight off the vinyl lp boxed set issued to commemorate Beethoven's 200 birthday and George Szell's passing in 1970. (I have this boxed set in great, near mint condition that sounds wonderful). I love these performances! I must have a couple of dozen or more George Szell lps. Szell is like money in the bank, like a classical sure thing! Just about everything I have heard from Szell and the CSO sparkles!

My problem with this set is the price. For the money, you could easily buy another great Beethoven cycle, Tchaikovsky cycle, Schumann cycle, Brahms cycle, etc. etc here at Amazon. So, unless money is no object or you are a die hard (more likely die broke) Szell collector, I would recommend finding another path to Szell Beethoven Nirvana. Rhapsody has 6 or 7 of these posted. I checked the a la cart used prices at Amazon and it looks like you could pick up the missing ones not posted at Rhapsody and buy 8 or 9 months of unlimited listening at Rhapsody for the same price. Another option would be an Ebay search. There is probably an earlier cd edition you could bid on for at least two thirds cheaper or even pick up a good, used set of the real deal (vinyl lps!)

Or, maybe you have not done somehing stupid with your money and you are about due and you feel entitled, and that hundred bucks in your pocket is starting to burn a hole.......

Szell's Beethoven in best sound, forty years later.......2007-04-21

I empathize with fans for the late George Szell, who had to endure shallow, hissy sonics on the original LPs of his Beethoven cycle, then to wait decades longer while Sony put the recordings through cheap CD remastering on various budget lines. Now jsutice has been done, and the original tapes come up sounding quite good. (the same renovation has been done to the Szell-Fleisher Beethoven 3rd and 4th piano concertos though not to the Emperor, so far as I know).

The hallmarks of Szell's conducting style are well known by now. He followed Toscanini's propulsive lead, allowing little expressive rubato, insisting on perfection of execution, and in essence bringing the old man into the stereo era. To some ears this is great Beethoven, but there's more heroism and romance to be found elsewhere. I don't think Beethoven should be so well drilled, but if you favor Szell's meticulous cold style, his Beethoven is quite strong.

Sony deserves some finger wagging for filling these CDs so stingily and for stretching the material for 6 or 7 discs out to ten. Charging the full price of $100 seems like gouging, particularly when you have to buy Szell's Jupiter Sym., available elsewhere, and a Prometheus ballet that isn't even conducted by him but his pedestrian assistant, Louis Lane.

Superbly Remastered Classic Beethoven Symphony Cycle From Szell and the Cleveland Orchestra.......2007-01-31

In the 1960s, there was no other orchestra in the world - including Karajan's Berliner Philharmoniker - which sounded as fine as the Cleveland Orchestra under George Szell's magnificient direction. I am delighted that Sony has made this fine CD set available once more, using the latest digital state-of-the-art remastering, since I remember well from some old LPs I had of this Beethoven Symphony Cycle, superb performances of the 3rd, 5th, 6th and 7th symphonies from Szell and his crack precision ensemble of a symphony orchestra. I concur with others who regard this CD set as the best recorded by the Cleveland Orchestra of not only Beethoven's symphonies, but indeed, of any of the great 18th and 19th Century composers. This 1957 to 1967 recorded cycle will remain as one of the most important artistic legacies of the Cleveland Orchestra during Szell's tenure as music director. Moreover, I am willing to guess that this CD set may be remembered as the best Beethoven Symphony Cycle recorded during this time, even if others, most notably Karajan's early 1960s Deutsche Grammophon cycle with the Berliner Philharmoniker, have earned lavish praise from critics and fans alike.

Music Production At Highest Level.......2006-01-14

No need to explain why Szell's Beethoven performances are exquisite - perfect balancing among instruments, expressive phrasing, unbelievable intensity, and oh yes, details!
But equal amount of praises should go to Sony's remastering engineers. You will hear a night-and-day difference from the old Essential Classics versions!

Just listen to the magnificent 9th. Szell and the Cleveland musicians give out their lives.

As Good as it Gets.......2005-04-10

Originally issued on Columbia's budget label, Epic, George Szell's early stereo (1957-1967) cycle of Beethoven's Symphonies became legendary on its original release. Originally released one at a time, the cycle was later reissued as a boxed set, individually again in the late 1970s, debuting on CD in the 1980s, and in several incarnations during the 1990s. Now, for the 21st Century, Sony has created a lavish reissue.

Ever the perfectionist, Szell drilled the Cleveland Orchestra to within an inch of its life, and the result here is orchestral playing of immaculate perfection, with the various choirs balanced as if they were one soloist. Technically, there is no better Beethoven cycle on records, not from Maazel's and Dohnanyi's later cycles with the same orchestra, not from Karajan's Berlin Philharmonic, and certainly not from Toscanini's NBC Orchestra.

Toscanini bears mentioning here, because there are similarities of approach. Szell chooses not to let details obscure the overall structure of each symphony--though there are telling details in plenty. By the time this cycle was recorded, Szell had lived with these masterpieces for half a century, and it shows in the judicious tempi, straightforward phrasing, and architectonic grandeur.

Receiving its first CD release is the same orchestra's recording of Beethoven's Creatures of Prometheus ballet, superbly conducted by Szell's assistant director, Louis Lane. Also included is Mozart's "Jupiter" Symphony, which was originally the B side for Beethoven's ubiquitous 5th. Since this is one of the finest Jupiters ever recorded, no complaints about breaking the one composer rule.

Sony's set reproduces the original cover art and sequencing (with once exception, the Overtures disc features two bonus tracks). Generally, the CDs are not well filled, however this is more than made up for by the superb documentation. The booklet contains the original LP liner notes (most of them by Klaus G. Roy, then program annotator of the Cleveland Orchestra), unfortunately whittled down. But, with a magnifying glass, one can read the miniaturized backs of the original LP covers. Sony's engineers have done an excellent job remastering the rather dry sounding original tapes.

For those encountering Beethoven's sypmhonies of Szell conducting for the first time, there is no greater starting point. For longtime fans, this set will impress with its refreshed sonics and deluxe packaging.

Beethoven - Symphonies 1-9 · Overtures / London Classical Players · Sir Roger Norrington

Average customer rating:

Nice recording
Strong on the even numbered symphonies ...
Norrington's Performances are the Worst of the Worst of the Worst of the Worst, I wish I was exaggerating!
Great sound, but Symphonies 1, 2 and 4 are the best here.
Excellent - emotion & energy!

Beethoven - Symphonies 1-9 · Overtures / London Classical Players · Sir Roger Norrington
Ludwig van Beethoven , Roger Norrington , Sarah Walker Yvonne Kenny , Petteri Salomaa Patrick Power , and Schütz Choir of London London Classical Players
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: The Piano Concertos; 3 Sonatas
Mozart: The Last Five Symphonies
Igor Stravinsky: The Rite of Spring / Alexander Scriabin: The Poem of Ecstasy - Valery Gergiev / Kirov Orchestra
Beethoven: The 9 Symphonies / Gardiner
Schubert: 8 Symphonies

ASIN: B00005A9O0
Release Date: 2001-11-06

Tracks:

Sym No.1 in C, Op.21: I. Adagio Molto - Allegro Con Brio
Sym No.1 in C, Op.21: II. Andante Cantabile Con Moto
Sym No.1 in C, Op.21: III. Menuetto: Allegro Molto E Vivace
Sym No.1 in C, Op.21: IV. Adagio - Allegro Molto E Vivace
Sym No.3 in E flat, Op.55 'Eroica': I. Allegro Con Brio
Sym No.3 in E flat, Op.55 'Eroica': II. Marcia Funebre. Adagio Assai
Sym No.3 in E flat, Op.55 'Eroica': III. Scherzo - Allegro Vivace
Sym No.3 in E flat, Op.55 'Eroica': IV. Finale: Allegro Molto - Poco Andante - Presto
The Creatures Of Prometheus Ov, Op.43

Tracks:

Sym No.2 in D, Op.36: I. Adagio Molto - Allegro Con Brio
Sym No.2 in D, Op.36: II. Larghetto
Sym No.2 in D, Op.36: III. Scherzo (Allegro)
Sym No.2 in D, Op.36: IV. Allegro Molto
Sym No.8 in F, Op.93: I. Allegro Vivace E Con Brio
Sym No.8 in F, Op.93: II. Allegro Scherzando
Sym No.8 in F, Op.93: III. Tempo Di Menuetto
Sym No.8 in F, Op.93: IV. Allegro Vivace
Coriolan Ov, Op.62
Egmont Ov, Op.84

Tracks:

Sym No.4 in B flat, Op.60: I. Adagio - Allegro Vivace
Sym No.4 in B flat, Op.60: II. Adagio
Sym No.4 in B flat, Op.60: III. Allegro Vivace - Trio: Un Poco Meno Allegro
Sym No.4 in B flat, Op.60: IV. Allegro Ma Non Troppo
Sym No.7 in A, Op.92: I. Poco Sostenuto - Vivace
Sym No.7 in A, Op.92: II. Allegretto
Sym No.7 in A, Op.92: III. Allegro Vivace - Trio: Un Poco Meno Allegro
Sym No.7 in A, Op.92: IV. Allegro Con Brio

Tracks:

Sym No.5 in c, Op.67: I. Allegro Con Brio
Sym No.5 in c, Op.67: II. Andante Con Moto
Sym No.5 in c, Op.67: III. Allegro
Sym No.5 in c, Op.67: IV. Allegro - Presto
Sym No.6 in F, Op.68 'Pastoral': I. Allegro Non Troppo - Awakening Of Happy Feelings On Arriving...
Sym No.6 in F, Op.68 'Pastoral': II. Andante Molto Mosso - Scene By The Brook
Sym No.6 in F, Op.68 'Pastoral': III. Allegro - Merry Gathering Of The Country Folk
Sym No.6 in F, Op.68 'Pastoral': IV. Allegro - Storm And Tempest
Sym No.6 in F, Op.68 'Pastoral': V. Allegretto - Shepherd's Song. Happy And Thankful Feelings...

Tracks:

Sym No.9 in d, Op.125 'Choral': I. Allegro Ma Non Troppo - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London
Sym No.9 in d, Op.125 'Choral': II. Molto Vivace - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London
Sym No.9 in d, Op.125 'Choral': III. Adagio Molto E Cantabile - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London
Sym No.9 in d, Op.125 'Choral': IV. Presto - Allegro - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London

Customer Reviews:

Nice recording.......2007-05-20

I got this recording to hear how Beethoven might sound on period instruments. That sort of thing interests me; I play early woodwinds, myself. The playing is good; and I think I got my money's worth.

Strong on the even numbered symphonies ..........2007-03-22

If you're after superb recordings of the 2nd, 4th, 6th and 8th symphonies, look no further. However, I find Norrington's interpretations of the odd numbered symphonies much less effective for some reason. I've had this set for some years now (I own several recordings of the Beethoven symphonies, five complete cycles, in fact) and I have come to the conclusion that Norrington's recordings of the 2nd, 4th and 8th symphonies are amongst the best available. However, he is weaker in some of the other symphonies. Yet this is a very enjoyable cycle and I do enjoy listening to it, albeit a little critically.

Many or most music lovers will be aware that this was probably the first complete set of recordings on period instruments which took Beethoven's metronome marks very seriously and endeavoured to adhere to them as much as humanly possible. I am inclined to agree with Nikolaus Harnoncourt on this subject and he suggests that Beethoven's metronome markings were worked out in his head and represent how these works might sound in the imagination rather than in the concert hall, does that make any sense?

Hogwood's slightly earlier pioneering H.I.P. recordings of Beethoven symphonies please me a little more than Norrington's. Hogwood wasn't as dogmatic about the metronome markings and I feel that his set is a little more dramatic and "potent" than Norrington's. Those are my feelings.

If you're after a very cheap set of Beethoven symphonies on period instruments, look no further. If you're "cashed up" and a little more choosy, go for Gardiner or Brüggen or, perhaps, Goodman's.

Norrington's Performances are the Worst of the Worst of the Worst of the Worst, I wish I was exaggerating!.......2006-02-05

This was recorded back in the 1980's when the period instrument movement was still just getting off the ground and the incompetence level of period instrument performers and conductors was off the charts! The instruments themselves were weezy, scratchy and just plain pathetic. Performance standards have improved today but I can't believe anyone in their right mind prefered Beethoven played this way, back in the 1980's, today or even 200 hundred years ago.

Since these performances are so pathetic as to be almost unmentionable, I'll zero in on two symphonies in particular, the Eroica and the 9th. The tempos for all the movements of the Eroica are very fast, the first movement with the exposition repeat observed is only 15:20. Very fast, so it should be exciting, explosive, right? Wrong. It's flat out boring and I was actually getting drowsy. It goes without saying that the instruments have no weight, no depth and no power but the performance lacks any insight at all, especially so in the great Funeral March, here played like a stroll in the park.

The Ninth Symphony is even worse, far, far worse. The first two movements rattled off without even a thought or care. The great, spiritual adagio becomes whiney, rushed nonsense in Norrington's hands and the choral finale was so awful I had to stop it several times.

To call the London Classical Players the equals of a high school orchestra would be an insult to high school orchestras everywhere. The London Classical Players are much more like elementary school children with their first instruments.

This kind of mockery of Beethoven might be fine in England but I'm sure the Germans and Austrians had a good laugh as their hearts filled with rage against the idiotic Englishman! Of course I didn't buy this crappy Norrington set, I just borrowed it from the library and returned it as soon as possible. I feel sorry for anyone who thinks this is good and I feel even more sorry for anyone who thinks that this is how Beethoven should actually be played! With no joy, no soul, no power, no spirituality. If you insist on period instruments ( why would you insist on that you moron? ), go get John Eliot Gardiner. If you actually want to hear drama and beauty in this music, go to Karajan or if you want to experience the full depth and profundity of these works, go to Furtwangler.

Great sound, but Symphonies 1, 2 and 4 are the best here........2005-12-04

Roger Norrington's controversial and ground breaking period instrument Beethoven Symphony cycle with the London Classical Players, recorded and released in the mid-late 1980s, is here offered by Virgin Classics at budget price. Norrington's recordings have great sound, and Symphonies 1, 2 and 4 are the best recorded and played here. Perhaps it is also true that the lighter, more Haydn like textures of these symphonies work better on period instruments than do the sterner, more muscular symphonies, such as 3 "Eroica", 5, 6 "Pastoral", 7, 8, and 9.

This is an interesting alternative view of Beethoven, but it should by no means be one's only set of these famous works. For the "larger" symphonies, I would recommend: 3, "Eroica": Szell/Cleveland (Sony); Bruno Walter/Columbia (Sony); Karl Bohm/Vienna Philharmonic (DG); for 5, Reiner/Chicago (RCA);
Bohm/Vienna (DG); Karajan/Berlin (DG, 1975 recording, with complete symphonies); Carlos Kleiber/Vienna (DG); for 6, "Pastoral": Bruno Walter/Columbia (Sony); Bohm/Vienna (DG);
Andre Clutyens/Berlin Philharmonic (Seraphim); for 7, Bohm/Vienna (DG); for 8, Bohm/Vienna (DG); Ormandy/Philadelphia (Sony); Bernstein/Vienna (DG); for 9, Szell/Cleveland (Sony), Karajan/Berlin (DG, 1962);
Furtwangler/Philharmonia (Tahra, Lucerne VIII/1954, perhaps hard to find at the present date); Bohm/Vienna (DG, 1970).
Norrington's fast tempos seem to gloss over important points in many movements of these symphonies, especially 3:I, III; 5: III, IV (blazing intensity, but too fast); 6:I (too fast!); and 9: III and IV are positively bizarre, really turning the Beethoven I know and love inside out, with wildly different tempos from section to section.

Still, I give this 5 stars and applaud Norrington's bravery in recording Beethoven as he was not recorded previously, with period instruments, and different ideas of tempo, articulation, and phrasing. Norrington's recordings will not be confused with others: there are none others quite like them.

Excellent - emotion & energy!.......2005-05-30

I cannot remember the number of times I've listened to this - Fifth very good (survival against misfortune) - Sixth very good (joy/energy/movement to storm/lightening to peace/content) - Ninth the first movement, unbelievable carry of energy, revenge & rightful destruction of old/irrelevant . . . So much emotion & energy created/captured by Beethoven.

Average customer rating:

Outstanding Beethoven Choice, Especially Among Period Instrument Performances
Pleasant, yet not the best

Beethoven: The 9 Symphonies
Ludwig van Beethoven , Frans Bruggen , Lynne Dawson , Anthony Rolfe Johnson , Jard van Nes , Eike Wilm Schulte , and Orchestera of the 18th Century
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000418Z
Release Date: 1995-01-31

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
'Egmont' Ov, Op.84 (From The Music To Goethe's Tragedy): Sostenuto, Ma Non Troppo-Allegro
'Coriolan' Ov, Op.62 (To H.J. Von Collin's Tragedy): Allegro Con Brio
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

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. 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-Assai Meno Presto
Sym No. 7 in A, Op.92: 4. Allegro Con Brio

Tracks:

Sym No.7 In A, Op.92: 1. Allegro Con Brio
Sym No.7 In A, Op.92: 2. Marcia Funebre. Adagio Assai
Sym No.7 In A, Op.92: 3. Scherzo. Allegro Vivace
Sym No.7 In A, Op.92: 4. Finale. Allegro Molto
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:

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
Sym no.6 In F, Op.68 'Pastoral': 1. Erwachen Heiterer Empfindungen Bei Der Ankunft Auf Dem Lande...
Sym no.6 In F, Op.68 'Pastoral': 2. Szene Am Bach (Andante Molto Mosso)
Sym no.6 In F, Op.68 'Pastoral': 3. Lustiges Zusammensein Der Landleute (Allegro)
Sym no.6 In F, Op.68 'Pastoral': 4. Gewitter, Sturm (Allegro)
Sym no.6 In F, Op.68 'Pastoral': 5. Hirtengesang. Frohe Und Dankbare Gefuhle Nach Dem Sturm...

Tracks:

Sym No.9 In d, Op.125 'Chor': 1. Allegro Ma Non Troppo, Un Poco Maestoso
Sym No.9 In d, Op.125 'Chor': 2. Molto Vivace
Sym No.9 In d, Op.125 'Chor': 3. Adagio Molto E Cantabile
Sym No.9 In d, Op.125 'Chor': 4. Presto
Sym No.9 In d, Op.125 'Chor': 4. Presto: 'O Freunde, Nicht Diese Tone!'
Sym No.9 In d, Op.125 'Chor': 4. Presto: Allegro Assai
Sym No.9 In d, Op.125 'Chor': 4. Presto: Alla Marcia. Allegro Vivace Assai
Sym No.9 In d, Op.125 'Chor': 4. Presto: Andante Maestoso - Adagio Non Troppo Ma Divoto
Sym No.9 In d, Op.125 'Chor': 4. Presto: Allegro Energico, Sempre Ben Marcato
Sym No.9 In d, Op.125 'Chor': 4. Presto: Allegro Ma Non Tanto

Customer Reviews:

Outstanding Beethoven Choice, Especially Among Period Instrument Performances.......2006-09-03

This complete set of the Beethoven symphonies enters a distinguished and competitive field of consideration. Not only have quite a few conductors and bands already had their say; but often long-lived outings by famous legacy and famous living conductors hold pride of place in people's collections.

The options include three different domains that have emerged since the early music movement began to change our ears about everything.

What started as period instruments versus modern, now further differentiates into modern band performances that have been influenced by period performance. How to sort?

Among the period instrument offerings, we have the Hanover Band under Roy Goodman, the Orchestre Revolutionnaire et Romantic under John Eliot Gardiner, the London Classical Players under Sir Roger Norrington, the Academy of Ancient Music under Christopher Hogwood, and this one, with the Orchestra of the 18th Century under Frans Bruggen.

The Gardiner set is widely considered the front runner of period instrument band versions for various reasons. Some listeners feel otherwise.

Among the modern instrument sets, we have the likes of All the Beethoven led by Toscanini, Furtwangler, Bruno Walter, George Szell, Otto Klemperer, Georg Solti, Gunter Wand, Kurt Sanderling, Janos Ferencsik, Herbert Blomstedt, Leonard Bernstein (NYP & VPO), Ricardo Muti, Kurt Masur, Andre Cluytens, Pierre Monteux, Sir Colin Davis, Sir Simon Rattle, Wolfgang Sawallisch, Michael Tilson Thomas, Daniel Barenboim, Bernard Haitink, Sir Charles Mackerras, Erich Leinsdorf, Antal Dorati, Walter Weller, Eugen Jochum, Richard Hickox, Lorin Maazel, Rudolf Kempe, Karl Bohm, Herbert von Karajan, Christoph von Dohnanyi, Rene Leibowitz, Carlo Maria Giulini - with the bands ranging across most of the planet's great and aspiring ensembles.

One can even go back to old 78 rpm transfers now, in surprisingly listenable sound at times - and hear the past via legacy figures like Felix Weingartner.

As if choosing between these two expanded options were not enough, we also have that third stream of performances. Various modern instrument bands have been influenced by this or that important aspect of performance as it shifted when period instrument playing began to be more widely heard. This interesting group must at least include - Abbado leading the BPO, Jaap van Sweden leading the Hague Residentie, Nikolaus Harnoncourt leading the Chamber Orchestra of Europe, Bela Drahos leading the smallish Esterhazy Sinfonia, and David Zinman leading the Tonhalle Zurich. (Zinman with the Tonhalle - at budget price no less - is probably the hands down leader in this pack, though you may beg to differ. In any case, you must get his Missa Solemnis, and his ongoing Beethoven concerto series now being released.)

So many of these performances have something to recommend them that playing best of games falls short of really listening. So what about listening to this set by Frans Bruggen and the Orchestra of the Eighteenth?

I was getting a coffee carrier order for my office a few years ago when I caught one of the Beethoven overtures being played on the local radio station. Fortunately, the overture wasn't so long that I missed hearing about the players. Thus, I was hooked by ear first, and later filled in the recording information details when the announcer broke in later. So what immediately caught my ear?

Vitality. Snapped Beethoven rhythms with just the right oomph in sforzandos. (Eugen Jochum supposedly said, The sforzando is the secret to good Beethoven.) Upbeat tempos - that don't rush or speed past instrumental colors or preclude lyrical beauty or mangle narrative point and phrasing.

The recorded balance available in this set is marvelous. It neatly lets its shining musical angels dance on the head of the engineer's pins. Strings are gut string sounding, but never for one moment lose presence or articulation. Just when you expect woodwinds or brass to break through and obscure the strings, as happens in most original instrument performances at least in passing - those strings will reappear - and not just for show or a reminder that they are still there, but for sheer musical message. The longer I listened, the more expertly I heard how the shifting balances between and among the period instrument departments of this band were always for musical message reasons, not just a helpless consequence of the physics of period instruments. This band is just that good.

It probably is easy to mistake this consistent balance in these musical proceedings for something too casual, too easy to play along with, too genial. This balance does capture and depend on an unfailing sense of deep classical poise. But the fact is, something mysterious and nourishing to ear and mind and heart comes through, more fully in these outings than in so many others. There is enough flash, and drama, and contrast that one hardly forgets that Beethoven is the composer. Don't forget homespun, rough wit. And plenty of nature walks out of doors. But this Beethoven fellow has a big, big, big heart, too. And although it doesn't overly call attention to itself on first hearing, over the long run of listening, these performances express one of the west's greatest musical minds, reaching, reaching, reaching - and grasping into the intelligent beyond.

So the mysterious, ineffable Beethoven is here, too. You know, that fellow who could sing an ode to humanity in his final symphony. This Ninth Symphony has the sheer Bel Canto heritage that makes Gardiner so irresistible and revelatory, along with hot brick ovens full of hearty, brown bread inner strength. There is plenty of fizz, fire, pizzaz, and zap - but you won't get a sugar crash later. The energy has gotten way down inside you and makes you feel still human for just another day. The choral and solo singing is one with the basic ethos. Instead of human voices having to try to sound instrumental, the period players get a chance to sound more like embodied, singing creatures. This reverse is a miracle that happily startles in its unobtrusive way, and wears very well over the long run of listening to this set.

Pleasant, yet not the best.......2006-06-13

Frans Brueggen's period-instrument recording of this immortal cycle is extremely enlightening. For those who are already quite familiar with Beethoven's breathtaking symphonies (and a couple of overtures), this box set can help you discover more to them (as if there wasn't already enough depth). The Orchestra of the 18th Century provides a more Mozartean approach to these works, and for listeners who prefer Beethoven's Classicism to his Romanticism, these discs relieve you of the highly modern interpretations by other orchestras.
Overall, I award this four out of five stars. It is not a miraculous recording, but the fact that the material is so well-known increases the value for me. (By the way, I especially enjoyed the performance of the Ninth.)

Average customer rating:

Beethoven: The 9 Symphonies; Overtures

Manufacturer: Berlin Classics
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B0000035NU
Release Date: 1994-09-20

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Mozart: The Great Symphonies
Beethoven: The 9 Symphonies
Beethoven: Symphonies Nos. 1-9 (Fra)
Beethoven: The Complete Symphonies and Piano Concertos
Dvorák: The Symphonies

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:

Ur-text of Historical Beethoven

Beethoven: 9 Symphonies

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000002RRB
Release Date: 1990-05-15

Tracks:

Symphony No. 1 in C, Op. 21: I: Adagio molto-Allegro con brio
Symphony No. 1 in C, Op. 21: II: Andante cantabile con moto
Symphony No. 1 in C, Op. 21: III: Menuetto: Allegro molto e vivace
Symphony No. 1 in C, Op. 21: IV: Adagio-Allegro molto e vivace
Symphony No. 6 in F, Op. 68 'Pastoral': I: Allegro ma non troppo
Symphony No. 6 in F, Op. 68 'Pastoral': II: Andante molto moto
Symphony No. 6 in F, Op. 68 'Pastoral': III: Allegro
Symphony No. 6 in F, Op. 68 'Pastoral': IV: Allegro
Symphony No. 6 in F, Op. 68 'Pastoral': V: Allegreto

Tracks:

Symphony No. 2 in D, Op. 36: I: Adagio molto-Allegro con brio
Symphony No. 2 in D, Op. 36: II: Larghetto - Roger Norrington/London Classical Player
Symphony No. 2 in D, Op. 36: III: Scherzo (Allegro)
Symphony No. 2 in D, Op. 36: IV: Alegro molto
Symphony No.8 in F, Op. 93: I: Allegro vivace e con brio
Symphony No.8 in F, Op. 93: II: Allegretto scherzando
Symphony No.8 in F, Op. 93: III: Tempo di Menuetto
Symphony No.8 in F, Op. 93: IV: Allegro vivace

Tracks:

Overture: The Creatures of Promethus, Op.43
Symphony No. 3 in E flat, Op. 55 'Erioca': I: Allegro con brio
Symphony No. 3 in E flat, Op. 55 'Erioca': II: Marcia funebre. Adagio assai
Symphony No. 3 in E flat, Op. 55 'Erioca': III: Scherzo Allegro vivace
Symphony No. 3 in E flat, Op. 55 'Erioca': IV: Finale: Allegro molto-Poco andante-Presto

Tracks:

Symphony No. 4 in B flat, Op. 60: I: Adagio-Allegro vivace
Symphony No. 4 in B flat, Op. 60: II: Adagio
Symphony No. 4 in B flat, Op. 60: III: Allegro vivave-Trio: Un poco meno Allegro
Symphony No. 4 in B flat, Op. 60: IV: Allegro ma non troppo
Symphony No. 5 in c, Op. 67: I: Allegro con brio
Symphony No. 5 in c, Op. 67: II: Andante con moto
Symphony No. 5 in c, Op. 67: III: Allegro
Symphony No. 5 in c, Op. 67: IV: Allegro-Presto

Tracks:

Overture to Collin's tragedy 'Coriolan', Op.62
Overture to Goethe's tragedy 'Egmont', Op. 84
Symphony No. 7 in A, Op. 92: I: Poco sostenuto-Vivace
Symphony No. 7 in A, Op. 92: II: Allegretto
Symphony No. 7 in A, Op. 92: III Presto-Assai meno presto
Symphony No. 7 in A, Op. 92: IV: Allegro con brio

Tracks:

Symphony No. 9 in d, Op. 125: I: Allegro ma non troppo,un poco maestoso - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125: II: Molto vivace-Presto-Molto vivace-Presto - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125 - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125 - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125: III: Adagio molto e cantabile-Tempo I-Andante moderato-Adagio - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125: IV: Presto-Allegro ma non troppo-Tempo I-Vivace-Tempo I-Adagio cant... - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125:-Presto-Recitative-Allegro assai - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125:-Allegro assai vivace. alla marcia - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125:-Andante maestoso-Adagio ma non troppo, ma divoto - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125:-Allegro energico, sempre ben marcato - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op. 125:-Allegro ma non tanto-Poco adagio-Tempo I-Poco adagio - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa
Symphony No. 9 in d, Op.125:-Poco allegro-stringendo il tempo, sempre piu allegro-Prestissimo-Mae... - Schultz Choir Of London/Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa

Amazon.com

It's hard to listen to zillions of recordings of the same music without becoming jaded. It's a problem that every classical music critic faces, and so it's understandable that there is always a tendency to welcome a new version of some standard repertoire with open arms just because it sounds different--even if the difference is musically dubious at best. Add to this general problem a healthy dose of provincial nationalism, plus a cozy relationship with both the performers and their record labels, and the result is a recipe that explains the success of Roger Norrington's Beethoven in the English musical press. And now that you've been warned, you can recognize it as the musically empty experience that it is--a novelty whose charm has worn off, and nothing more. For real Beethoven stick with George Szell on Sony--or any number of other conductors and recordings. --David Hurwitz

Customer Reviews:

Ur-text of Historical Beethoven.......1999-02-01

"The purpose of playing Beethoven on old instruments is to make him sound new." Roger Norrington

This is the cycle that signaled the break with the past by a new view of Beethoven - Beethoven the classicist, Beethoven the forceful - Beethoven the master of tempo and speed.

On Beethoven's scores there are tempo markings. Because of the style of performance invented by Wagner in the 1860' - the style which is the basis for almost all orchestral performing tradition - no one dared play many of the sections as fast as Beethoven clearly marked them. All sorts of excuses were offered - "He couldn't hear." "His metronome was faulty." "He didn't mean it."

Norrington took Beethoven at his word, but what is more, realised that Beethoven wrote for specific playing styles - lengths of phrase and kind of string attack. Yes, it would be wrong to play Beethoven in the traditional way at these markings - but it would be right < to play Beethoven in the style of Beethoven's time, on the instruments of Beethoven's time, at the tempi he envisioned.

The result is the music with the old layers of varnish stripped off. Instead of a well mannered orderly Beethoven - there is a Beethoven who shakes and shocks, attacks and hammers. A Beethoven who swings with dance, shakes the orchestra with rumbling fragments.

The place this strikes most clearly is in the slow movements - the Andente of the VIIth, the Funeral March of the IIIrd, the Adagios of the first two symphonies. The Funeral March becomes a twisting torrent of rage and frustration - of hopelessness at a world where the center has been stripped from it. The pulsing movement of the VIIth Andente becomes a stately dance from an archaic world of tresses and bodices, of swirling choreographed motion where the partners are forbidden to touch, and yet yearn for it. It becomes about the pulsing need for another.

In the dance movements - the scherzi - this rhythmic drive transforms them in another way - by making the pulse quicker - it is also lighter. The hero's spirit is freed in "Eroica". The fifth becomes a march of a great army to dark battlements, and recalls "Childe Harolde to Dark Tower Came" - the prince overwhelming the thicket of thorns.

The Allegro was defined at the time as "the rhythmic outpouring of a thematic idea" - here that propulsion is restored. Moments fly by, and we remember them, long for their return for they are taken from us. Repeats come back into balance, the massive symmetries of his middle period become architecturally clear.

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!

Others have valid alternative views, things to add (not least Bruno Walter's contemporary and antipode Otto Klemperer). But Walter's view is indispensable, exceptional, unsurpassed.

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