Wilhelm Furtwangler: Beethoven Symphonies 5 & 7

On this CD:

1. Symphony No. 5 in C minor ("Fate") Op. 67
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

2. Symphony No. 7 in A major, Op. 92
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

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:

unforgettable!
Great Beethoven from Furtwangler

Beethoven: Symphonies Nos. 5 & 7

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Beethoven: Symphony No. 1; Symphony No. 3 'Eroica'
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
Beethoven: Symphonies Nos. 4 & 6 "Pastorale"
Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra
Wagner: Extracts from the operas

ASIN: B00064N8SG
Release Date: 2005-01-11

Tracks:

1. Allegro Con Brio
2. Andante Con Moto
3. Allegro
4. Allegro/Presto
1. Poco Sostenuto/Vivace
2. Allegretto
3. Presto/Assai Meno Presto
4. Allegro Con Brio

Customer Reviews:

unforgettable!.......2006-05-09

This CD has two historic recordings of Furtwangler. These performances are in cult status. Furtwangler and his Wiener Philharmoniker performed so sensitive and Beethovenien power. In my opinion, Wilhelm Furtwangler's Beethoven readings are definitive. Actually, there are "authentic" readings with period instruments made by Harnoncourt, Norrington, Hogwood. But these Furtwangler readings (may be both in modern and authentic reading) are reference, I think. Furtwangler, of course, one of the greatest conductors of century, and these Beethoven recs. are his best.

Symphony No. 5 performed not fast, flamboyant as Karajan. But Furtwangler sound has a more deep atmosphere, it is more phsycological, impressive. Because, he didn't take a fast tempo, so he could give the full precious meanings of all Beethoven notes! The first movement is tremendous, and 2nd slow movement is a lyric singing music. The last movement is triumphant, of course.

Symphony No. 7 is marvellous too. Especially the famous 2nd Allegretto movement is may be the best performance, you can weep whn you listen it. It is really drammatic, pathetic.

The sound quality is very good mono, recorded in 1950's. Even, these are historic recs. And worth to listening.

At this price, you can not wrong with it. Highly recommended.

Great Beethoven from Furtwangler.......2005-08-16

I have known Beethoven's 5th and 7th Symphonies since my earliest days collecting Classical LP records in 1972. My first exposure to Symphony 5 was the Decca recording by Hans Schmidt-Isserstedt/Vienna Philharmonic Orchestra, and for Symphony 7, Ernest Ansermet/Orchestre de la Suisse Romande. Furtwangler's recordings pre-date each of these by 10-15 years, but the sound is very good mono. Furtwangler's 5th may be the best recording this work has ever had: intense, dark, beautifully recorded. Don't expect overly fast tempos or hyped up dramatics:this is about destiny, soul searching, triumph over despair, life over death. Furtwangler's Vienna 7th, while not a favorite of many critics, still speaks to me in a special way. Tempos in I and IV are fast, and the sound is not as good as in Symphony 5 (it was recorded 3 years earlier), but there is an excitement and intensity which makes this worth hearing.

Most listeners would buy this for Symphony 5, and for about $7.00 you can't go wrong, no matter how many Beethoven Symphony recordings you have.

Average customer rating:

Good but Not the Best Furtwangler You Can Get
unforgettable!
Atención: ruídos parásitos
Another Excellent Performance of the Fifth and the Seventh

Beethoven: Symphonies Nos. 5 & 7

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

Customer Reviews:

Good but Not the Best Furtwangler You Can Get.......2006-11-11

Both 5th and 7th are pretty good, Furtwangler usually has a more expansive view of Beethoven's symphonies; however these two seem to me dragging a little. My recommendation is get Furtwangler's 5th with BPO 1943 live and Beecham's 7th with RPO 1959. Furtwangler's war time recording of 5th is perhaps most glorious 5th anyone can expect. Beecham's 7th provides us the most lively 7th symphony available.

unforgettable!.......2006-05-09

Atención: ruídos parásitos.......2005-06-22

Esta grabación de las sinfonías 5 y 7 de Beethoven es, artísticamente hablando, muy buena. Es imprescindible escuchar el rubato incomparable del maestro Furtwängler en todos y cada uno de los pequeños detalles que se nos presentan: nada es aquí anodino, nunca se expedienta la obra como un trámite, las sinfonías suenan, como nunca, "vivas" y parece como si sólo este maestro poseyera el secreto para hacerlo. Ahora bien: espanta, literalmente, escuchar determinados ruídos parásitos, persistentes (varios minutos), a lo largo del track 7 (3º movimiento de la 7ª sinfonía). Que no les pille de sorpresa.

Another Excellent Performance of the Fifth and the Seventh.......2005-05-02

Furtwangler's readings of Beethoven's symphonies vary over a span of some 35 years from his first concert in 1918 until his death in 1954, as if he would constantly discover and re-discover different aspects of Beethoven's music. He tried various approaches, each one with its own character. This one with the Vienna Philharmonic is a very noble balanced performance of the Fifth, especially in the first movement where Furtwangler seems to master the pounding flow of the music in the pleasant "classical" sound of the Vienna Philharmonic. As for the Seventh on this CD, Furtwangler delivers rather a "dramatic" Seventh with its fanfars and dancing melodies; a more personal but still a superb reading of the Seventh. The transfer is very good.

Average customer rating:

Not An Ideal Collection Of Furtwangler's Beethoven
+ (4-1/2) Furtwangler's LvB pays long-term rewards
interesting only from a historic perspective
Furtwangler's Beethoven: A Towering Achievement

Beethoven: The 9 Symphonies
Ludwig van Beethoven , Otto Edelmann , Hans Hopf , Elisabeth Schwarzkopf , and Wilhelm Furtwangler
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO
Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore
Recordings 1942-1944, Vol. 1
Beethoven: The Complete Symphonies and Piano Concertos
Maestro Classico, Vol. 2 (Box Set)

ASIN: B00004YU8G
Release Date: 2001-01-09

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) & Trio
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) & Trio
Sym No.3 in E flat, Op.55, 'Eroica:' IV. Finale (Allegro Molto - Poco Andante - Presto)

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) & Trio
Sym No.2 in D, Op.36: IV. Allegro Molto
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. Menuetto (Allegro Vivace) & Trio (Un Poco Meno Allegro)
Sym No.4 in B flat, Op.60: IV. Allegro Ma Non Troppo

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

Tracks:

Sym No.6 in F, Op.68, 'Pastoral:' I. Awakening Of Pleasant Feelings Upon Arriving In The Country...
Sym No.6 in F, Op.68, 'Pastoral:' II. Scene At The Brook (Andante Molto Mosso)
Sym No.6 in F, Op.68, 'Pastoral:' III. Peasant's Merrymaking (Allegro)
Sym No.6 in F, Op.68, 'Pastoral:' IV. Storm And Tempest (Allegro)
Sym No.6 in F, Op.68, 'Pastoral:' V. Shepherds' Song. Happy And Thankful Feelings After The Storm...
Sym No.8 In F, Op.93: I. Allegro Vivace E Con Brio - Wilhelm Furtwangler/Stockholm PO
Sym No.8 In F, Op.93: II. Allegro Scherzando - Wilhelm Furtwangler/Stockholm PO
Sym No.8 In F, Op.93: III. Tempo Di Menuetto - Wilhelm Furtwangler/Stockholm PO
Sym No.8 In F, Op.93: IV. Allegro Vivace - Wilhelm Furtwangler/Stockholm PO

Tracks:

Sym No.9 in d, Op.125 'Choral': I. Allegro Ma Non Troppo, Un Poco Maestoso - Chor/Orch Der Bayreuther Festspiele/Wilhelm Furtwangler
Sym No.9 in d, Op.125 'Choral': II. Molto Vivace - Presto - Chor/Orch Der Bayreuther Festspiele/Wilhelm Furtwangler
Sym No.9 in d, Op.125 'Choral': III. Adagio Molto E Cantabile - Andante Moderato - Adagio - Chor/Orch Der Bayreuther Festspiele/Wilhelm Furtwangler
Sym No.9 in d, Op.125 'Choral': IV. Presto - Allegro Ma Non Troppo - Allegro Assai - Presto -... - Chor/Orch Der Bayreuther Festspiele/Wilhelm Furtwangler

Customer Reviews:

Not An Ideal Collection Of Furtwangler's Beethoven.......2004-06-08

I own this fine set and plan to keep it. But if you are a relative newcomer to Furtwangler's Beethoven, please be warned that this set is rather uneven in quality. There are Furtwangler performances available elsewhere that, in several cases, are far superior to what is offered here. As a general rule, Furtwangler was more eloquent in live concert than he was in the recording studio. Symphonies 1 and 3-7 here are studio recordings with the Vienna Philharmonic. The other general rule: Furtwangler's greatest performances were mostly with the Berlin Philharmonic. Here is a rundown of this set:

1. This 1952 VPO First Symphony is one of Furtwangler's best studio efforts - I think it's his finest First.

2. This live 1948 VPO Second from London has really awful sound. Unfortunately, it's the only surviving recorded 2nd with Furtwangler. I also feel it is one of Furtwangler's less impressive interpretations. Other conductors, such as Schuricht and Weingartner (in different EMI sets) are more persuasive.

3. The 1952 VPO "Eroica" here has fine sound, but it pales as a performance compared with the live 1944 VPO (M&A 4049)or - my favorite of ALL Beethoven 3rds - the live 1952 Berlin (in good sound) on Tahra 1054/7.

4. Although the 1943 Berlin (M&A 4049) is a far more dramatic reading, this 1952 VPO has much better sound. Take your pick.

5. This rather benign 5th from 1954 is a lesser example of Furtwangler's commanding way with this score than either the 1943 Berlin (M&A 4049) or the 1954 BPO (Tahra 1054/7). The 1943 is my favorite, but the Tahra has much better sound. There are two other exceptional 5ths: the 1937 Berlin studio (Biddulph) and the rather eccentric 1947 live Berlin (M&A 789). All in all, I think the 1954 BPO on Tahra is the safest bet.

6. This 1952 VPO "Pastoral" is a lovely reading in good sound. But the live BPO 1954 (Tahra 1054/7) is even better, and the sound is excellent. Both are rather slow - the 1944 BPO (M&A 4049) was more dramatic but in lesser sonics.

7. I am very fond of this 1950 VPO - it was my first Furtwangler 7th on LP. However, the 1943 live Berlin (M&A 4049) is my favorite by far: it's one of the most dramatic of ALL 7ths.

8. There is a somewhat better Furtwangler 8th (1953 Berlin on a deleted DG CD) than this 1948 Stockholm Phil. But as with the 2nd Symphony, Furtwangler is a little heavy here and a bit short on humor. There are better 8ths out there from Rosbaud (Hanssler), Weingartner (Memories), and Scherchen (EMI), to name just three.

9. The gem of this set. This 1951 live Bayreuth would be my desert island choice for a Beethoven 9th. Fortunately, it is available by itself on EMI in an identical transfer (see my review of it elsewhere at Amazon). But anyone who loves this symphony should also try to hear Furtwangler's 1942 BPO (M&A 4049) - the most dramatic of ALL 9ths - and the conductor's last one: 1954 Lucerne with the Philharmonia, just 3 months before his death (Tahra 1054/7).

This EMI set is definitely worth having - the 1st, 6th, 7th and 9th are among Furtwangler's finest. But to hear what he was fully capable of in these magnificent works, the alternatives cited above are definitely worth your time. Anyway, this is great music that should be heard in readings by more than just one conductor. So I would want to have an alternative complete set or two for contrast. Two of my favorites in that category are the Schuricht/Paris Conservatory (EMI) and Konwitschny with the Leipzig Gewandhaus (Berlin Classics). Both of these have better sound - and the Konwitschny is (gasp!) in stereo. Here's wishing you many hours of happy listening!

+ (4-1/2) Furtwangler's LvB pays long-term rewards.......2004-04-26

While I may have to agree when a previous reviewer says don't buy this Furtwangler set if you must have modern stereo sound production, I have to differ with specific recommendations for Abbado and von Karajan based on DG stereo production values. Bohm, Szell, Walter, and Klemperer also made legendary Beethoven recordings in stereo that are just as worthy of my money, and we consumers are no longer blinded by the commercial myth-making that once made DG and von Karajan everybody's top choice for any kind of orchestral music from Bach to Bartok. To be fair, von Karajan certainly made great music at times, and still remains my personal favorite for Sibelius, but for Beethoven I look elsewhere.

So the question remains why this Furtwangler set should have a spot in anybody's classical music collection. Listeners must be willing to accept late mono sound quality to experience these legendary interpretations, and allow plenty of listening time for all the positives to be heard. Those who already admire Furtwangler's conducting may need no persuasion, though conneissuers may argue the merits of EMI's archives versus other performances on specialty labels. To my ears, Furtwangler's music-making easily transcends any limits in sound quality in this collection. Most of all, the 1951 Bayreuth 9th seems utterly impossible to improve upon and some listeners may suffice by acquiring the single-CD reissue of that performance alone.

But the complete set reinforces Furtwangler's legendary reputation even more, as we hear him plunge deeply into every performance and his orchestra breathes like a powerful athlete at one point or a sleeping baby at another. Few conductors ever master this combination of spontaneity and control as Furtwangler did and the dynamics can be exhilarating. Comparisons with Toscanini, not von Karajan or Abbado, are perhaps more appropriate for an appreciation of how differently two contemporary conductors can interpret the same music with successful results, and how much the interpretation of classical music has been altered by the advent of the recording industry.

In conclusion, the intrinsic musical merits of this collection are its strongest recommendation, and packaging is excellent with all 5 CDs in one double-size jewelbox. Perhaps the 2nd and 8th are weak inconsistencies here, but no complete Beethoven set can be perfect, and I also suggest complementing this set with affordable alternate stereo sources such as Bohm (3/8), Klemperer (5/7), Szell (1/6), and Wand(9).

interesting only from a historic perspective.......2002-07-17

Undoubtedly Furtwangler is one of the greatest conductors of the first half of the 20th century and probably the most prominent exponent of the romantic and emotional style of music interpretation. I should preface my review review by saying that I intensely dislike this style, and this collection of Beethoven symphonies perfectly illustrates the reasons why. Most of all the paces are very inconsistent, and there is virtually no sound transparency. If you like the recent Abbado interpretation of the Beethoven symphonies or Karajan's great 1963 recording, don't get this one. This is also not a set that was recorded as a cycle with one single orchestra, it is a collection of Furtwangler's recordings with the Vienna Philharnonic and the Stockholm philharmonic over a period of time. The overall pace, if you can name one, is slow and heavy, even in the early symphonies that definitely to me have a lightness that is very reminiscent of Mozart, this is squahed by a heavyhanded and overbearing style that completely covers all the fine nuances that are in these great pieces.
The sound quality of the set does not help. Clearly these are historic recordings, but there is definitely better-restored stuff out there.

Furtwangler's Beethoven: A Towering Achievement.......2002-03-10

Beethoven was a central part of Furtwangler's art, and he returned again and again to the symphonies, leaving a recorded legacy that appears not only in this EMI set, but in live performances on numerous smaller labels as well. With the exception of the 2nd, the 8th, and the legendary Bayreuth 9th, all of which were recorded live, this set consists of Furtwangler's EMI studio recordings, made between 1948 and 1954. The sound is decent mono, remastered for this set in 2000 with EMI's "Abbey Road Technology".

Furtwangler's Beethoven cannot be easily described the way Toscanini's or Klemperer's might be (though such characterizations are generally unfair in any case, no matter who the conductor may be). He had the ability to sustain slow tempos that in other hands would threaten to topple the entire structure of the symphony, but under Furtwangler's direction, seem to be just right. His approach never distorts the music, and almost always offers the listener new insight and pleasure in the music.

These recordings were made near the end of Furtwangler's life. For interpretations that are more spontaneous, his war-time performances are available on the Music and Arts label (as well as other labels, but the Music and Arts set was the easiest to find). They tend to be more driven, reflecting the turmoil of the time, but with surprisngly good sound (including some audience noise).

All of the recordings in the EMI set are also avaialable on separate discs. The 9th is part of EMI's "Great Recordings of the Century" and is considered by many to be one of the best 9ths ever recorded.

Tracks:

Beethoven-Sym No.5 in c, Op.67: Allegro Con Brio
Beethoven-Sym No.5 in c, Op.67: Andante Con Moto
Beethoven-Sym No.5 in c, Op.67: Allegro
Beethoven-Sym No.5 in c, Op.67: Allegro
Beethoven-Sym No.7 in A, Op.92: Poco Sostenuto-Vivace
Beethoven-Sym No.7 in A, Op.92: Allegretto
Beethoven-Sym No.7 in A, Op.92: Presto
Beethoven-Sym No.7 in A, Op.92: Allegro Con Brio

Customer Reviews:

Most Glorious Beethoven 5th I've Heard.......2006-11-11

I just listen to the lived 1943 recordings of Beethoven 5th and 7th and I thought I have heard enough 5th in my life...This performance by Furtwangler and BPO during the WWII is absolutely the best 5th I've come to know after so pretty much listening to all of mono, steoro, and digital recording available. Although I still prefer Sir Thomas Beecham and RPO's 7th, but the 5th alone is worth it. This is the most glorious Beethoven.

Furtwangler = definitive performances = reference.......2003-08-05

These performances, offered by Allegro in their 'Classica d'Oro' series, were formerly released thru a few other labels (notably Deutsche Grammophon and Music And Arts). Of course there are different bootlegs out there (some emerging possibly from Russia and Korea) but sound quality is not always a priority. I've had the chance to grab a (German-made) Deutsche Grammophon cd recently : It sounds "cleaner" than the Allegro -- a bit "more defined" could be a good description, but the difference is not huge. However, those original mono recordings are rather limited in their range, even though i've heard far worse. Nevertheless, the D G edition sounds good -- if you can't locate it or the excellent Music And Arts, you can safely acquire the Allegro which sound's ok. Concerning the Fifth, I 100% agree with the other reviewer that "nothing comes close to this one [...] for sheer power and awesome beauty." Furtwangler's genius can be witnessed in these heroic interpretations. His powerful Fifth will even manage to surpass the great Klemperer in specific areas. The war time worry is discernible as is the somber temper of these 1943 recordings. The singular atmosphere thus contributed the phenomenal result that goes beyond mere live music production. There were political and, above all, historical connections -- a crossfire of various predispositions and meanings that, in the end, have written a new chapter in the chronicles of Beethovenian music. The Seventh Symphony is just monumental as it should be. Probably -- and perhaps certainly -- the greatest performance from the archives (one of the greatest, for sure). Even the excellent Reiner (with C.S.O.) does not come close. I won't go into myriads of details about the performance, but i will just add that the fascination grows deeper with every new listening. There's a lot goin' on here. Furtwangler and the very strong Berlin Philharmonic play sometimes at frenzied levels and speeds, overlapping some wonderful soft passages -- almost unequaled for freshness and lyrical grandeur : This is Beethoven's territory! And what about the fact that such splendid music was created in the middle of chaos? Nonsense. Beethoven's (and Furtwangler's) artistic vision and response to chaos. In spite of somewhat limited sonics (i.e., it's not the latest DDD with full impact), these live performances are amazingly solid, powerful, energized and full of splendor. More definitive performances : A reference. *****

Magnificent playing, dismal recording.......2003-04-15

This is one of the most powerful renditions of Beethoven's fifth I've heard. I have Beethoven symphonic cycles by almost all the major conductors, and nothing comes close to this one by Furtwangler for sheer power and awesome beauty. I gave it five stars just because of the musical interpretive genius apparent. The first ovement is explosive, and the opening fermatas are interpreted as type II's (with a short pause after them.) This creates a tremendous sense of expectation for the repetition of the motif. The effect is made even more pronounced with the slightly slower-than-norm tempo, creating a sense of unique monumentality to the opening. The rest of the movement incorporates quite a lot of rubato that might be a little strange for those assustomed to the Toscanini/Beecham/Harnoncourt technique, but then again, that is the beauty of Furtwangler's interpretation. He 'goes with what the music demands' and makes up in sheer expressive beauty what he might lack in historical accuracy. (By the way, how does anyone really know, except by inference and implication if Beethoven did or did not use or want rubato in his performances?) The second movement is extremely lyrical and the variations are executed preserving the sense of overall unity. The third movement is probably unrivalled in the history of performance for the sheerly sinister. The rubato, the expressive pauses and the startling dynamic range and the blend of instrumental colours creates a morbid tension, almost psychosis. That is followed by a deliciously long buildup to the triumphant finale.
The seventh symphony is...sheer poetry. I need not say more.
The recording, on the other hand, is dismal. The CD has a horrible pause, a PAUSE, at the end of the third movement and the beginning of the fourth in the fifth symphony...! It ruins the continuity, wrecks the train of thought, it is musical barbarity! The sound quality could have been cleaned up a little more. The program notes border on the puerile. The orchestra sometimes sounds as though their sound emanates from the bottom of a well. But...all this is outweighed by the sheer beauty of Furtwangler's performance. Hence the five-star review.
It makes an interesting comparison, though, with the Karajan cycle (1963, I believe) with the same orchestra. The sound has altered a little, but the playing changed almost beyond recognition in the interval. Both versions are brilliant, but personally, I prefer the warm, glowing, expressive and personal style of Furtwangler. He was able to evoke the soul of the music. The picture he paints is alive, ever-changing and subtly persuasive...
Overall, a magnificent CD to own. Also well-worth looking at is the Beethoven's ninth symphony (available on its own), sixth and eighth symponies (available as a set) by Furtwangler. Recording quality is mildly better in these works.

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Beethoven: Symphonies Nos. 4-7

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000001OGA
Release Date: 1994-11-29

Tracks:

Sym No.4, B-flat, Op.60: I. Adagio-Allegro Vivace
Sym No.4, B-flat, Op.60: II. Adagio
Sym No.4, B-flat, Op.60: III. Allegro Vivace
Sym No.4, 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. Presto-Assai Meno Presto
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
Sym No.6 in F, Op.68 'Pastorale': I. Allegro Ma Non Troppo
Sym No.6 in F, Op.68 'Pastorale': II. Andante Molto Mosso
Sym No.6 in F, Op.68 'Pastorale': III. Allegro
Sym No.6 in F, Op.68 'Pastorale': IV. Allegro
Sym No.6 in F, Op.68 'Pastorale': V. Allegretto

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Beware the Gaps!

Beethoven: Symphonies Nos. 4-7

Manufacturer: Monopoly
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00004TZBR
Release Date: 2000-06-28

Amazon.com

Remastered from records originally made in 1943 and 1944, these performances, one of them live, are truly from another age. Wilhelm Furtwängler was always famous for the freedom of his interpretations combined with scrupulous attention to the score, and these two discs illustrate both qualities. Though he meticulously follows Beethoven's markings, he does not hesitate to go beyond them when he feels the music demands it. He has the daring, hardly fashionable today, to change the tempo along with the mood and character, to speed up with mounting dynamics and intensity, then slow down as tension relaxes. The miracle is that these liberties always feel organic and justified, spontaneous, balanced and controlled. Also extraordinary is his ability to create big, sweeping lines as well as lovingly attend to details. In the fast movements, he favors leisurely, deliberate tempos, taking plenty of time for poised transitions, but keeps the slow ones moving, no matter how calm and serene. The Trios are all much slower than the Scherzos; in the Seventh Symphony he preserves the pulse at a third of the speed. He achieves enormous grandeur, for example, in the Fifth Symphony; the Finale's sweep is overwhelming. The Pastoral Symphony is wonderfully expansive, lyrical, singing, evoking the peace and sunshine of Beethoven's beloved countryside, as well as the jagged lightening and crashing thunder of the storm. The rhythm in the syncopations of the Fourth Symphony is firm as granite; the Finale is brilliant. (The label lists the Fourth and Seventh Symphonies in reverse order.) The record shows its age in the old-fashioned violin fingerings of the otherwise wonderful orchestra: the sound is a bit strident, the extreme dynamics require a finger on the volume control, and, except in the Pastoral, the middle and low strings tend to disappear. But no matter--these are unique, incomparable performances. --Edith Eisler

Customer Reviews:

Beware the Gaps!.......2000-12-19

This is an imported incarnation of Furtwangler's gut wrenching wartime recordings with the Berlin Philharmonic, of Beethoven's middle four symphonies. Though with excellent sound and fidelity rage--sonically as good as the EMI recordings after the war--this transfer has a VERY SERIOUS FLAW: In the Fifth and Sixth symphonies where one movement flows into the next, the engineers have put in gaps between the numbered bands! Imagine in the Fifth symphony the hushed tones of the Allegro (third movement) building up to the towering crescendo which crashes into the Finale, only to hear the whole wall of sound stop for a full two seconds before the three cords of the Finale are heard! The same happens twice in the Pastoral. O wretched ignorance. What a ruination of otherwise unmatched performances of this music.

Beethoven: Symphonies Nos. 4 & 6 "Pastorale"

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Organic Beethoven

Beethoven: Symphonies Nos. 4 & 6 "Pastorale"

Manufacturer: Arkadia: the 78's
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000IMV5
Release Date: 1999-04-01

Customer Reviews:

Organic Beethoven.......2007-04-07

First of all, the works in this recording are Beethoven's 4th and 6th symphonies (not 4th and 5th as stated in the product info). These recordings were made in 1943 and 1944 in the midst of World War II. Whatever Furtwangler's feelings may have been about his position or the Nazi government, he still delivers two passionate and forceful readings of these symphonies.

The thing that separates Furtwangler from the rest is his trust in the orchestra to play in more of a chamber style. This is in direct contrast to conductors like Karajan and Szell, who ruled absolutely and gave the music a tight, orderly feel. What this means is that in Furtwangler's Beethoven, tempo changes occur naturally and more gradually. Instead of a sudden jump, you hear the orchestra pick up momentum for an acceleration or slowly lose it for a ritardando. For my taste, this leads to a more organic experience, in which the listener feels like he is part of the music-making process.

These recordings are pretty similar to ones Furtwangler later did with the Vienna Philharmonic in the 50's as part of his studio recordings. However, I always felt that the Berlin Philharmonic responded more to Furtwangler. They truly play like an ensemble; every tempo change is in sync, the strings always play with the same amount of bow, etc. The audio quality is quite good for the time period and for the live aspect. I can't recall hearing any peeps from the audience.

The 4th is the highlight for me on this disc. The orchestra sounds surprisingly light and fresh for most of it. Also, note how Furtwangler makes his audience wait just a bit longer for the Allegro to get going in the first movement. The 6th is on the whole a cheerful reading, but I feel like the orchestra sounds a bit heavy.

I recommend this disc enthusiastically. You'll be getting two great symphonies conducted by, in my opinion, the greatest Beethoven conductor ever recorded. In addition, you'll be getting live recordings, very much with the feel of spontaneity of being there.

Beethoven - Symphony No. 5/ Bruckner - Symphony No. 6 - Wilhelm Furtwängler

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Beethoven - Symphony No. 5/ Bruckner - Symphony No. 6 - Wilhelm Furtwängler

Manufacturer: Melodiya
ProductGroup: Music
Binding: Audio CD
ASIN: B0006OGYU0

Product Description

LUDWIG VAN BEETHOVEN (1770-1827). Symphony No. 5 in C minor, op. 67: 1. Allegro con brio 2. Andante con moto 3. Allegro 4. Allegro. Live recording: Berlin, 27.06.1943. ANTON BRUCKNER (1824-1896). Symphony No. 6 in A, A105 (parts II-IV): 5. Adagio. Sehr feierlich 6. Scherzo. Nicht schnell 7. Finale. Bewegt doch nicht zu schnell. Live recording: Berlin, 13.11.1943. Berliner Philharmoniker. Conductor Wilhelm Furtwangler. Total time 69:13. MONO.

Furtwangler conducts Beethoven Cycle Vol. 8: Symphonies Nos. 4 (recorded June 30, 1943) & Symphony No. 5 (recorded in 1937)

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Furtwangler conducts Beethoven Cycle Vol. 8: Symphonies Nos. 4 (recorded June 30, 1943) & Symphony No. 5 (recorded in 1937)

Manufacturer: L.Y.S.
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000DMMV
Release Date: 1996-10-14

Music Track: