Beethoven: Nine Symphonies [Box set]

Editorial Reviews
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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

Symphony No.7 In A Major Op.92: I. Poco Sostenuto - Vivace - L.V. Beethoven
Symphony No.7 In A Major Op.92: II. Allegretto - L.V. Beethoven
Symphony No.7 In A Major Op.92: III. Presto - L.V. Beethoven
Symphony No.7 In A Major Op.92: IV. Allegro Con Brio - L.V. Beethoven
Symphony No. 8 In F Major Op.93: I. Allegro Vivace E Con Brio - L.V. Beethoven
Symphony No. 8 In F Major Op.93: II. Allegretto Scherzando - L.V. Beethoven
Symphony No. 8 In F Major Op.93: III. Tempo Di Menuetto - L.V. Beethoven
Symphony No. 8 In F Major Op.93: IV. Allegro Vivace - L.V. Beethoven

Tracks:

Symphony No. 9 In D Minor Op.125: I. Allegro Ma Non Troppo - Ludwig Van Beethoven
Symphony No. 9 In D Minor Op.125: II. Molto Vivace - Ludwig Van Beethoven
Symphony No. 9 In D Minor Op.125: III. Adagio Molto E Cantabile - Ludwig Van Beethoven
Symphony No. 9 In D Minor Op.125: IV. Presto - Ludwig Van Beethoven
Symphony No. 9 In D Minor Op.125: V. Allegro Assai Vivace Marcia-End - Ludwig Van Beethoven
Symphony No. 9 In D Minor Op.125: VI. Allegro Assai Vivace Marcia-End Beethoven's Original - Ludwig Van Beethoven

Amazon.com essential recording

If you're looking for a real bargain set of Beethoven's complete symphonies, look no further. David Zinman leads the Tonhalle Orchestra Zurich through the big nine. Unconventional--this is the world-premiere, modern-instrument recording of the New Barenreiter Edition (translation: slight variations in the scoring)--and with Zinman's typically fast tempos, these are spirited, though probably not definitive, performances. Herbert Von Karajan's 1963 cycle of Beethoven's symphonies must still be considered the essential versions and, costing only 10 dollars more than this set, it's just as much of a bargain. But, for Beethoven lovers on a tight budget, folks looking to add one more Beethoven cycle to their music library, or experts who want to hear what the fuss of the Barenreiter Edition is about, this set shouldn't be passed up. Zinman and Tonhalle have delivered a winner, with excellent sound and a great sticker price. --Jason Verlinde

Customer Reviews:

Fascinating, but mostly just a blueprint.......2007-04-27

Jonathan del Mar, son of Philharmonia Orchestra musician Norman del Mar, spent a great many years working on a "critical edition" of the Beethoven Symphonies using Beethoven's original manuscripts and comparing them, bar-by-bar and note-for-note, with the published editions. The result was the Barenreiter-Edition, first recorded here (and, to my knowledge, ONLY recorded here) by the Zurich Tonhalle Orchestra and conductor David Zinman.

First, let me say that I have only the highest respect for Zinman. He is one of my favorite conductors, and I have long felt that only the lack of a high-powered agent has kept him from being one of the world's best-known podium masters. But in these performances, using the "critical edition" as a sort of leash, there is little or no rubato at all, except for some very, very subtle modifications in the Adagios and in the Allegretto finale of the Sixth Symphony. Otherwise, this is Beethoven in VERY strict tempos, and I do mean strict: the tenor solo of the Ninth is taken at such a clip that it's difficult to imagine any other tenor, in live performance, agreeing to be subjected to it. The oft-maligned Toscanini sounds like a mere snail in comparison.

Nevertheless, there are some good things and good performances. Despite a second-movement "Andante cantabile con moto" taken at an incredibly brisk "con moto," his reading of the First Symphony is supremely satisfying, the best I have heard since Munch and Toscanini. His "Eroica" completely vindicates the Toscanini approach as every single movement is taken quicker than the Italian Maestro did it (the second movement "Marcia funebre" at least six per cent quicker), and I was surprised to hear the famous Trio taken with a repeat. His Fourth is the most satisfying reading since the 1939 Toscanini broadcast, and his Sixth has the most ingratiating "At the brook" and "Joyous merrymaking after the storm" since the equally old 1939 Toscanini-BBC Symphony recording. (Herbert von Karajan, in his last Beethoven symphony cycle, also took the Sixth at written pace but with a much stiffer, less flexible rhythm, which nullified its pastoral effects.) In addition, I heard little turns in the wind instruments in the first movement that are not evident, or at least not as cleanly played, in any other recording or performance I've ever heard.

Yet, as an overall set of the Nine, it remains a learning device for burgeoning conductors and not an edition that one will turn to time and time again for interpretive inspiration. For this I do not particularly blame Zinman, who was making a point, but he could have and should have "lived" with these new scores for a few years, modified his interpretations somewhat, and THEN have recorded his mature, seasoned reflections on them. Also, and I hate to be the one to carp about this, but WHY are the vocal soloists in practically every Ninth Symphony since Karajan's last one simply horrible?? Zinman is scarcely alone here: Haitink, Dohnanyi, Robert Shaw and anyone else of worth also have woefully inadequate singers on their Ninths. But of course, I happen to be very particular about singers anyway, so my favorite Beethoven Ninths are always defined by both the conducting and the vocal quartet, my picks being Toscanini 1939 (Novotna, Thorborg, Peerce, Moscona), Schmidt-Isserstedt 1967 (Sutherland, Horne, King, Talvela) and Karajan 1977 (Tomowa-Sintow, Baltsa, Schreier and Van Dam). I exclude 1952 Toscanini, even though his quartet was wonderful, simply because I have always been uncomfortable with his pacing and phrasing on that particular Ninth (no, it's not too fast, on the contrary, it's the slowest of all his Ninths, but the music just doesn't flow - everything sounds "vertically" phrased.)

Anyway, those are my thoughts regarding this set. I don't think you'll find finer modern (within the last thirty years) performances of the First, Third, Fourth or Sixth anywhere, but I prefer Karajan's 1977 readings of the Second, Seventh and Ninth, and his 1983 version3 of the Fifth and Eighth.

ONE OF THE VERY BEST.......2007-04-07

One man's view:
Amazing! Every one of these is full of energy, joy and "snap." The sense of exuberance makes all a pleasure. I like the peppy tempos here, the lack of passivity all the way. (Also it's the deal of a lifetime on the price.)
--check out Solti too, Very fine. More weight.
--also Szell.
=\=\=
--P.S. - check out O'Conor and Arrau on the LVB complete piano sonatas. Beyond belief!
=\=\=\=

No More Excuses.......2007-02-27

I love it! Zinman and the Tonhalle Orchestra Zurich have shattered the myths that Beethoven's metronome markings had to be a mistake, or that original instruments are needed to adhere to them. This is a truly remarkable set, outstanding from beginning to end and delivered with studied energy, irresistible momentum, plenty of lyricism, and abiding good humor. I would describe this Beethoven as earthy (in a romantic, anti-aristocratic, folk-dance kind of way) and wiry (small, but exceedingly strong). One can hear and appreciate all the subtleties of the orchestration and all the lines of attack without ever losing touch with melody and cadence. Plenty of personality, too: I can listen to these performances and, occasionally at least, imagine Beethoven giving the finger to the powdered-wig crowd.

This is Beethoven at his best and most accessible: never sentimental, stodgy, puffed-up, or blown out of proportion, and always thoughtfully energetic! Very enthusiastically recommended!

PS: Read Peter J. Lawson's online review for MusicWeb International for more detail. He paints a better picture than I could ever hope to. I disagree with him in his faint praise for the fifth, however.

Probably the best cycle on the market.......2006-05-17

I love this set.
Brisk tempi, good detailed sound, fine orchestral playing, lean and transparent, but powerful etc.

However: I must confess that the performances lack something:
If you listen to the 3rd symphony, without ever heard the rest of Zinman's performances, you'll pretty much get an idea of what the 5th or 7th is gonna sound like...it's a matter of how you look at things: you could say Zinman is consistent in his interpretations or you could say his performances lack character, a personal touch, everything is handled the same way.

For me his choice of tempi are spot on, I agree with them and the orchestral playing is refined without being too polished...although sometimes I wished it to be a bit rougher, like Savall in Beethovens 3rd for instance.
The 3rd is given an excellent performance, but in comparison with Savall without an edge and maybe "heart".
In Savalls 3rd you'll hear an involvement with the music, kinda as if Savall never heard Beethovens 3rd in his life before and is now obsessed with the music, there's so much tension, spirit and involvement in his reading.
Zinman plays it how it should be played, but nothing more...

The 7th is excellent, but there's a lack of lower strings and bass.
etc etc.

Overall this set is really very very good, for me these recordings are my (personal) reference performances..but not necessarily my favorite performances of each individual symphony.

Beethoven Rediscovered!!!!!.......2005-10-22

I was curious to listen to David Zinman and the Zurich Orchestra after all I had read in the CD guide books and magazines. This is my sixth full cycle (Karajan 1963 and 1977, Klemperer,Bernstein/VPO and Toscanini) and these days is definetely my favourite. Zinman brings new life to the symphonies- period. The Barenreiter edition may play a role in the freshness of the music but the passion of maestro and orchestra makes you feel as if you are present in the music hall, being a spectator of a live performance.
The first symphonies were the greatest surprise for me, and I can now see the maturation of Beethoven, where as the older approaches interepreted these pieces as small "Eroicas". There is no doubt there are better interepretations of individual symphonies out there - ex. Carlos Kleiber on the 5th, Klemperer on the "Eroica"-old style or Furtwangler on the 1952 recording of the "Choral" - but this fact can not overshadow what I find as an excellent set at a great price.

Average customer rating:

The Best Beethoven Symphonies Recording I've Ever Heard
Solti's Beethoven is mainly for his fans.
big shouldered beethoven from the city of big shoulders...
Solti's Great Beethoven- an essential!
The benchmark recordings for the Beethoven nine !

Beethoven: The Nine Symphonies

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041XV
Release Date: 1990-09-11

Tracks:

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

Tracks:

Symphony No. 3 In E Flat Major, Op. 55 'Eroica': I Allegro con brio - Ludwig Van Beethoven
Symphony No. 3 In E Flat Major, Op. 55 'Eroica': II Marcia funebre: Adagio assai - Ludwig Van Beethoven
Symphony No. 3 In E Flat Major, Op. 55 'Eroica': III Scherzo: Allegro vivace - Ludwig Van Beethoven
Symphony No. 3 In E Flat Major, Op. 55 'Eroica': IV Finale: Allegro molto - Ludwig Van Beethoven
Overture 'Egmont', op. 84 - Ludwig Van Beethoven

Tracks:

Symphony No. 5 In C Minor, Op. 67: I Allegro con brio - Ludwig Van Beethoven
Symphony No. 5 In C Minor, Op. 67: II Andante con moto - Ludwig Van Beethoven
Symphony No. 5 In C Minor, Op. 67: III Allegro - Ludwig Van Beethoven
Symphony No. 5 In C Minor, Op. 67: IV Allegro - Ludwig Van Beethoven
Symphony No. 4 In B Flat Major, Op. 60: I Adagio - Allegro vivace - Ludwig Van Beethoven
Symphony No. 4 In B Flat Major, Op. 60: II Adagio - Ludwig Van Beethoven
Symphony No. 4 In B Flat Major, Op. 60: III Allegro vivace - Ludwig Van Beethoven
Symphony No. 4 In B Flat Major, Op. 60: IV Allegro ma non troppo - Ludwig Van Beethoven

Tracks:

Symphony No. 6 In F Major, Op. 68 'Pastoral': I Allegro ma non troppo - Awakening Of Cheerful Feelings Upon Arrival In The Country - Ludwig Van Beethoven
Symphony No. 6 In F Major, Op. 68 'Pastoral': II Andante molto mosso - By The Brook - Ludwig Van Beethoven
Symphony No. 6 In F Major, Op. 68 'Pastoral': III Allegro - Peasants' Merrymaking - Ludwig Van Beethoven
Symphony No. 6 In F Major, Op. 68 'Pastoral': IV Allegro - Thunderstorm - Ludwig Van Beethoven
Symphony No. 6 In F Major, Op. 68 'Pastoral': V Allegretto - Shepherd's Song. Happy And Thankful Feelings After The Storm - Ludwig Van Beethoven
Overture 'Leonore' No. 3, Op. 72a - Ludwig Van Beethoven

Tracks:

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

Tracks:

Symphony No. 9 In D Minor, Op. 125: I Allegro ma non troppo, un poco maestoso - L.V. Beethoven
Symphony No. 9 In D Minor, Op. 125: II Molto vivace - L.V. Beethoven
Symphony No. 9 In D Minor, Op. 125: III Adagio molto e cantabile - L.V. Beethoven
Symphony No. 9 In D Minor, Op. 125: IV Presto - Allegro assai - Andante maestoso - Allegro energico, sempre ben marcato - L.V. Beethoven

Customer Reviews:

The Best Beethoven Symphonies Recording I've Ever Heard.......2007-06-20

This is absolutely a gorgeous recording. It is uplifting and some of the softer sections of the 9th Symphony are so beautiful it brings tears to your eyes.

The Karajan Beethoven Symphonies of 1963 which many rave over is a casualty of not transferring from analog to digital well. Though Karajan's interpretation is wonderful, it is overpowering to the point of speaker overload in the stronger parts and too weak in the softer parts which is typical of old live analog orchestra recordings transferring to digital.

I think Sir Georg was the last of the conductors of his time and style, which is very sad. There will never be a kind like him or Karajan again.

Solti's Beethoven is mainly for his fans........2007-04-22

Although there are some great moments in Sir Georg Solti's last Beethoven Symphony cycle, recorded 1986-89, there are generally better recordings available.

First of all, Sir Georg's tempos in Symphony I: IV and Symphony 2: IV are break-neck, and almost reckless, so much so the Chicago players have trouble staying together!

The recording job throughout is acceptable, but the orchestra does not sound that realistic or immediate, and Decca's usually rich bass and midrange don't come through as in many other Solti recordings. The record level is low, and one has to boost the volume quite alot to get any sense of presence.

I don't think as highly of this set as some listeners might, as I have other recordings of Beethoven I turn to more often: Karl Bohm/Vienna Philharmonic (DG, rec. 1970-72) especially for Symphonies 2,3,4,5,6, and 8; Bernstein/Vienna Philharmonic (DG, rec. 1977-9); Szell/Cleveland (Sony Essential classics, rec. 1959-68) for Symphonies 1,3,4,and 9;
Karajan/Berlin Philharmonic (DG, either the 1961-2 or 1975-77 cycle, both available as complete sets); Bruno Walter/Columbia Symphony (Sony: Symphonies 2,3,4,6, and 8); Ormandy/Philadelphia Orchestra (Sony: Symphonies 5,6 and 8 - may be hard to find in April, 2007) or even Solti/Chicago Symphony in an earlier analog cycle (London, rec. 1972-74) which has sound with better presence: more defined bass, than this recording. Those who are Chicago Symphony fans and MUST have one of their recordings could seek out any of the Fritz Reiner/Chicago Beethovens: Symphonies 1,3,5,6,7 and 9 are still available (RCA).

In light of the competition, I'd pass on this one.

If you like Solti/Chicago, consider their recordings of the Brahms Symphonies (London, 4 CD set). And for SOLTI fans, he recorded the Beethoven Symphonies 3, 5 and 7 with the Vienna Philharmonic (Decca, 1958), a recording I have not heard, but have read is very good, better than either of Solti's Chicago Beethoven Symphony recordings.

big shouldered beethoven from the city of big shoulders..........2006-08-06

This is a broad, powerful, heavy-duty Beethoven symphony cycle, free of idiosyncracy, that can stand as a benchmark to measure against more unconventional interpretations, a kind of golden mean of Beethoven. Decca's spacious sonics foregrounds Solti's attention to orchestral detail; all the sections, particularly the low strings and the winds can be heard to beautiful effect. Solti's tempos are expansive, and as befits a great opera conductor,incident rules over architecture. The decade from the late '80's to the late '90's was a stellar period for Beethoven symphony cycles. The four best, each completely at odds with the other, are Gardiner (period performance practice, Beethoven as French revolutionary, martial, manic, zealous); Barenboim (Wagnerian, deep orchestral colors, expressive tempos); Harnoncourt (raw,fusing Barenboim's personal expressiveness and Gardiner's small forces and fast tempos --Beethoven as untamed avant gardist, somewhere between Bach and Schoenberg); and this set, where Solti utilizes a Wagnerian orchestra with strong on-the-beat phrasing (Toscanini to Barenboim's Furtwangler). This conductor was the last of the old-school Middle Europeans in the field, and one of the only members of his breed to benefit from a first-rate band recorded with clarity in digital sound. (Karajan's late Beethoven cycle is to be avoided at all cost). If you like your Ludwig Van straight up, technocratic, without weirdness or surprises, then this set is for you (I mean that as a compliment...)

Solti's Great Beethoven- an essential!.......2006-05-22

Reviewers would tell you that Karajan's first Deutsche Grammophon recordings is the Beethoven cycle to own. While I believe that Karajan's string-rich virtuoso view of Beethoven's score is refreshing, a quick comparison of the score and Karajan's music shows that he often takes a very Wagnerian (rubato) view of the score. Most people believe that Wagnerian entails a brassy, loud "heavy-metal" handed interpretation of the music. This, however, is a misconception that needs to be erased. Unlike Wagner, Beethoven had metronome markings in his score that a conductor needs to interpret to music to make the music sound right. Also, the development in the symphonies' musical and emotional structure are aided by these score markings to make it easier for the conductor to bring forth the composer's message. Karajan took a Wagnerian style of conducting in the sense that he changed some of the tempi to his liking. Solti, however, follows Beethoven's score in a German Romantic tradition. This means that there is a transparency to his conducting, but not to the degree that Szell takes with his Beethoven. Every musical detail is heard, and the strings are very well accentuated too. Karajan's recording emphasized the strings too much and drowned the other instruments. I find that although his Beethoven symphonies can be rather ravishing, it does not offer a very complete vision of the music.

These Chicago recordings (recorded by possibly the greatest symphony in the world at that time, the CSO) are undoubtedly the work of a conductor who knew the intentions of Beethoven very well and respected them. I highly recommend this set for anyone who wants to listen to Beethoven as it should be performed.

The benchmark recordings for the Beethoven nine !.......2005-10-16

Some say the Karajan (1963) are better. Well it may have sounded so *inside the hall* when Karajan played it back then. But the recording is pretty awful. I own the set and am thinking of tossing them out. But then it shouldn't come as a surprise because it was recorded in ..umm..1963.. using primitive equipment.

This Decca DDD set, like all Decca DDD recordings, are just spectacular ! The sound is rich, clear and room filling with plenty of bass in the strings, something most other recordings seem to lack. I have heard many versions of the Beethoven nine, Szell, Bernstein, Karajan, Muti, Levine, Chailly and others - but this is the one that sets the benchmark.

(ps: For # 3, I prefer the Levine/Met (DG, 4D recording) version )

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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Tracks:

I. Adagio Molto - Allegro Con Brio
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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
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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. It costs about as much as 2.5 to 3 Klemperer Beethoven Symphonies/Bareneboim Piano Concerto cd boxed sets. 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: The Nine Symphonies - Barenboim / Berliner Staatskapelle

Average customer rating:

The Finest Beethoven Cycle in Excellent Sound
Beethoven might have liked this
Finest Beethoven ever recorded
Compare First and You'll Get This One . . .
Round One

Beethoven: The Nine Symphonies - Barenboim / Berliner Staatskapelle

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Shostakovich: The Complete Symphonies - Mariss Jansons (10 CD)
Beethoven: Die Späten Klaviersonaten
The Penguin Guide to Compact Discs and DVDs 2005/06 Edition: The Key Classical Recordings on CD, DVD and SACD, 30th Anniversary Edition (Penguin Guide to Compact Discs and Dvds)

ASIN: B00004S1EV
Release Date: 2000-04-25

Tracks:

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

Tracks:

Symphony No. 3 In E Flat Major, Op. 55 'Sinfonia eroica': Allegro con brio
Symphony No. 3 In E Flat Major, Op. 55 'Sinfonia eroica': Marcia funebre: Adagio assai
Symphony No. 3 In E Flat Major, Op. 55 'Sinfonia eroica': Scherzo: Allegro vivace
Symphony No. 3 In E Flat Major, Op. 55 'Sinfonia eroica': Finale: Allegro molto

Tracks:

Symphony No. 4 In B Flat Major, Op. 60: Adagio - Allegro vivace
Symphony No. 4 In B Flat Major, Op. 60: Adagio
Symphony No. 4 In B Flat Major, Op. 60: Allegro vivace
Symphony No. 4 In B Flat Major, Op. 60: Allegro ma non troppo
Symphony No. 5 In C Minor, Op. 67: Allegro con brio
Symphony No. 5 In C Minor, Op. 67: Andante con moto
Symphony No. 5 In C Minor, Op. 67: Allegro
Symphony No. 5 In C Minor, Op. 67: Allegro

Tracks:

Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro ma non troppo - Erwachen heiterer - Empfindungen bei der Ankunft auf dem Lande
Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Andante molto moto - Szene am Bach
Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro - Lustiges Zusammensein der Landleute
Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro - Gewitter, Sturm
Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegretto - Hirtengesang. Frohe und dankbare Gefuhle nach dem Sturm

Tracks:

Symphony No. 7 In A Major, Op. 92: Poco sostenuto - Vivace
Symphony No. 7 In A Major, Op. 92: Allegretto
Symphony No. 7 In A Major, Op. 92: Presto
Symphony No. 7 In A Major, Op. 92: Allegro con brio
Symphony No. 8 In F Major, Op. 93: Allegro vivace e con brio
Symphony No. 8 In F Major, Op. 93: Allegretto scherzando
Symphony No. 8 In F Major, Op. 93: Temp di Menuetto
Symphony No. 8 In F Major, Op. 93: Allegro vivace

Tracks:

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

Amazon.com

Beethoven has been a dominating presence in Daniel Barenboim's musical life, from his early years as a piano prodigy to his long-held international podium career. He recorded the piano sonatas twice and the concertos three times--as soloist with Otto Klemperer, as conductor accompanying Artur Rubinstein, and as conductor from the keyboard(!). When it came to tackling the nine Beethoven symphonies in toto, however, Barenboim bided his time. The results add up to one of the most commanding, insightful, and stimulating Beethoven cycles ever to be released. As a Beethovenian, Barenboim is very much an exponent of the German symphonic school, favoring weighty sonorities, expansive tempi, and full-throated dynamism. Well-known conductors as disparate as Böhm, Sanderling, Kletzki, Tennstedt, Walter, Bernstein, and Klemperer come out of this tradition, as does Wilhelm Furtwängler, whom Barenboim ardently admires.

While Barenboim has clearly absorbed key elements of Furtwängler's Beethoven (the spiritual and dramatic grip, plus long-range harmonic tension), the younger conductor is no carbon copy of his hero. Moreover, few (if any) Furtwängler recordings boast orchestral execution at the extraordinary level of the Berliner Staatskapelle here, achieving more heft and finesse than on their previous cycle under Otmar Suitner on Denon. Their playing never lets up in fervency and commitment, the few missed notes and anticipated entrances insignificant. The brass resonates like old gold, the winds are no less colorful, and the dark, articulate strings at once caress and scorch. Likewise, the all-important timpani parts emerge with greater clarity than in many other Beethoven cycles, and the close-miked singers in the Ninth Symphony's finale add much to that movement's inner vitality. Barenboim observes nearly every repeat, and opts for such traditional reinforcements as the extended trumpet line in the Eroica Symphony's first movement coda and added brass in the Ninth's scherzo. Teldec's spacious yet dynamic engineering suits both the music and Barenboim's conceptions to a tee. In sum, these potent, concentrated, and powerfully inflected performances reveal the extraordinary degree to which Barenboim has internalized the German Beethoven tradition and made it his own. --Jed Distler

Customer Reviews:

The Finest Beethoven Cycle in Excellent Sound.......2007-06-24

Many of the greatest conductors are judged by their Beethoven symphony cycles. From greats of the past like Furtwängler, Toscanini, Klemperer, and Karajan to more modern ones like Solti, Blomstedt, Böhm, and Abbado, we have a gamut of recordings to choose from and each cycle has its own merits and disadvantages that make the conductor's interpretation unique. This cycle, conducted by Barenboim in the last decade, is perhaps one of the most convincing out of a very huge lot of great recordings. This cycle uses the Hanslick edition of Beethoven's scores, and Barenboim is able to imbue this new text with great detail and colours that are nonexistent in some of the older cycles. Never in a cycle have I heard all the instruments played with such care of detail that each section comes with great sonority without ever sacrificing the contributions of the other parts. That said, the string section never overpowers like in Karajan's recordings, nor do the brass players sound loud like Solti's Chicago symphonies.

Another merit of this recording is Barenboim's well-judged tempi. They recall the Romantic tradition of phrasing, but it is never heavy like Klemperer's conducting. It is transparent and forward-moving, which is definitely an advantage in these symphonies where conductor's either take things in a light, crystalline interpretation like Szell's magnificent account, or in a dark, granitic fashion like Furtwängler's. I would say that this is Beethoven playing at its finest, and Barenboim is able to combine the best elements from each conductor into a fine interpretation that contains the best marks of his music-making.

In this cycle, everything, in my opinion, is a must-heart. Of notable mention, however, is his Eroica, his Pastoral, his seventh, and his Ninth. There is an outstanding energy in his Eroica and a very correct gravitas that fails to coalesce in many a conductor's interpretation. His Pastoral is conducted with such lightness and a natural spontaneity that hallmarks an understanding of Beethoven's latter music. His seventh is conducted with grace and litheness that makes it one of the very best. His Ninth boasts well-judged tempi, contrasting the changing mood of each movement until the glorious choral outburst in the last movement. Of notable mention too are the magnificent team of soloists that include Soile Isokoski, Robert Gambill, and Rene Pape.

This is a great recording of a Beethoven cycle that recalls a bygone age of conducting. Is it the perfect Beethoven cycle? For me, it is.

Beethoven might have liked this.......2006-01-18

Barenboim has a couple of distinctive virtues that make this a gratifying accomplishment. Most impressive is the Berlin orchestra. The playing is spectacular. And despite the superb blending of instruments, nobody could sensibly say that there is a lack of transparency.

The first two symphonies are delightful. The third, the "Eroica", is the one where the broad tempo is the big downer. The fourth and fifth symphonies are the most substandard of the nine. These two have so much panache that Barenboim's approach seems to hold these works back. The sixth, the "Pastoral" is the best of the group. Barenboim has a perfect feeling for "ebb and flow" and his approach is just ideal. The seventh is a joy. A very successful performance in the grand style of Beethoven interpretation. The eighth is suitably cheerful, making the most of the many contrasts in this underrated work. The culmination of the nine is more thorny. Not in doubt is the quality of the soloists. I personally like this version, with its intensity and complete steadfastness. On the other hand, with its ebb and flow, many will feel this performance is closer to Wagner's conception than Beethoven's.

I think that Beethoven's Symphonies belongs to all of us by now, and Barenboim's set is as distinctive, as honest and as magnificently played as this, has a place in my collection. I enjoyed it immensely.

Finest Beethoven ever recorded.......2005-03-01

You need to have two recordings to fully appreciate Beethoven's Nine, Karajan and Barenboim. They are so different that they are beyond comparison but are still miles above the rest. From Karajan we get a sense of the raw intensity of the symphonies as he takes the tempi much faster than Barenboim. If I had to characterize each set in one phrase Karajan would be cool intensity and Barenboim would be epic. The Berlin Staatskapelle sounds so wonderful in this set with perfect intonation and a blend of tone I have never heard the likes of in all my years listening to orchestral music. The real highlights of this set are 1, 3, 5 (the most epic performance ever), 6(so incredibly warm), 7, and 9(never has sounded better). Barenboim's choice of tempi and articulation style are perfect for outlining the harmonic tension under the music and although he takes things a bit slower the music keeps going at a steady pace. I am absolutely sure that you will love this set if not make it your favorite recording of the nine. Highest recommendation. Also check out Barenboim's recording with this same orchestra of the Schumann symphonies, a purely definitive set. Absolutely Wonderful!

Compare First and You'll Get This One . . ........2003-12-19

____________________________________________________________________________________________________

I was fortunate enough to have access to some of my friend's Beethoven symphony cycles for a few months while deciding which one I wanted to purchase. These included Abbado (2000), Barenboim (2000), Gardiner (1994), Karajan (1990), Kegel (1995), Klemperer (1994), Rattle (2003); Szell (1992) and Walter (1991). Although this list is far from being complete compared to what's available out there, it does include many of the critically acclaimed sets. The decision was not as difficult as I'd imagined when my pre-listening was over.

While no one has apparently been paying much attention, Barenboim as a conductor has been improving at his craft exponentially. These symphonies are all new recordings for him; each being performed in 1999 and the results are absolutely first rate - not only are the performances magnificent, but the recording (Teldec) is technically perfect.

Barenboim's treatment of tempo here lends him to be classified with the old school which gives emphasis to harmonic development over speed (although, believe me, the speed is there when it's needed). Barenboim admired Furtwangler and to quote from an interview (contained in the CD booklet) while discussing Furtwangler and the need to "...balance each symphony's judiciously timed agogic accentuation with the articulation of its harmonic design and thematic rhetoric" Barenboim responds, "...the key word there - because nowadays it is so often neglected - is 'harmonic.' Your colleagues and mine seem to have become more and more obsessed with speed: 'This goes at this speed, that goes at another.' But unless you have the harmonic base clearly defined, you cannot create melody or agogic accentuation or momentum." In other words, Barenboim at times gives more importance to the harmonic needs of a piece rather than slavishly following the composer's metronome marks which, in Beethoven's case, can translate at times into excessive speed if followed too literally (Furtwangler was also attempting to show this in his treatment of these symphonies). This speed issue is becoming a fad with an increasing number of conductors and it was all too apparent as I listened to these cycles.

The proof is in the listening; Barenboim does indeed practice what he preaches. The drama in these recordings is absolutely astounding as the Berliner Staatskapelle performs magnificently on their period instruments. The set is destined to become a classic. What more can I say? This cycle is 5 stars all the way.

Round One.......2002-07-05

Barenboim's collection was the first complete cycle of the symphonies I owned. I am a huge fan of classical music, but have focused primarily on the 20th century composers due to ignorace. As I listened to these incredibly constructed works of genius for my first time (with the exception of the famous tunes i.e. Bum Bum Bum Bummmmm from the 5th and the chorus from the 9th)I was drawn in by the warm sound created by this orchestra. Sometimes not as crisp as I would like it to be in the strings or as punctuated in the brass, but none the less an overall resonating sound comes from the orchestra. Barenboim's tempos are extreemly rubato at times (even I can tell having not listened to all the symphonies before) and some will find this frustrating or out of line. To me, they are beautiful. I almost think it would be beneficial to own a couple of different sets-one like this one that sounds as beautiful as an old treasure restored to a work of art and a cycle such as David Zinman's which I have heard is an edge-of-your-seat Beethoven that many people like to hear complete with racing tempos and a ton of ka-pow. Not that Barenbiom is anywhere near relaxed and lacking in power. Expect from this recording soaring woodwinds (beautiful flute, clarinet etc. that do exquisite things with phrasing throughout) dark strings, and bold brass. Sure, there are some missed entrances and slight lack of clarity at times, but the overall effect is wonderful. For my first Beethoven collection I am very proud that I choose this one>

Average customer rating:

Authenic Beethoven
Perhaps THE best Beethoven cycle

The Nine Symphonies

Manufacturer: Class. for Pleas. Us
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Beethoven: The Nine Symphonies
Beethoven: Complete Overtures
Beethoven: Symphonies Nos. 4 & 6 "Pastorale"
Beethoven: Symphonies Nos. 3 "Eroica" & 8
Brahms: Symphony No. 4; Academic Festival Overture; Tragic Overture

ASIN: B00006J3LK
Release Date: 2002-11-06

Tracks:

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

Tracks:

I. Allegro Con Brio
II. Larghetto
III. Scherzo (Allegro)
IV. Allegro Molto
I. Allegro Vivace E Con Brio
II. Allegretto Scherzando
III. Tempo Di Menuetto
IV. Allegro Vivace

Tracks:

I. Adagio - Allegro Vivace - Jonathan Carney
II. Adagio - Jonathan Carney
III. Menuetto (Allegro Vivace) & Trio (Un Poco Meno Allegro) - Jonathan Carney
IV. Allegro Ma Non Troppo - Jonathan Carney
I. Pleasant, Cheerful Feelings Awakened On Arrival In The Countryside (Allegro Ma Non Troppo) - Jonathan Carney
II. Scene By The Brook (Andante Molto Moto) - Jonathan Carney
III. Merry Gathering Of The Country Folk (Allegro) - - Jonathan Carney
IV. Thunder. Storm (Allegro) - - Jonathan Carney
V. Shepherds' Song: Beneficent Feelings, Combined With Thanks To The Deity, After The Storm (Allegretto) - Jonathan Carney

Tracks:

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

Tracks:

I. Allegro Ma Non Troppo E Un Poco Maestoso (1/4 nt = 88)
II. Molto Vivace (1/2 nt = 116) - Presto (1/2 nt = [?]) - Molto Vivace - Presto
III. Adagio Molto Cantabile (1/4 nt = 60) - Andante Moderato (1/4 nt = 63) - Tempo I - Andante Moderato - Tempo I - Stesso Tempo
IV. Presto (1/2 nt = 66) - Allegro Ma Non Troppo (1/4 nt = 88) - Tempo I - Vivace - Tempo I - Adagio Cantabile - Tempo I - Allegro Assai (1/2 nt = 80) - Tempo I - Allegro Assai (1/2 nt = 80) -
IV. Presto - Recitativo - Allegro Assai
IV. Allegro Assai Vivace. Alla Marcia ([1/2 nt] = 84) -
IV. Andante Maestoso (1/2 nt = 72) - Adagio Ma Non Troppo, Ma Divoto (1/2 nt = 60) -
IV. Allegro Energico E Sempre Ben Marcato (1/2 nt = 84) -
IV. Allegro Ma Non Tanto (1/2 nt = 120) -
IV. Poco Allegro, Stringendo Il Tempo, Sempre Piu Allegro -
IV. Presto (1/2 nt = 132) -
IV. Maestoso (1/4 nt = 60) - Prestissimo

Customer Reviews:

Authenic Beethoven.......2007-05-18

Charles Mackerras is a musical scholar as well as a conductor.He is reputed to arrive at an engagement to conduct with carefully anotated parts for each musician. These performances of the Beethoven Symphonies give a careful rendition of the composer's intentions. This being said they are also dynamic and satisfying.Occasionally some movements,the first movement of the 5th symphony and the third movement of the 9th symphony, sound 'too fast', in my opinion this is due to my being accustomed to hearing them played too slow. The Prague Chamber Orchestra usually plays with out a conductor, but when recording the complete Mozart Symphonies for Telarc they hired Mackerras to train them in the proper style.This is a very rare compliment indeed. These Beethoven performances are equally authoritative, and should serve as models for young musicians.

Perhaps THE best Beethoven cycle.......2003-08-07

Don't worry about the fact you've never heard of the Royal Liverpool Philharmonic before. These are fresh, energetic, well-recorded versions of all the Beethoven symphonies. There is not a hint of routine on any symphony and you just cannot beat this set for money. The liner notes are also excellent reading, along with some fascinating commentary from Sir Charles regarding Beethoven's written tempi. While some of the speeds Mackerras takes are on the fast side, it somehow never seems rushed. Mackerras choses to use a modern instrument orchestra with the Del Mar version of the scores, which have made some corrections to the texts which had been removed through over a century of German conducting tradition. Mackerras makes every attempt to adhere to Beethoven's own markings and the results are excellent in my view. The symphonies recorded in Manchester (nos. 1,3,4,6) sound a little more distant than those recorded in Liverpool (nos. 2,5,7,8, and 9). I was able to fix this problem by merely turning up the volume and there was no lack of clarity. The bass recitative in the finale of the 9th is taken at such a clip it takes a bit of getting used to, although Mackerras explains it very well. Terfel sings it beautifully though, and it is exciting.

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

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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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:

Very Satisfying In The Traditional Mold
Beethoven master Masur with his orshestra,but not their best

Beethoven: The Nine Symphonies

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Bruckner: Symphonies Nos. 1 - 9
Tchaikovsky: The Complete Symphonies
The Penguin Guide to Compact Discs and DVDs Yearbook 2006/07 Edition (Penguin Guide to Compact Discs and Dvds Yearbook)

ASIN: B0000CESR5
Release Date: 2004-04-13

Customer Reviews:

Very Satisfying In The Traditional Mold.......2006-07-31

I havent' heard Mazur's ealier set of Beethoven symphonies, but this set from the late 80's and early 90's is, overall, the most satisfying integral set I have heard, that is best out of seven sets, which includes famous conductors like Karajan, Hogwood, Szell, Harnoncourt,Jochum and Walter. The perfomances are in a traditional mold, avoiding very fast or very slow pacing, grand and often thrilling. The recording is very good with a few minor flaws. It's a terrific bargain, too!

Beethoven master Masur with his orshestra,but not their best.......2004-05-17

German maestro Kurt Masur and the Leipzig Gewandhaus Orchestra have recorded the complete Beethoven Symphonies for Philips twice.

The first traversal was made in the 1970's. That cycle also included some of the overtures, and became legendary from the day it was issued. I well remember how sad and dismayed many collectors were when Philips elected not to issue that set in the USA. It was only available in specialty stores in large cities for a premium price.

While maestro Masur and his orchestra are not part of the period instrument movement, period "forces" were used. By period "forces" I mean that they attempted to only use as many of any individual instrument as would likely have been used in the composer's lifetime, or better yet exactly what the composer specified if the composer did so. Period "forces" were becoming quite popular and accepted in the 1970's, and Masur's first Beethoven Symphony cycle played a major role in that growing acceptance.

Masur and his orchestra returned to the symphonies of Beethoven (minus the overtures this time) in 1990 and made a fresh traversal of the 9 for Philips again over the next 3 years. But there was much that was "new" about the second cycle. They were made withe "new" digital technology, not always a blessing in the 1980s but nearing maturity in the early 1990s. They used "new" critical editions of the scores by C.F. Peters that had been recently published then (the publisher, of course, was based in Leipzig). They were recorded in the "new" Gewandhaus (the concert auditorium from which the orchestra derives its name). In the intervening 20 years, Masur had become a much more international figure. He was appointed music director of the New York Philharmonic in 1991, right in the middle of the new Beethoven symphony cycle. With all the "newness", except perhaps the digital recording technology, there is lost a sense of familiarity. The orchestra and conductor are not as familiar with the score, and additionally the venue they are playing in. And conductor and orchestra are not as familiar with each other, given the maestro's commitments in other places.

The boxed set being reveiwed here contains the recordings from teh second traversal, the "new" cycle. As such, the set is a great bargain, 5 disks for about $8 per disk. The older recordings are still available in the Phiips Duo series (Amazon asin #s B00000417D, B0000041EO, B0000041EP, and B0000041EN) with other Philips recordings of some of the other orchestral works.

So which set is the better? I still think the earlier cycle is preferable. It is great to have the current set. Collectors interested n Masur's readings likely prefer a "classical" sound that does not modernize the music too much. And the newer scores lend themselves to this approach very well. But the earlier set produced some the same results just by reducing the size of the orchestra from the massive forces traditionally used by modern orchestras. The familiarity of conductor, orchestra, score, and venue work better together in the older recordings and make for a more all round pleasing experience.

Beethoven: The Nine Symphonies
Average customer rating:

Beethoven 9 from the London Festival circa 1960

Budget set of Beethoven's immortal Nine is hard to argue with.

Have to agree-- the sound quality is atrocious

"special insight"

Forget the age and sound quality, this is real Beethoven

Beethoven: The Nine Symphonies

Manufacturer: Bescol
ProductGroup: Music
Binding: Audio CD

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Beethoven: Symphonies Nos. 1-9 (Fra)

Beethoven: 9 Symphonies

ASIN: B000001RR1
Release Date: 1994-07-20

Tracks:

Symphony No. 1: 1. Adagio Molto; Allegro Con Brio - Ludwig Van Beethoven
Symphony No. 1: 2. Andante Cantabile Con Moto - Ludwig Van Beethoven
Symphony No. 1: 3. Menuetto; Allegro Molto E Vivace; Trio - Ludwig Van Beethoven
Symphony No. 1: 4. Adagio; Allegro Molto E Vivace - Ludwig Van Beethoven
Symphony No. 2: 1. Adagio Molto; Allegro Con Brio - Ludwig Van Beethoven
Symphony No. 2: 2. Larghetto - Ludwig Van Beethoven
Symphony No. 2: 3. Scherzo - Ludwig Van Beethoven
Symphony No. 2: 4. Allegro Molto - Ludwig Van Beethoven

Tracks:

Symphony No. 3: Allegro Con Brio
Symphony No. 3: Marcia Funebre: Adagio Assai
Symphony No. 3: Scherzo: Allegro Vivace: Trio
Symphony No. 3: Finale: Allegro Molto; Poco Andante
Symphony No. 4: Adagio: Allegro Vivace
Symphony No. 4: Adagio
Symphony No. 4: Allegro Vivace; Trio: un Poco Meno Allegro
Symphony No. 4: Finale: Allegro Ma Non Troppo

Tracks:

Symphony No. 3: Allegro Con Brio
Symphony No. 3: Marcia Funebre: Adagio Assai
Symphony No. 3: Scherzo: Allegro Vivace: Trio
Symphony No. 3: Finale: Allegro molto; Poco Andante
Symphony No. 4: Adagio: Allegro Vivace
Symphony No. 4: Adagio

Tracks:

Symphony No. 7: Poco Sostenuto: Vivace
Symphony No. 7: Allegretto
Symphony No. 7: Presto: Presto Meno Assai
Symphony No. 7: Finale: Allegro Con Brio
Symphony No. 8: Allegro Vivace E Con Brio
Symphony No. 8: Allegretto Scherzando
Symphony No. 8: Temp Di Minuetto
Symphony No. 8: Finale: Allegro Vivace

Tracks:

Beethoven Symphony No. 9 In D Minor, Op. 125 'Choral': 1st Movement
Beethoven Symphony No. 9 In D Minor, Op. 125 'Choral': 2nd Movement
Beethoven Symphony No. 9 In D Minor, Op. 125 'Choral': 3rd Movement
Beethoven Symphony No. 9 In D Minor, Op. 125 'Choral': 4th Movement - Choral Finale

Customer Reviews:

Beethoven 9 from the London Festival circa 1960.......2007-04-15

I have quite a few lps conducted by Krips and have these symphonies in a great boxed set with a very nice booklet on the Everest label. Krips and the LSO from 1960 were very able.

Some reviews posted comment about the sound quality on these cds. I would argue strongly against anyone knocking analog from circa 1960 when it was done right! I have a cd on the Yedang Classics label of Gennady Rozhdestvensky conducting the USSR RTV Symphony Orchestra- Sibelius Sym 7, Prokoviev Andante for String Orchestra, & Glazunov Scene's de Ballet that is a early 60s analog ported over to CD. This CD SOUNDS tremendous and for it to do so it needed a tremendous analog recording source to start with. This Beethoven 9 by Krips is only a couple of years earlier than Karajan's famous Beethoven 9 recorded in 62 that sound great.

I picked up Krips LSO cd set Christmas 2006 in a tin box at Fred Meyer's for $9.99. The big problem with these CDs is the db levels. They are way too low! I put these files into my wav editor program and compared them to Karajan and Bohm. Karajan is about 1 db too low, Bohm 2 dbs too low and Krips is 3 dbs too low. I have a batch process equilizer program and bumped the master db by 3 (25% increase).

Try listening to the 2nd movement funeral march while driving. The first 3rd and final 3rd have very low levels while the middle has higher levels. I got that woeful classical sound drop off niggly with these cds before I bumped the db levels. These disks have the worst db levels I have seen on a professional classical recording.

PS additional comments:

I just bumped the master db plus three with my computer software and this really helped! In the process I listened all the way thru a couple of times. While there may be no standouts (all time best recordings of individual symphonies) overall this is a great set, especially for $10. I enjoyed listening to every symphony! I especailly enjoyed the 5th and the 9th. The tempos are a little slower than Karajan and faster than Bohm's. The sound is often more majestic like Bohm rather than the dynamic Rene Leibowitz and the Royal Philharmomic (1961) or the recent Abbado BPO live DVDs. I especially enjoyed the wind and brass not being run out of town by the strings. Of all the Beethoven 9s I have heard, Rene Leibowitz has the most dynamic brass. The brass on these cds is almost as dynamic as Leibowitz. The French horns sound very sweet! You will hear the brass section!

Budget set of Beethoven's immortal Nine is hard to argue with........2007-03-11

Obviously, many other orchestras have recorded Beethoven's nine symphonies over the years and there are some digital recordings now of them. This is a c.1960 stereo recording released on CD in the '90s of Josef Krips and the London Symphony. The main complaint about this set, of course, is the weak sound. After listening to the entire set, the sound is a bit thinner than a digital recording would be, but it isn't bad. Of course, analog transfers to digital may not produce the strongest of results, but in this case, the sound is quite exceptional. The stereo is nice and even, and there is very little in the way of distortion. You can hear about every instrument (particularly the razor-sharp brass) so nothing is lost. The only bad thing about the sound is some slightly audible background noise and hum only heard during soft passages and does not in any way overpower the music nor should destroy your listening enjoyment. The ninth symphony (on disc 5) is the sharpest sounding, and sounds very clear. As far performance goes, Krips and the LSO perform with lots of energy and gusto and pour a lot of power into the pieces. The players, when handling solos do very invigorating jobs. The vocalists and chorus on the finale of the ninth symphony do rather impressively well; the soloist doing the introductory recitative as lots of vibrato in his voice. On the downside, some tempos in some sections are a little fast, but it isn't that noticeable and is not a big deal; every conductor as their own interpretation, and as I've mentioned earlier, numerous recordings were made of Beethoven's nine symphonies, so it shouldn't matter a great deal what you choosel; it's still the same great music.

Now about the music: Nine of the greatest symphonic works in musical history. You can really hear how Beethoven came such a long way from his first to his ninth in a period of about twenty-five years as the era of revolutionary social change called romanticism was ushered in. Beethoven was the people's composer and did not work directly for royalty. He kept up with the changing times and expressed it in his music. His increasing deafness did not stop him from composing, and his true triumph over it and life-long quest for joy is the ninth symphony, more specifically the choral finale containing Schiller's immortal text of universal brotherhood. How could you not feel even the least bit touched after hearing it? The "Ode to Joy" theme is something that will live in your memory forever, as well as the first eight notes of the fifth.

Overall, this is a good budget package. The other downside is that there are no liner notes, no CD case paper inserts, so all that's listed on the box are the total times for each symphony and which disc they appear on. So, yes, it could have been packaged with a lot more care. Other than that, it's a very good buy.

Have to agree-- the sound quality is atrocious.......2007-02-23

I bought this set at a bargain price years ago, when I got my first CD player-- my gift to myself but within my budget at the time. I'm hardly an expert in classical music, but I've always loved the 9 symphonies and wanted to have the full set all in one. Unfortunately, I just listened to it again (after a hiatus of many years-- I tend to listen to more blues and old rock), having just gotten new speakers--- and it's essentially unlistenable. I have to agree with M.A. Scott--- the sound quality of this bargain-basement unremastered set offsets any skill of the performers. I can't comment on the latter, as I said, as I am no expert-- although I can tell what I like and what I don't. Perhaps Krips was a genius, or not--- but regardless, until the set is remastered, one can't tell. At this point, I'm willing to spend more money so I really can appreciate the music. And reviews on amazon are very helpful for geting a sense of what's available. I think I may spring for the new Haitink cycle. As for this one, you get what you pay for, which in this case, is more noise and less music. [Note that this is NOT a comment on the composer or orchestra-- just the sound quality of the recording.]

"special insight".......2007-02-22

Josef Krips once asserted that "Beethoven's symphonies demand a special insight, a particular level of maturity of their conductors" ; in the booklet of the original EVEREST issue of this recording someone added that a "similar special insight Beethoven demands not only of his conductors, but his listeners as well".
Some comment on what I read on this recording: as said, this set was originally issued in August 1960 as EVEREST SDBR3065-8, and recorder on a 35 mm three-track magnetic film, exactly as the universally acclaimed Mercury records. The cd transfers, re-mastered with 20-bit digital technology, were issued by Vanguard (on Everest lable) in 1994.
For anyone interested, this issue is still available in Japan.
I have not listened to the issue reviewed here below, and no doubt that some reviewer had their reasons to comment negatively on sound quality.
I can only assure that the original recordings and transfers are nothing less than excellent, remarkably good also in comparison to present standards.
The performance of Mr.Krips and the LPO is - in my opinion- outstanding, charming, eminently classical, discretely elegant and certainly one which stands comparisons with any of the ones usually taken as references (oddly, we always need references, as we couldn't evaluate anything simply for its own value....is that lack of insight?).
For those eventually interested in knowing the conductor's vision on Beethoven's symphonies, the program's notes on the original Everest issue were written by Mr.Krips himself.
It's sad to notice that one of the very best achievements of a truly great Maestro can be so heavily damaged by the poor job done by some record company .....how to cope?
More insight, maybe.....and few more bucks, it might be worth, after all.

Forget the age and sound quality, this is real Beethoven.......2006-12-24

Back in 1960 when this set was recorded, stereo was still a rather new technology. In the late 70's, digital recordings began making their appearance with somewhat superior sound. Some people only like their recordings made with digital technology. However, recordings made prior to digital still have pretty good sound, even those made in mono. This set does not have great sound, but it is more than adequate.

The performances, however, are simply magnificent. Maestro Krips was born to conduct Beethoven. Just listen to the 2nd movement of the Pastorale. The phrasing is absolutely perfect in my opinion. And the orchestra sounds so inspired, a true labor of love. The Pastorale is the best performance, the 2nd is the weakest. The 9th has incredible momentum and great soloists. And he does not take the repeats in the scherzo. That movement is already too long without the repeats. Another special movement is the finale of No. 4 where the London Symphony plays with incredible precision and fire.

Movement after movement, these performances are really satisfying and the music sounds fresh, even though I have lived with this music for close to 50 years. This set came out around the same time as the Bruno Walter, George Szell and Herbert Von Karajan sets. It really had to no chance in the marketplace. Now it has a very, very low price. Don't miss it, it could easily disappear.

Beethoven: The Nine Symphonies (Tin Can)

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Krips' Beethoven cycle in a tin box
See other issue of Krips/Beethoven

Beethoven: The Nine Symphonies (Tin Can)

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000JMK6G2
Release Date: 2006-11-21

Customer Reviews:

Krips' Beethoven cycle in a tin box.......2007-06-06

Josef Krips' cycle with the Beethoven symphonies - recorded by Everest in 1960 - has now appeared in at least three or four incarnations. This is the latest one. Previous editions have appeared from the Everest, Sonia and Bescol labels.

The present edition is released by Madacy, a Canadian company, and it is - quite weirdly - presented in a tin box with Beethoven's name and picture in relief. It looks like something you put cigars in, and it's too big for most ordinary CD shelves. But inside this tin box, luckily, there is a folded CD paper-plastic package with five CDs, which has normal CD package size (it's also thinner than the fat Bescol edition, which is a plus).

This is a classic cycle which all Beethoven collectors should have. As in the case of Krips' excellent Mozart and Schubert recordings, we get a very balanced and aristocratic old school interpretation, with clear contributions from the brass department. Standouts are the first, third, fifth, and seventh symphonies.

The orchestra, London Symphony Orchestra, plays well, and the sound from the present CD incarnation is, if not great, acceptable. At least, it is far better than the sound that Bescol provided, which was just terrible (I have not heard the Everest and Sonia editions). A problem, however, is that the db level is generally quite low but occasionally gets somewhat higher. Strangely, however, there is not a word about remastering or any other technical fact in the booklet or anywhere else. The booklet is also silent about Krips and his cycle. Instead it gives you an essay (its author is not mentioned) about Beethoven's life.

Despite the sound problem, which is not at all as alarming as Bescol's edition, I can recommend this bargain set. But one wonders when Krips' fine cycle will appear in a decent remastering and informative edition. Perhaps this is a task for Naxos and Mark Obert-Thorn?

See other issue of Krips/Beethoven.......2007-01-13

I have no doubt that the "tin can" issue is the same as the other Krips Beethoven box. These performances have been kicking around for years. I would be interested to know who originally recorded them, and for what label. Were the masters part of a bankruptcy sale? I remember them on Everest LPs ($1.99 at Sam Goody), but the same recordings were available from other sources.
I have given them 3 stars simply because you have to give a rating. I have a friend who played for Krips in Buffalo, and liked him as a conductor. I have not heard them, but I don't think the comments about "Viennese charm" can be too far out.
BUT the LSO was not real great in those days, and there are some dire warnings about recording quality, which, of course, doesn't inspire me to give away my Furtwangler CDs. So if you have everything else you ever wanted and that $5.00 is just burning a hole in your pocket, go for it.

Beethoven: The Nine Symphonies / Maag, Padua and Veneto Orch

Average customer rating:

peter maag deserved a better orchestra
Peter Maag's Magnificent Legacy

Beethoven: The Nine Symphonies / Maag, Padua and Veneto Orch

Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B000005AR9
Release Date: 1996-11-19

Tracks:

Symphony No. 9 Op. 125 'Choral': I Allegro ma non troppo un poco maestoso
Symphony No. 9 Op. 125 'Choral': II Molto vivace
Symphony No. 9 Op. 125 'Choral': III Adagio molto cantabile - Andate moderato
Symphony No. 9 Op. 125 'Choral': IV Presto - Allegro assai

Tracks:

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

Tracks:

Symphony No. 3 Op. 55 'Eroica': I Allegro con brio
Symphony No. 3 Op. 55 'Eroica': II Marcia funebre: Adagio assai
Symphony No. 3 Op. 55 'Eroica': III Scherzo: Allegro vivace
Symphony No. 3 Op. 55 'Eroica': IV Finale: Allegro molto - Poco andante - Presto
Symphony No. 1 Op. 21: I Adagio molto - Allegro con brio
Symphony No. 1 Op. 21: II Andante cantabile con moto
Symphony No. 1 Op. 21: III Minuetto - Allegro molto e vivace
Symphony No. 1 Op. 21: V Finale: Adagio - Allegro molto e vivace

Tracks:

Symphony No. 7 Op. 92: I Poco sostenuto - Vivace
Symphony No. 7 Op. 92: II Allegretto
Symphony No. 7 Op. 92: III Presto
Symphony No. 7 Op. 92: IV Allegro con brio
Symphony No. 8 Op. 93: I Allegro vivace con brio
Symphony No. 8 Op. 93: II Allegretto scherzando
Symphony No. 8 Op. 93: III Minuetto
Symphony No. 8 Op. 93: IV Allegro vivace

Tracks:

Symphony No. 2 Op. 36: I Adagio molto - Allegro con brio
Symphony No. 2 Op. 36: II Larghetto
Symphony No. 2 Op. 36: III Scherzo
Symphony No. 2 Op. 36: IV Allegro molto
Symphony No. 4 Op. 60: I Adagio - Allegro vivace
Symphony No. 4 Op. 60: II Adagio
Symphony No. 4 Op. 60: III Allegro vivace
Symphony No. 4 Op. 60: IV Allegro ma non troppo

Amazon.com

These are the first recordings of Beethoven's symphonies by a distinguished Swiss conductor, working with an obscure and relatively small Italian orchestra. It's surprising on several counts. The smallness of the orchestra is sometimes a minor handicap, not in its impact, but in the way the winds often overbalance the strings. More commonly these days, we lose details in the wind parts, so the change in perspective can be refreshing. Also, the interpretations are all distinguished, among the better conceptions of the music currently available. And the playing of the orchestra is quite splendid, very well executed and coordinated throughout. These may not be perfect recordings, but then, neither is any of the others. And every performance has a point of view, an interpretive stance that makes sense. The discs are also available individually (and you will find more detailed reviews of the individual discs), but the price for the complete set is considerably lower. --Leslie Gerber

Customer Reviews:

peter maag deserved a better orchestra.......2003-12-13

leslie gerber was charitable in describing this little italian orchestra; the worst he'd say was that the wind drowned out the strings. in a less charitable opinion, it's a sloppy band that played scratchily. in other words, the padua and veneto is not a gem of an orchestra hiding in italy waiting to be discovered.

peter maag was a great conductor. and some of his recordings have attained legendary status. examples include his mozart with the london symphony, and his mendelssohn with the same orchestra. in these beethovens, maag is still interesting, of course, but despite some fine renditions of several of the symphonies (especially the 9th), the recordings are marred by uninspired playing and a grating, rough sound. it's simply too bad, for maag deserved a better orchestra than the padua and veneto.

the 3 stars are for peter maag; the little band he had got no star at all.

so there we have it. on the one hand, there's the previous reviewer who praised these disks to high heavens, and now my less glowing remarks.

Peter Maag's Magnificent Legacy.......2003-04-04

For those who wonder what Peter Maag was up to in the many years since his classic recordings for Decca in the 1950's and (early) 1960's, here is perhaps the "last will and testament" of this uniquely great Swiss conductor, who, to the incalculable loss of all music-lovers, passed away in November, 2001. Maag's accounts of the nine symphonies of Beethoven constitute one of the very finest sets, a genuine "sleeper" which is destined (especially in view of Maag's departure from us) to become a classic. Perhaps only Nikolaus Harnoncourt's exemplary readings with the Chamber Orchestra of Europe can truly match the present set in fire, verve and imagination.

Maag, a one-time piano student of Alfred Cortot, and disciple of Wilhelm Furtwaengler, was one of the most impressively sensitive conductors of his era, noted for his beautiful and searching interpretations of, especially, Mozart and Mendelssohn, whose spirits, he clearly felt, were closely related to one another. His complete recording (with the London Symphony) of Mendelssohn's "Midsummer Night's Dream" has been rightly revered for forty years, and his more recent achievements with the Orchestra of Venice and Padua are no less impressive. In addition, the recordings are remarkably well engineered (fine ambience, excellent attention given to matters of balance).

The orchestra should also be singled out for praise - wonderfully warm string tone, and some of the finest wind-playing to come out of Europe in recent times. It is damning with faint praise to characterise this set as the work of a major conductor directing a minor league orchestra. There is nothing second rate about these musicians and Maag's presence lends an authority and assurance that places the results well beyond the goals and achievements of many so-called "star" conductors. Simply put, Maag was one of the great musicians of the century and these recordings are a worthy testament to his extraordinary gifts. Those interested in discovering details in the Beethoven symphonies that they didn't imagine existed should invest in this set forthwith. Contributing strongly to the overall effect is Maag's decision to reduce the size of the string section. Far from representing any handicap, this results in a satisfyingly "classical" Beethoven, with winds and brass suitably prominent, and with plenty of fire and drama where and when it's called for.

Has any other conductor better realised Beethoven's cautionary designation "non troppo", attached to the opening Allegro of the Pastoral? Or summoned more energy in the great seventh symphony? Or shaped the opening of the slow movement of the same work so tellingly?
The delights which await the listener are far too numerous to enumerate in any detail here. Suffice it to say that those wise enough to invest in this set (knowing Maag's reputation) will be rewarded by performances of almost transcendental beauty, conducted by an undisputed master, in state-of-the-art recorded sound. At one time, Peter Maag removed himself from the professional conducting circuit to devote his life to Buddhist study, in part to reclaim his "humility" as an interpreter. What is presented here (as well as in Maag's equally fine set of Mozart's later symphonies, also recorded with the Italian orchestra, of which he was chief conductor) is music-making of the greatest power, insight and humility by one of the most fascinating and satisfying conductors of the twentieth century. Strongest recommendation. Five stars.

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