Beethoven: Piano Concertos/Choral Fantasy

Editorial Reviews
Classical Disc Digest
"First of all, to our knowledge, this is a first Vox silver disc-offering of the bespectacled Austrian's complete Beethoven Piano Concertos in a single box -- and what a Bountiful Bundle of Brendel it is!"

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beethoven: The 5 Piano Concertos; Choral Fantasy

Average customer rating:

excellent beethoven cycle
Nice Surprise!

Beethoven: The 5 Piano Concertos; Choral Fantasy

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000CNTLV
Release Date: 2003-12-09

Customer Reviews:

excellent beethoven cycle.......2005-04-16

Emanuel Ax really understands the poetic heart of this music. He highlights the dark melancholy of beethoven's music without ever becoming sacharine or sentimental. However, those looking for a barn burnig version of these concertos would do well to look elseware: Ax's performance is understated, with a focus on nuance, precision, color and dynamic shading. He never resorts to vulgar clanging in the forte passages. While not lacking in passion, his performance simly lets the music speak for itself.
One minor quible: the Choral Fantasy sounds like it was recorded in a TB ward, and the overall sound of this piece is notably inferior to the rest of the cycle. This is understandable, because the Fantasy was recorded live and at a different venue than the other recordings.
For an excellent Choral Fantasy, check out Helene Grimaud's "Credo" on DG.
Buy this set for the concertos.

Nice Surprise!.......2004-04-11

I bought this box set of Beethovens piano concertos on a whim about one month ago and what a nice surprise that turned out to be. The CD containing concertos 3 and 4 has been (by far) the most frequently played disc in our household ever since. Ax, with his sublime technique, really shines in these two and Previn is in perfect sync with him. I also have to commend the producers: The sound, balance etc. is excellent and puts a lot of more recent recordings to shame.

Beethoven: Piano Concertos #1-5 by Melvyn Tan, Roger Norrington, London Classical Players

Average customer rating:

Well worth owning
Excellent, but....
A Great Recording at a Great Price

Beethoven: Piano Concertos #1-5 by Melvyn Tan, Roger Norrington, London Classical Players

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000090WCD
Release Date: 2003-11-04

Tracks:

I Allegro Con Brio
II Adagio
III Rondo (Molto Allegro)
I Allegro Con Brio
II Largo
Rondo (Allegro Scherzando)

Tracks:

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

Tracks:

I Allegro
II Adagio Un Poco Mosso
III Rondo (Allegro)
A Adagio - Finale: Allegro - Meno Allegro - Allegro Molto
B Adagio, Ma Non Troppo - Marcia, Assai Vivace
C Allegro - Allegretto, Ma Non Troppo (Quasi Andante Con Moto) - Presto

Tracks:

7 Variations On 'God Save The King' WoO 78
I Andante Grazioso, Quasi Allegretto
II Scherzo (Allegro)
III Allegretto
IV Andante
V Allegro, Ma Non Troppo
VI Allegretto Quasi Andante
VII Presto
Fantasie Op. 77
I Allegretto
II Andante Con Moto
III A L'allemande
IV Andante Cantabile
V Risoluto
VI Andante
VII Allegro, Ma Non Troppo
VIII Moderato Cantabile
IX Vivace Moderato
X Allegramente
XI Andante, Ma Non Troppo
I Andante Con Moto
II Allegro
III Andante
IV Presto
V Quasi Allegretto
VI Presto - Andante Amabile E Con Moto - Tempo I
5 Variations On 'Rule Britannia' WoO 79

Customer Reviews:

Well worth owning.......2007-05-10

Melvyn Tan is a superb player, and Norrington (I think) conducts Beethoven appropriately, which means with great feeling and sensitivity, but without syrupy melodrama. This fine recording shows both at their best. But for the life of me, I don't know why they didn't move the mike a little closer to the fortepiano. It's just a little too low in the mix. Fortepianos - good ones - aren't mousy little music boxes. They aren't Bosendorfers, but they can sure hold up their end of the deal. Here, the instrument is just a little too soft. Other than that, it's a spendid recording. And the addition of a "recital" of several of Beethoven's solo piano works on (one of his many) original pianos is a real plus.

Excellent, but...........2005-11-02

I agree with the other reviewer concerning the merits of pianist Melvyn Tan performing the complete Beethoven piano concerti accompanied by Sir Roger Norrington and the London Classical Players. My only reservation is that his fortepiano is overwhelmed by the orchestral accompaniment most of the time. It just seems jarring to hear tinkling notes emitting from Tan's fortepiano only to be answered with gale-force volume blasting from the orchestra in return. Perhaps if smaller orchestral forces had been used along with some restraint, or better miking of the soloist, I would have awarded this set 5 stars. Still, since fortepiano renditions of these masterworks are rare, this is a valuable and worthy edition to any music library.

A Great Recording at a Great Price.......2005-04-13

Melvyn Tan teams with Sir Roger Norrington in an historic recording of the Beethoven Piano Concerto cycle, with a few excellent bonuses thrown in. Few players can equal Tan on the pianoforte, though he no longer plays it exclusively in concert these days. In 1995 he switched over to the modern piano, which he now plays the majority of the time in recital.

Tan and Norrington were/are a natural pairing. Norrington was at the forefront of bringing period instruments and arrangements back into the concert halls of Europe and America.

The tonality of the concertos definitely does sound different than when played on modern instruments with their greater sonority. The effect here is more muted and sedate. This is especially true in Concerto #2, which always struck me as having a more classical feel to it than #1, even.

The interplay and timing between the London Classical Players and Tan is flawless throughout the set. While there may not be many "fireworks" here, there are no discernable missteps either (at least to this untrained ear).

I would suggest that all Beethoven lovers and collectors snatch this CD set up, quickly, while the price is still right. It really represents an abundance of listening pleasure at a price I would expect to pay for one concerto CD.

Highly Recommended.

BEK

Beethoven: Complete Piano Concertos (Alfred Brendel: Piano Concertos 1-5 w/Levine, CSO; "Choral" Fantasy, Op. 80 w/ Haitink, LPC, LPO)

Average customer rating:

Great performances
Brendel as his fans love him (but not everybody else)
Brilliant!
Excellent Recording
Applause - One More "No" Vote

Beethoven: Complete Piano Concertos (Alfred Brendel: Piano Concertos 1-5 w/Levine, CSO; "Choral" Fantasy, Op. 80 w/ Haitink, LPC, LPO)
Ludwig van Beethoven , Alfred Brendel , Chicago Symphony Orchestra , James Levine , Bernard Haitink , and London Philharmonic Choir and Orchestra
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Alfred Brendel Plays Beethoven, Vol. 4
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Alfred Brendel plays Beethoven Piano Sonatas, Vol. 1
Beethoven: The 5 Piano Concertos
Alfred Brendel Plays Beethoven Piano Sonatas, Vol. 2

ASIN: B000065TV4
Release Date: 2002-06-11

Tracks:

Allegro Con Brio
Largo
Rondo (Allegro Scherzando)
Allegro Con Brio
Adagio
Rondo (Molto Allegro)

Tracks:

Allegro Con Brio
Largo
Rondo. Allegro
Allegro Moderato
Andante Con Moto
Rondo (Vivace)

Tracks:

Allegro
Adagio Un Poco Mosso
Rondo (Allegro)
Adagio
Finale Allegro - Meno Allegro (Allegretto) - Allegro Molto - Adagio Ma Non Troppo - Marcia Assai Vivace
Allegro - Allegretto Ma Non Troppo Quasi Andante Con Moto - Presto

Customer Reviews:

Great performances.......2007-01-03

If you gave me a choice of any pianist playing these concertos, I'd take Pollini and Rubinstein. However, these recordings are a BIG part of any serious classical music library. Brendel, as always, offers top rate Beethoven interpretations and performances. I particularly enjoyed the second and third piano concertos.

Brendel as his fans love him (but not everybody else).......2006-10-29

I think the general acclaim given to this set of Beethoven concertos here on Amazon is atypical: the critical consensus isn't high for Brendel's 1983 set. Certainly he shows more interest in the later one with Rattle on EMI. If you love Brendel already, then his rather clipped, non-romantic way with these works will seem suitably classic. But of Beethoven the revolutionary there's not a scrap. Tempos are fast, and the mood is closer to Mozart than I like. Where's the blood and fire? Levine provides a sometimes impatient acccompaniment, and neither artist cares to pause over phrases that cry out for more depth. Add to this a fairly thin, pingy piano sound, and I'm afraid there are too many debits compared to the great performances by Gieseking, Edwin Fischer, Rudolf Serkin, Fleisher, Barenboim (with Klemperer on EMI), and many others.

Brilliant!.......2005-11-13

Yes, the set could have benefitted from te removal of the applause, however the performance itself is perfect. Brendel's playing is superb, however at times a bit mechanical. The recording quality however is excellent and makes it a must have set for an Beethoven lover.

Excellent Recording.......2004-07-07

This is an excellent set of recordings by the outstanding Alfred Brendel. The orchestral work is similarly excellent. Aside from the uniform excellence of these performances, the best thing about this set is that it provides a really nice picture of the evolution of Beethoven's compositional style. The relatively uniform orchestral and soloist approaches allows a comparison of Beethoven's compositional styles. While recorded with a modern orchestra and a modern piano, the 1st and 2nd concertos display the more Classical style of Beethoven's earlier work. The 5th and final, Emperor, concerto, is an outstanding example of Beethoven's mature and fully Romantic style.

Applause - One More "No" Vote.......2004-04-09

These are excellent performances of these concertos for Brendel. I particularly like his rendition of concerto no. 4. I'd also like to comment on the sub-issue going on in these reviews. Sorry Thomas, but I'd have to agree with the others on this one. These recordings would have benefited from the removal of the applause for the reasons cited. Like Thomas, I sometimes like to kick back, close my eyes and fantasize that I'm at a live performance when listening to a good recording. The fact is though that a recording is not a live performance. And even if it was, applause is not part of the performance. It's the audience's response to a good performance. The "electricity" felt at a live artistic performance is what elicits applause from those listening. It's based on such things as the beauty of the piece itself and the high degree of execution performed by the artists.

Beethoven: Piano Concertos Nos. 1-5; Choral Fantasia

Average customer rating:

Not just a May-December marriage but a high point for Barenboim musically
Among the best Beethoven Concertos, and an interesting contrast of conductor and pianist
Harsh at times
unmissable stuff
Don't miss the two genius together

Beethoven: Piano Concertos Nos. 1-5; Choral Fantasia

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000002S1J
Release Date: 2002-11-05

Tracks:

Pno Con No.1 in C, Op.15: I. Allegro con brio
Pno Con No.1 in C, Op.15: II. Largo
Pno Con No.1 in C, Op.15: III. Rondo (Allegro scherzando)
Pno Con No.2 in B flat, Op.19: I. Allegro con brio
Pno Con No.2 in B flat, Op.19: II. Adagio
Pno Con No.2 in B flat, Op.19: III. Rondo (Molto allegro)

Tracks:

Pno Con No.3 in c, Op.37: I. Allegro con brio
Pno Con No.3 in c, Op.37: II. Largo
Pno Con No.3 in c, Op.37: III. Rondo (Allegro)
Pno Con No.4 in G, Op.58: I. Allegro moderato
Pno Con No.4 in G, Op.58: II. Andante con moto
Pno Con No.4 in G, Op.58: III. Rondo (Vivace)

Tracks:

Pno Con No.5 E Flat, Op.73 'Emperor': I. Allegro
Pno Con No.5 E Flat, Op.73 'Emperor': II. Adagio un poco mosso
Pno Con No.5 E Flat, Op.73 'Emperor': III. Rondo (Allegro)
Fant in C for pno, chor and orch, Op.80 - Daniel Barenboim/John Alldis Choir/John Alldis

Customer Reviews:

Not just a May-December marriage but a high point for Barenboim musically.......2006-05-17

Listening to these imaginative and ingratiating performances of the five Beethoven piano concertos, I marvelled at Barenboim's early maturity. He displays uncanny poise and confidence, fully equal to Klemperer's grand manner. Sadly, the mid-Sixties was about the last time I could connect with Barenboim, whose romantic tendencies, so impressively applied here, went off into caricature: he began to channel Furtwangler and hasn't stopped, despite the fact that it caused him to lose his best musical instincts. (His cycle of the Beethoven symphonies with the Berliner Staatskapelle is so stody and dull that it might as well join Furtwangler in the grave.)

That's irrelevant here. The amazing thing for me is that Barenboim proves so successful at making these overly familiar works sound fresh through pure musical insight of the kind Schnabel might have--every movement really speaks under his hands. As for Klemperer, his is simply the greatest condcuting ever found in a complete Beethoven cycle. I got more feeling from these CDs than from his at times ponderous symphony recordings. For example, in the slow movement of Concerto #2, pianist and conductor agree that the style should be mature Beethoven, with full sonority, measured tempos, and weightiness. That may sound like a bad idea in this Haydnesque early work, but by the time they build to the hushed, mysterious coda, we are transported to an inspired world. Throughout there is the same stamp of genuineness.

Barenboim eschews virtuoso gimmicks and never powers his way through the score. I must confess that I waited forty years to buy this set, on the assumption that Klemper would be inattentive and heavy-handed. How very wrong I was. This Beethoven cycle sets the gold standard.

Among the best Beethoven Concertos, and an interesting contrast of conductor and pianist.......2005-11-15

Daniel Barenboim's late 1960s recording of the Beethoven Piano Concertos is one of the best, and an interesting contrast: the young, brilliant pianist Barenboim with the elderly condcutor Klemperer. Klemperer was known for slow tempos by the 1960s, and a sense of granitic structure: like viewing a beautiful rock hewn of granite from a distance, but not something you can get close to, nor call "charming" or "loving." This sense is present in Klemperer's orchestral contribution to these recordings: tempos are never too fast, and there is a sense that something timeless and great is going to happen in every movement. Barenboim's pianism seems awesome: flawless and technically perfect, and the Philharmonia Orchestra plays beautifully in each concerto. Recorded sound is very good: analog stereo from the late 1960s.

Keep in mind, however, these are not "cold" recordings. The music may be calculated under Klemperer's direction to a certain degree, but everything makes perfect musical sense, and Beethoven's titanic greatness shines throughout. If you like a more lean approach to Beethoven's Concertos, avoid Barenboim/Klemperer.

Some listeners may not agree, but I believe Barenboim/Klemperer's Beethoven Concertos to be among the best, along with Ashkenazy/Solti (Decca); Rubinstein/Leinsdorf (RCA/ Boston Symphony); and for a more Classical approach free of Romantic excess, Perahia/Haitink (Sony).

Harsh at times.......2000-01-01

For my taste, these were disappointing. The dynamic range is so great in the recording, you cannot easily find a comfortable volume. Softer passages are either lost or the sound becomes blaring. Yes, Klemperer is a grand master, but the Orchestra often sounds overly romantic and pompous for my ears. I have an Annie Fisher recording of the 3rd Concerto and every moment that makes that CD memorable is missing on this version of the 3rd. For example, there is a passage in the first movement that occurs twice. The piano hits several increasingly powerful octaves slightly behind the orchestra. Annie Fischer's final Octave is so powerful in that the pause leading up to it is greater and the depth of her conviction in solidly ringing it out is profound. On the Klemperer/Barenboim recording this monumental moment passes mostly unnoticed. Also, the piano has an almost harsh ringing sound. Infact, the entire recording has a supercharged high end that can be oppressive. I would also recommend the Ashkenazy, Mehta recording of the 4th and 5th. That recording has a warmth of orchestral sound that seems more natural to me. I also find that Barenboim and Klemperer do not seem to be seeing things eye to eye, especially in the 5th. Don't get me wrong, these are classic performances, I just will not reach for them as often as the others and I simply offer an opinion.

unmissable stuff.......1999-12-15

How lucky we are that Daniel Barenboim began to mature as a great artist with Klemperer enjoying a glorious Indian summer. This is a miraculous recording. The 24-year-old Barenboim is a match for the magisterial Klemperer, who was almost three times the age of his precocious pianist. It's remarkable to find two artists of such different ages cooperating so well. And they're fully equals as well - this is a version of the Beethoven concertos with soloist as primus inter pares (to quote one reviewer). The Emperor has seldom sounded so grand. The orchestral playing is quite something as well.

Don't miss the two genius together.......1998-10-17

Again the power of the old Klemperer bright like a spark in the dark sea of his no-rithm measures. A young and brilliant Baremboim that plays like the angels. Anyway, don't miss the Piano Con. n.5 conducted by Knapertbusch and played by Curzon for taste the glory.

Beethoven: 5 Piano Concertos / Choral Fantasy

Average customer rating:

Can't imagine a better performance!
Ashkenazy's pianism is beautiful, but too restrained
Symphonic Chamber Music
Somewhat mechanical performance for my taste
Ashkenazy is _such_ a Romantic...

Beethoven: 5 Piano Concertos / Choral Fantasy

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Beethoven: The Piano Concertos
Mozart: Violin Concertos
Mozart: Requiem / McNair, Watkinson, Araiza, Lloyd; Marriner

ASIN: B0000041UT
Release Date: 1990-10-25

Tracks:

Piano Concerto No. 1 In C Major, Op. 15: I. Allegro Con Brio
Piano Concerto No. 1 In C Major, Op. 15: II. Largo
Piano Concerto No. 1 In C Major, Op. 15: III. Rondo: Allegro Scherzando
Piano Concerto No. 2 In B Flat Major, Op. 19: I. Allegro Con Brio (Cadenza: Ashkenazy)
Piano Concerto No. 2 In B Flat Major, Op. 19: II. Adagio
Piano Concerto No. 2 In B Flat Major, Op. 19: III. Rondo: Molto Allegro

Tracks:

Piano Concerto No. 3 In C Minor, Op. 37: I. Allegro Con Brio
Piano Concerto No. 3 In C Minor, Op. 37: II. Largo
Piano Concerto No. 3 In C Minor, Op. 37: III. Rondo: Allegro
Piano Concerto In G Major, Op. 58: I. Allegro Moderato
Piano Concerto No. 4 In G Major, Op. 58: II. Andante Con Moto
Piano Concerto No. 4 In G Major, Op. 58: III. Rondo: Vivace

Tracks:

Piano Concerto No. 5 'Emperor' In E Flat Major, Op. 73: I. Allegro
Piano Concerto No. 5 'Emperor' In E Flat Major, Op. 73: II. Adagio un poco mosso
Piano Concerto No. 5 'Emperor' In E Flat Major, Op. 73: III. Rondo: Allegro
Fantasia For Piano, Chorus & Orchestra In C Minor, Op. 80

Customer Reviews:

Can't imagine a better performance!.......2006-09-27

I am clearly an amatuer regarding such matters, but I have never for a second regretted purchasing this set and find the performances and the recordings to be flawless. The Choral Fantasy was an unexpected bonus. I was not familiar with it when I bought this set, but now it is one of my favorites.

I can't imagine anyone not being pleased with these recordings.

Ashkenazy's pianism is beautiful, but too restrained.......2005-11-28

Vladimir Ashkenazy's account of Beethoven's five Piano Concertos and the Coral Fantasy is pleasing on almost all accounts: he is brilliant and poetic in his interpretations; technically his performance is quite flawless, and the Cleveland Orchestra's orchestral sound is great. The Coral Fantasy is an especially entertaining piece of music, much like the finale of the Ninth Symphony, and the Cleveland Orchestra Chorus is excellent. Ashkenazy's introspective style lends itself naturally to the slow movements of the concertos, and these come off marvelously- masterfully even. However, he seems hesitant to show any kind of energy or gusto in the forte or fortissimo passages. As a result, the bravura we expect from these concertos is missing. This being said, his rendition of the fourth piano concerto is the most successful of the five, due to the more restrained quality of the work itself; conversely, the "Emperor" concerto suffers most from Ashkenazy's lack of bravura. It's as though he's afraid of harming the piano by playing too hard. Other than that, these are very satisfying recordings, and I would be able to recommend them wholeheartedly if it weren't for this one deficiency.

Symphonic Chamber Music.......2004-12-12

In its best passages, this recording achieves true greatness. In particular, the slow movement of the Emperor is a perfect dream, into which Ashkenazy draws the wonderful Cleveland players. Who needs a conductor when the musicians know the notes by heart and when unity can only be achieved in any case by careful listening to the soloist and to each other, not by following a conductor's second-hand intuition of where the soloist is going. There is a downside of not having a conductor, however, namely that during the solo passages the orchestra lacks a force driving it to huge fortissimos and dynamic changes in the interwoven accompaniment. While one has to assume that Ashkenazy's dynamic interpretation won out overall, the result is a somewhat restrained execution. But Ashkenazy's playing is wonderfully expressive throughout, and this set can be recommended for definitive performances free from the idiosyncratic excesses of some other renditions.

Somewhat mechanical performance for my taste.......2003-02-26

While Ashkenazy is undoubtedly very strong technically, he makes a mistake in my view trying to play the piano and conduct at the same time. The Beethoven piano concerti are challenging enough that when the soloist must devote his attention to the piano part, he literally has no time to conduct the orchestra, which must then go basically on autopilot until the soloist can surface again. Of necessity, then, this recording is often much more mechanical and rigid than I think Beethoven, a Romantic, would have preferred. My preference is to hear renditions of these works by Murray Perahia, who performs the Emperor concerto in particular with the majestic abandon I think Beethoven must have wanted.

Ashkenazy is _such_ a Romantic..........2001-05-24

...And this fact only helps his interpretations of Romantic music, starting first and foremost with Beethoven. Each one of these concertos (and the "Choral Fantasy") receives a definitive rendition in this set, both for the orchestra and for the soloist. As conductor _and_ performer, Ashkenazy is at his best-ever with this material; the dynamics are perfect, the tempi are "right on," and the instruments are crystal clear - I can only imagine that Beethoven himself would be much impressed with these performances. The recorded sound wins equal merit - _every_ little bit and detail is captured superbly, something which seems to be lacking in a lot of recent classical recordings. Need I say more?

Average customer rating:

500 Classic Masterpieces

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008FZWM
Release Date: 1992-11-04

Beethoven: The Piano Concertos; Choral Fantasy; Diabelli Variations

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Beethoven: The Piano Concertos; Choral Fantasy; Diabelli Variations

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000OPPSWG
Release Date: 2007-05-15

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Great Composers Collection

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

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Tracks:

The Well Tempered Clavier: Prelude and Fugue In C Major, BWV 846
Brandenburg Concerto No.3 In G Major, BWV 1048: Allegro
Brandenburg Concerto No.3 In G Major, BWV 1048: Adagio
Brandenburg Concerto No.3 In G Major, BWV 1048: Allegro
Concerto In A Minor, BWV 1004 For Flute, Violin, Harpsichourd And Basso Continuo: Allegro
Concerto In A Minor, BWV 1004 For Flute, Violin, Harpsichourd And Basso Continuo: Adagio ma non tanto e dolce
Concerto In A Minor, BWV 1004 For Flute, Violin, Harpsichourd And Basso Continuo: Alla breve
Suite No.2 In B Minor, BWV 1067: Overture
Suite No.2 In B Minor, BWV 1067: Rondeau
Suite No.2 In B Minor, BWV 1067: Sarabande
Suite No.2 In B Minor, BWV 1067: Bouree I
Suite No.2 In B Minor, BWV 1067: Bouree II
Suite No.2 In B Minor, BWV 1067: Polonaise I
Suite No.2 In B Minor, BWV 1067: Polonaise II
Suite No.2 In B Minor, BWV 1067: Double
Suite No.2 In B Minor, BWV 1067: Menuetto
Suite No.2 In B Minor, BWV 1067: Badinerie
Italian Concerto In F Major, BWV 971: (Without Indication)
Italian Concerto In F Major, BWV 971: Andante
Italian Concerto In F Major, BWV 971: Presto

Tracks:

Symphony No.5 in C minor op.67:: Allegro con brio
Rondo a capriccio in G major op.129: 'The Rage Over The Lost Penny'
Septet op.20 in E flat major: Menuetto
Overture Op.72a: Leonore
Sonata No. 14 in C sharp minor (Moonlight): Adagio sostenuto
Sonata in A major op.47 (Kreutzer): Finale-Presto
Concerto for Piano and Orchestra No.5 in E flat major op.73 (Emperor): Adagio un poco mosso
Bagatelle in A minor No.59: Fur Elise
Symphony No.9 In D Minor Op.125: Finale: Ode To Joy

Tracks:

Prelude In D Flat Major 'Raindrops': 1. op. 28 No.15
Concerto for Piano and Orchestra No. 2 in F minor op.21: Maestoso
Concerto for Piano and Orchestra No. 2 in F minor op.21: Larghetto
Concerto for Piano and Orchestra No. 2 in F minor op.21: Allegro vivace
Ballad No. 1 in G minor op 23
Fantasy - Improptu op. 66
Etude In C Minor Op.10 No.12 'Revolution': Allegro con fuoco
Scherzo No. 2 in B flat minor op.31
Waltz No. 6 in D flat major op.64-1:

Tracks:

Watermusic, Suite:: Allegro
Watermusic, Suite:: Air
Watermusic, Suite: Bourree
Watermusic, Suite: Hornpipe
Watermusic, Suite: Andante espressivo
Watermusic, Suite: Hornpipe II
'Xerxes': Largo
Music of the Royal Fireworks, Suite: Overture
Music of the Royal Fireworks, Suite: Burree
Music of the Royal Fireworks, Suite: La paix (The Peace)
Music of the Royal Fireworks, Suite: La rejouissance (The Joy)
Music of the Royal Fireworks, Suite: Menuett I
Music of the Royal Fireworks, Suite: Menuett II
Concerto grosso op.10 No.10 ('Alexander Feast'): Overture
Concerto grosso op.10 No.10 ('Alexander Feast'): Allegro
Concerto grosso op.10 No.10 ('Alexander Feast'): Air: Lentement
Concerto grosso op.10 No.10 ('Alexander Feast'): Allegro
Concerto grosso op.10 No.10 ('Alexander Feast'): Allegro
Concerto grosso op.10 No.10 ('Alexander Feast'): Allegro moderato
Gavotte and Passepied
'The Messiah': Hallelujah

Tracks:

Concerto For Piano And Orchestra No. 1 In E Flat Major: Allegro maestoso
Concerto For Piano And Orchestra No. 1 In E Flat Major: Quasi Adagio
Concerto For Piano And Orchestra No. 1 In E Flat Major: Allegro marziale animato - Presto
Love Dream No. 3 In A Flat Major: Piano solo
Hungarian Rhapsody No. 2 In C Sharp Minor: Piano solo
Evening Harmony In D Flat Major: Piano solo
Large Orchestra: 'Mephisto-Waltz'
Hungarian Rhapsody No. 6 in D flat major: Orchestra

Tracks:

'A Little Night Music' Serenade No.13 In G Major KV525: Allegro
'A Little Night Music' Serenade No.13 In G Major KV525: Romanza: Andante
'A Little Night Music' Serenade No.13 In G Major KV525: Menuetto - Trio - Menuetto: Allegretto
'A Little Night Music' Serenade No.13 In G Major KV525: Rondo: Allegro
Symphony No.41 In C Major KV 551: Molto Allegro
The Magic Flute KV 620: Oveture
12 Variations About ' - ' KV265: 'Ah, vous dirai-je, Maman'
Symphony No.40 in G minor KV 550: Molto allegro
Sonata for Piano No.11 in A major KV 331: Rondo alla turca
Concerto for Piano and Orchestra No.23 in A major KV 488: Allegro

Tracks:

Orchestra: Bolero
Poeme choregraphique - for Orchestra: La Valse
Concerto for Piano and Orchestra in G major: Allegremente
Concerto for Piano and Orchestra in G major: Adagio assai
Concerto for Piano and Orchestra in G major: Presto
Orchestra: Rhapsodie Espagnole

Tracks:

1. Op. 437: Emperor Waltz
Waltz op.314: The Blue Danube
Fast Polka op.324: Thunder and Lightning
Waltz op.410: Voices of Spring
A musical joke op. 257: Perpetuum mobile
Waltz op.354: Venna Blood
Op.214: Tritsch-Tratsch Polka
The Bat: Overture
Treasure Waltz op. 418: The Gypsy Baron

Tracks:

Concerto for Piano and Orchestra No. 1 in B flat minor op.23: Allegro non tropo e molto maestoso - Allegro con brio
Nutcracker Suite op.71a: Flower Waltz
Nutcracker Suite op.71a: Dance of the Reed Flutes
Overture solenelle '1812' Op.49
Swan-Lake Suite op20a: Lake in the Moonlight
Swan-Lake Suite op20a: Hungarian Dance
Concerto for Violin and Orchestra in D major op.35: Canzonetta: Andante
Symphony No. 6 in B minor op.74: Finale: Adagio lamentoso

Tracks:

Concerto NO.1 op.8 IN E: Allegro
The Spring Op.8 No.1: Largo e pianissimo sempre
The Spring Op.8 No.1: Allegro (Danzo pastorale)
The Summer Op.8 No.2: Allegro non molto - Allegro, e tutto sopra il Canto
The Summer Op.8 No.2: Adagio e piano
The Summer Op.8 No.2: Presto, tempo impettuoso d'Estate
The Autumn Op.8 No.3: Allegro
The Autumn Op.8 No.3: Adagio molto
The Autumn Op.8 No.3: La Caccia (Allegro)
The Winter Op.8 No.4: Allegro non molto
The Winter Op.8 No.4: Largo
The Winter Op.8 No.4: Allegro
Concerto for two Trumpets and String Orchestra:: Allegro
Concerto for two Trumpets and String Orchestra: Largo
Concerto for two Trumpets and String Orchestra: Concerto for two Trumpets and String Orchestra: Allegro
Concerto For Flute And Orchestra In G Minor Op.10 No.2: Largo 'Fantasy', Presto
Concerto For Flute And Orchestra In G Minor Op.10 No.2: Allegro
Concerto For Flute And Orchestra In G Minor Op.10 No.2: Largo 'Il Sonno'
Concerto For Flute And Orchestra In G Minor Op.10 No.2: Allegro
Concerto For Strings And Basso Continuo In G Major 'All Rustica' RV 151: Presto
Concerto For Strings And Basso Continuo In G Major 'All Rustica' RV 151: Adagio
Concerto For Strings And Basso Continuo In G Major 'All Rustica' RV 151: Allegro

Average customer rating:

Off-the-cuff Beethoven, fast without depth
The Beethoven Concertos with Katchen and Gamba
This is so good that it will surprise you!

Beethoven: Piano Concertos Nos. 3-5

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000422X
Release Date: 1996-02-13

Tracks:

Pn con No.3 in c, op.37: I. Allegro con brio
Pn con No.3 in c, op.37: II. Largo
Pn con No.3 in c, op.37: III. Rondo
Pn con No.4 in G, op.58: I. Allegro moderato
Pn con No.4 in G, op.58: II. Andante con moto
Pn con No.4 in G, op.58: III. Rondo: Vivace

Tracks:

Pn con No.5 in E flat, op.73: I. Allegro
Pn con No.5 in E flat, op.73: II. Adagio un poco mosso
Pn con No.5 in E flat, op.73: III. Rondo: Allegro
Choral Fantasia in c, op.80

Customer Reviews:

Off-the-cuff Beethoven, fast without depth.......2006-03-14

I'm brought up short by the two rave reviews below. Julius Katchen was a young American virtuoso in the postwar generation that included William Kapell, Gary Graffman, Leon Fleisher and Byron Janis. These recordings date from 1959-64 before Katchen's premature death at age 42 in 1969. They are not soniclly remarkable in any way--if anything they sound a bit bright and brittle--and the rarely inspiring Piero Gamba proves a shallow conductor for Beethoven, passing up almost every opportunity for depth of expression.

But so does Katchen, so they are well matched. Moving along briskly over the surface of the music, both soloist and orchestra seem intent on getting the proceedings over with as soon as possible. One listens in frustration for any emotional involvement, even in a few searching phrases. I suppose by period-performance standards these readings are pioneering, in that shallowness has become a positive value in reaction to romanticism. It's buyer's choice, certianly, but I have put this barrgain two-fer on the discard pile.

The Beethoven Concertos with Katchen and Gamba.......2002-11-15

These were some of the most impressive of Decca's releases in the late '50s and early '60's. Katchen's performances are simply electrifying: full of depth, lyricism and extraordinary virtuosity. The sound is similarly excellent - the release should tell us the names of the producers and engineers. (The producer was, in fact, the exemplary Ray Minshull, and the sound has all the hallmarks of the Kingsway Hall in London). It's now time for Decca to re-issue all the material from these remarkable sessions with Katchen, Piero (then Pierino!) Gamba, and the LSO. In addition to the first two concertos, it is time to restore the original "fillers" from the LP issues - the Rondo in B flat (originally composed as the finale to the second concerto) and the Egmont overture, which were included on the original four Decca SXL LPs. Gamba's overall direction throughout is most compelling, and Katchen's amazing musicianship reminds us of what the world lost when he died at the age of 42 in 1969. I think this is one of the strongest sets of the Beethoven concertos ever released, and it would be a fitting tribute to Katchen's sadly truncated career if Decca restored these to the catalogue in their entirety (as well as the two Mozart piano concertos recorded with Munchinger in 1966, issued in 1967). In the meantime, we must be grateful for what we have. Buy it!

This is so good that it will surprise you!.......2002-07-09

Julius Katchen wasn't a household name around my house until I bought this recording at a friend's recommendation. Wow!

These are not cookie cutter interpretations of these well known concertos. Katchen has all the technique he needs plus an interpretive ability that lets him make them his own while still remaining true to the music. Given how many times these things have been recorded that is saying quite a bit, I think.

The London Symphony under Piero Gamba is a fine accompanist for Katchen.

The approach is full throated and the fourth is wonderfully aggressive with the last movement being almost wild!

This is a very nice set to have in your collection.

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