Lorin Maazel - Complete Early Berlin Philharmonic Recordings, 1957-1962

Lorin Maazel - Complete Early Berlin Philharmonic Recordings, 1957-1962

Lorin Maazel - Complete Early Berlin Philharmonic Recordings, 1957-1962
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Composer: Ludwig van Beethoven
Composer: Johannes Brahms
Composer: Franz [Vienna] Schubert
Composer: Wolfgang Amadeus Mozart
Composer: Felix [1] Mendelssohn
Composer: Hector Berlioz
Composer: Pyotr Il'yich Tchaikovsky
Composer: Nikolai Rimsky-Korsakov
Composer: Sergey Prokofiev
Composer: Ottorino Respighi
Composer: Modest Mussorgsky
Composer: Benjamin Britten
Conductor: Lorin Maazel
Orchestra: Berlin Philharmonic Orchestra
Orchestra: Orchestre National de la Radiodiffusion Française
Edition: Music CD
Format: Box set
CD Release Date: 2005-02-08
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
  1. Symphony No. 5 in C minor ('Fate'), Op. 67: 1. Allegro con brio
  2. Symphony No. 5 in C minor ('Fate'), Op. 67: 2. Andante con moto
  3. Symphony No. 5 in C minor ('Fate'), Op. 67: 3. Allegro
  4. Symphony No. 5 in C minor ('Fate'), Op. 67: 4. Allegro
  5. Symphony No. 6 in F major ('Pastoral'), Op. 68: 1. Awakening of Cheerful Feelings upon Arrival in the Country. Allegro ma non troppo
  6. Symphony No. 6 in F major ('Pastoral'), Op. 68: 2. Scene by the Brook. Andante molto moto
  7. Symphony No. 6 in F major ('Pastoral'), Op. 68: 3. Merry Gathering of Country Folk. Allegro
  8. Symphony No. 6 in F major ('Pastoral'), Op. 68: 4. Thunderstorm. Allegro
  9. Symphony No. 6 in F major ('Pastoral'), Op. 68: 5. Shepherd's Song: Happy and Thankful Feelings after the Storm. Allegretto
Music CD 2
  1. Symphony No. 3 in F major, Op. 90: 1. Allegro con brio
  2. Symphony No. 3 in F major, Op. 90: 2. Andante
  3. Symphony No. 3 in F major, Op. 90: 3. Poco Allegretto
  4. Symphony No. 3 in F major, Op. 90: 4. Allegro
  5. Tragic Overture, in D minor, Op. 81
  6. Die Weihe des Hauses (Consecration of the House), overture for orchestra, Op. 124
  7. Contredanses (12) for orchestra, WoO14: No. 1 in C major
  8. Contredanses (12) for orchestra, WoO14: No. 2 in A major
  9. Contredanses (12) for orchestra, WoO14: No. 3 in D major
  10. Contredanses (12) for orchestra, WoO14: No. 4 in B flat major
  11. Contredanses (12) for orchestra, WoO14: No. 5 in E flat major
  12. Contredanses (12) for orchestra, WoO 14: No. 6 in C major
  13. Contredanses (12) for orchestra, WoO 14: No. 7 in E flat major
  14. Contredanses (12) for orchestra, WoO 14: No. 8 in C major
  15. Contredanses (12) for orchestra, WoO 14: No. 9 in A major
  16. Contredanses (12) for orchestra, WoO14: No. 10 in C major
  17. Contredanses (12) for orchestra, WoO14: No. 11 in G major
  18. Contredanses (12) for orchestra, WoO14: No. 12 in E flat major
Music CD 3
  1. Symphony No. 2 in B flat major, D. 125: 1. Largo - Allegro vivace
  2. Symphony No. 2 in B flat major, D. 125: 2. Andante - Variationen I-V
  3. Symphony No. 2 in B flat major, D. 125: 3. Menuetto: Allegro vivace - Trio
  4. Symphony No. 2 in B flat major, D. 125: 4. Presto vivace
  5. Symphony No. 3 in D major, D. 200: 1. Adagio maestoso - Allegro con brio
  6. Symphony No. 3 in D major, D. 200: 2. Allegretto
  7. Symphony No. 3 in D major, D. 200: 3. Menuetto: Vivace
  8. Symphony No. 3 in D major, D. 200: 4. Presto vivace
  9. Symphony No. 4 in C minor ('Tragic'), D. 417: 1. Adagio molto - Allegro vivace
  10. Symphony No. 4 in C minor ('Tragic'), D. 417: 2. Andante
  11. Symphony No. 4 in C minor ('Tragic'), D. 417: 3. Menuetto. Allegro vivace - Trio
  12. Symphony No. 4 in C minor ('Tragic'), D. 417: 4. Allegro
Music CD 4
  1. Symphony No. 5 in B flat major, D. 485: 1. Allegro
  2. Symphony No. 5 in B flat major, D. 485: 2. Andante con moto
  3. Symphony No. 5 in B flat major, D. 485: 3. Menuetto: Allegro molto - Trio
  4. Symphony No. 5 in B flat major, D. 485: 4. Allegro vivace
  5. Symphony No. 6 in C major ('Little C Major'), D. 589: 1. Adagio - Allegro
  6. Symphony No. 6 in C major ('Little C Major'), D. 589: 2. Andante
  7. Symphony No. 6 in C major ('Little C Major'), D. 589: 4. Allegro moderato
  8. Symphony No. 8 in B minor ('Unfinished'), D. 759: 1. Allegro moderato
  9. Symphony No. 8 in B minor ('Unfinished'), D. 759: 2. Andante con moto
Music CD 5
  1. Symphony No. 1 in E flat major, K. 16: 1. Allegro molto
  2. Symphony No. 1 in E flat major, K. 16: 2. Andante
  3. Symphony No. 1 in E flat major, K. 16: 3. Presto
  4. Symphony No. 28 in C major, K. 200 (K. 189k): 1. Allegro spiritoso
  5. Symphony No. 28 in C major, K. 200 (K. 189k): 2. Andante
  6. Symphony No. 28 in C major, K. 200 (K. 189k): 3. Menuetto: Allegretto
  7. Symphony No. 28 in C major, K. 200 (K. 189k): 4. Presto
  8. Symphony No. 41 in C major ('Jupiter'), K. 551: 1. Allegro vivace
  9. Symphony No. 41 in C major ('Jupiter'), K. 551: 2. Andante cantabile
  10. Symphony No. 41 in C major ('Jupiter'), K. 551: 3. Menuetto. Allegretto
  11. Symphony No. 41 in C major ('Jupiter'), K. 551: 4. Finale: Molto allegro
  12. Symphony No. 4 in A major ('Italian'), Op. 90: 1. Allegro vivace
  13. Symphony No. 4 in A major ('Italian'), Op. 90: 2. Andante con moto
  14. Symphony No. 4 in A major ('Italian'), Op. 90: 3. Con moto moderato
  15. Symphony No. 4 in A major ('Italian'), Op. 90: 4. Saltarello: Presto
Music CD 6
  1. Symphony No. 5 in D major/D minor ('Reformation'), Op. 107: 1. Allegro - Allegro con fuoco
  2. Symphony No. 5 in D major/D minor ('Reformation'), Op. 107: 2. Allegro vivace
  3. Symphony No. 5 in D major/D minor ('Reformation'), Op. 107: 3. Andante
  4. Symphony No. 5 in D major/D minor ('Reformation'), Op. 107: 4. Chorale: 'Ein feste Burg ist unser Gott'
Music CD 7
  1. Romeo and Juliet, fantasy-overture for orchestra in B minor (3 versions)
  2. Symphony No. 4 in F minor, Op. 36: 1. Andante sostenuto - Moderato con anima
  3. Symphony No. 4 in F minor, Op. 36: 2. Andantino in modo di canzona
  4. Symphony No. 4 in F minor, Op. 36: 3. Scherzo: Pizzicato ostinato Allegro
  5. Symphony No. 4 in F minor, Op. 36: 4. Finale: Allegro con fuoco
Music CD 8
  1. Romeo and Juliet, Suite No. 2 for orchestra, Op. 64 ter: The Montagues and the Capulets
  2. Romeo and Juliet, Suite No. 2 for orchestra, Op. 64 ter: No. 4. Dance
  3. Romeo and Juliet, Suite No. 2 for orchestra, Op. 64 ter: No. 5. Romeo at Juliet's Tomb
  4. Romeo and Juliet, Suite No. 2 for orchestra, Op. 64 ter: No. 6. Dance of the girls from the Antilles
  5. Romeo and Juliet, Suite No. 1 for orchestra, Op. 64 bis: No. 7. Tybalt's Death
  6. Pini di Roma (The Pines of Rome), symphonic poem, P. 141: 1. The pines of the Villa Borghese. Allegretto vivace - Vivace
  7. Pini di Roma (The Pines of Rome), symphonic poem, P. 141: 2. Pines near a catacomb. Lento
  8. Pini di Roma (The Pines of Rome), symphonic poem, P. 141: 3. The pines of the Janiculum. Lento
  9. Pini di Roma (The Pines of Rome), symphonic poem, P. 141: 4. The pines of the Appian Way. Tempo di Marcia
  10. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: [Tuning u
  11. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: [It all s
  12. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Theme: Al
  13. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  14. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  15. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  16. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  17. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  18. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  19. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  20. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  21. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  22. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  23. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  24. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  25. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Variation
  26. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad lib & orchestra, Op. 34: Fugue: Al

Music reviews of Lorin Maazel - Complete Early Berlin Philharmonic Recordings, 1957-1962

Music Review: Was the young Maazel also the best one?
Rating: 5 Stars

I started listening to this box set of recordings from 1957-62, the years when Maazel skyrockted in Europe as an American wunderkind, with low expectations. For me, Maazel joins Mehta and Ozawa as great young promises that were never fulfilled. Thoroughly disliked by orchestral musicians (a condition that seems to have changed now with the NY Phil.), eccentric in his phrasing, often too brash but alternating with dull slackness, he has noticeably declined over the decades. Hardly a single NY Phil. concert earns high praise from the city's major critics.

With all this in mind, I was amazed at the beauty of certain recordings here. First of all, DG's transfers of the old LPs are crystal clear, and secondly, the Berlin Phil. was coming into its own under Karajan at this time and plays with great impact and excitement. But there's good news in the conducting as well. Listen to this lively Beethoven Pastorale, full of good humor and sparkling detail, then compare it to Maazel's half-dead Beethoven Ninth on BMG. Or this ebulient Tchaikovsky Fourth, which is dynamic, balanced, and, once again, full of life. These two performances rank among the best I've heard in the modern era.

Mr. Richman covers the whole box in some detail below, and I generally agree that Maazel's flaw is rushing the music and sounding too brusque. His Beethoven Fifth suffers from those faults in the first and last movements. The Brahms Third, after a terrific start and two good inner movements, turns rushed and business-like in the finale. The accompanying Tragic Over. is back in form, however. And so is the highly individual Beethoven Consecration of the House Over., which emerges as a newly dramatic piece in Maazel's hands.

We move on to almost a complete Schubert symphony cycle (minus the First and Ninth), rare repertoire from a major conductor in the late Fifties and early Sixties. Treading into prime Beecham territory, Maazel turns out to be terrific, full of energy and force but also delicate when called for, only lacking Beecham's unique affability in this music. The Berliners play much better than Beecham's post-war Royal Phil., however, Where Mr. Richman hears rushing, I hear spontaneity and verve (admittedly, some movements, like the finale of the Fourth Sym., go at a breathless Presto). If Maazel had kept evolving, he would have replaced Guido Cantelli, whose propulsive neo-Tosanini style was close to this.

Next we get three Mozart symphonies, the Jupiter plus two miniatures, Sym. 1 and 28. Maazel's Mozart is considerably more forceful than his Schubert, and for me it crosses the line (as Toscanini did) into being charmless and sharply attacked. There's no doubting the skill and ensemble of the orhcestra, however, which is crisp and starched, but not to the degree that Szell, for example, demanded.

The Mendelssohn Italian Sym. is miked very closely, with lots of attention to the woodwinds. It sounds a treat, as British critics say, and Maazel isn't driven. There are dozens of excellent readings of this symphony, and his ranks among them. I am of two minds about the Reformation, however, which has been available paired with the Franck D minor on a DG Originals disc. In the past I've found its briskness and lack of religiosity refreshing, but I can see why others find it emotionally pinched. As alternatives, Munch is more buoyant on RCA, and Karajan offers more grandeur on DG.

We get three versions of Romeo and Juliet, from Berlioz (43 min. of orchestral excerpts), Prokofiev (Suite #2 and one number from Suite #1), and Tchaikovsky. The Berlioz is supply phrased and played with intensity--it's worthy to stand beside Giulini on EMI and Bernstein on Sony, but of course one wants the whole work. Maazel wnet on to record the whole Prokofiev ballet with the Cleveland Orch. on Decca, but these few excerpts sound fresher to me, less studied. I've already enthused over the Tchaikovsky Fourth, and Romeo and Juliet is similarly tangy and alert, no dawdling or swooning. However, the world has many fine recordings of R & J compared to Tchaikovsky Fourths.

The remainder of the set consists of light classics: a vigorous, detailed Rimsky Capriccio Espagnole that works well enough, a Pines of Rome that does the same (this piece, however, requires blockbuster sonics to even remotely catch my attention), a Mussorgksy Night on Bald Mountain that's viscerally excitimg in the extreme but a bit lacking in atmosphere. Finally we leave Berlin for Paris and Britten's Young Person's Guide, which seems thrown in for no particular reason except to acquaint us with Maazel's speaking voice as narrator. He's as clipped and efficient as his conducting style--and just as cool--lacking anything close to Bernstein's cozy warmth.

All told, you would have no doubt that a major conductor is at work here. Would that we could say the same for the older Maazel. I'd recommend this box set to anyone who wants to hear him at his best. It contains more good recordings than celebrated Original Masters sets devoted to Fricsay and Markevitch.

More Lorin Maazel - Complete Early Berlin Philharmonic Recordings, 1957-1962 free music reviews:
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