Beethoven: 9 Symphonies (1963)
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Composer: Ludwig van BeethovenConductor: Herbert von Karajan
Orchestra: Berlin Philharmonic Orchestra
Performer: Gundula Janowitz
Performer: Waldemar Kmentt
Performer: Hilde Rossel-Majdan
Edition: Music CD
Format: Box set, Original recording reissued
CD Release Date: 2007-06-05
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
- Symphony No.1 in C major, Op. 21: 1. Adagio molto - Allegro con brio - L.V. Beethoven
- Symphony No.1 in C major, Op. 21: 2. Andante cantabile con moto - L.V. Beethoven
- Symphony No.1 in C major, Op. 21: 3. Menuetto. Allegro molto e vivace - L.V. Beethoven
- Symphony No.1 in C major, Op. 21: 4. Adagio - Allegro molto e vivace - L.V. Beethoven
- Symphony No. 3 in E flat major, op.55 Eroica: 1. Allegro con brio - L.V. Beethoven
- Symphony No. 3 in E flat major, op.55 Eroica: 2. Marcia funebre. Adagio assai - L.V. Beethoven
- Symphony No. 3 in E flat major, op.55 Eroica: 3. Scherzo. Allegro vivace - L.V. Beethoven
- Symphony No. 3 in E flat major, op.55 Eroica: 4. Finale. Allegro molto - L.V. Beethoven
- Symphonie No. 2 D-dur Op.36: I. Adagio Molto - Allegro Con Brio - L.V. Beethoven
- Symphonie No. 2 D-dur Op.36: Larghetto - L.V. Beethoven
- Symphonie No. 2 D-dur Op.36: Menuet & Trio: Allegro Molto E Vivace - L.V. Beethoven
- Symphonie No. 2 D-dur Op.36: Adagio - Allegro Molto E Vivace - L.V. Beethoven
- Symphonie No. 4 B-dur Op. 60: I. Adagio - Allegro Vivace - L.V. Beethoven
- Symphonie No. 4 B-dur Op. 60: Adagio - L.V. Beethoven
- Symphonie No. 4 B-dur Op. 60: Allegro Vivace: Un Poco Meno Allegro - L.V. Beethoven
- Symphonie No. 4 B-dur Op. 60: Allegro Ma Non Troppo - L.V. Beethoven
- Symphonie No. 5: 1. Allegro Con Brio - L.V. Beethoven
- Symphonie No. 5: 2. Andante Con Moto - L.V. Beethoven
- Symphonie No. 5: 3. Allegro - L.V. Beethoven
- Symphonie No. 5: 4. Allegro - L.V. Beethoven
- Symphonie No. 6: 1. Erwachen Heiterer Empfindungen Bei Der Ankunft Auf Dem Lande (Allegro Ma Non Troppo) - L.V. Beethoven
- Symphonie No. 6: 2. Szene Am Bach (Andante Molto Mosso) - L.V. Beethoven
- Symphonie No. 6: 3. Lustiges Zusammensein Der Landleute (Allegro) - L.V. Beethoven
- Symphonie No. 6: 4. Gewitter - Sturm (Allegro) - L.V. Beethoven
- Symphonie No. 6: 5. Hirtengesang, Frohe Und Dankbare Gef Hle Nach Dem Sturm (Allegretto) - L.V. Beethoven
- Symphony 7: 1 Poco Sostenuto - Vivace - Ludwig Van Beethoven
- Symphony 7: 2 Allegretto - Ludwig Van Beethoven
- Symphony 7: 3 Presto - Ludwig Van Beethoven
- Symphony 7: 4 Allegro Con Brio - Ludwig Van Beethoven
- Symphony 8: 1 Allegro Vivace I Con Brio - Ludwig Van Beethoven
- Symphony 8: 2 Allegretto Scherzando - Ludwig Van Beethoven
- Symphony 8: 3 Tempo Di Menuetto - Ludwig Van Beethoven
- Symphony 8: 4 Allegro Vivace - Ludwig Van Beethoven
- Symphony No. 9: Allegro ma non troppo, un poco maestoso - Ludwig Van Beethoven
- Symphony No. 9: Molto vivace - Ludwig Van Beethoven
- Symphony No. 9: Adagio molto e cantabile - Ludwig Van Beethoven
- Symphony No. 9: Presto - Ludwig Van Beethoven
- Symphony No. 9: Presto. - - Ludwig Van Beethoven
Music reviews of Beethoven: 9 Symphonies (1963)
Music Review: The whole is greater than the sum of its parts
Rating: 4 Stars
Before we start - please forgive any inevitable over-simplifications (and spelling mistakes).
Whilst the debate pertaining to which interpretation (the Wagnerian 'Germanic' idiom as propounded by the philosophical Furtwangler or the leaner 'Italian' reading by Toscanini) of Beethoven's superlative symphonies is the stronger/more accurate/more enjoyable is, possibly, an adventure slightly wasteful of time that could be better spent on savouring magnificent music. It is enough (hopefully) to say that these interpretations are a more than convincing marriage of the two roads - Karajan's 'third way' of Beethoven - though Karajan leans towards Toscanini in tempo but compensates with lyrical phrasing and that stylish polish that makes his flare shine all the more.
Much has been commented about such surface gloss and superficial beauty and, for good or ill, it is in evidence in these performances. Here, though, for me, there is a side to Karajan that may not be in evidence elsewhere in his discography. This is a conductor who cherishes the music he makes - one can here it in the mystical forces active in the hypnotic opening to Symphony no. 4; in the dramatic presence of the unmatched 5th; in the intoxicating rhythms of 'the apotheosis of dance', Symphony no. 7; in the touching humour and straightforward melodies of the 8th.
Enough of defending the conductor. What is the music really like?
Symphonies 1 & 2 are satisfactory. It is a struggle to find inspirational performances of these symphonies (Szell and Cleveland are good) but these are more than adequate for a building a collection.
'Eroica'! An initial testimony to Beethoven's superiority over most - if not all - other symphonists. This masterwork catalysed Beethoven's career and, strangely, it was a live performance with a small provincial orchestra that launched Karajan on the road to renown. From this recording it is easy to see why Karajan's interpretation caused such a sensational stir. Typically, the opening movement has all the power and drama one expects from this conductor and orchestra. The second movement has a swirling darkness of despair - marcia funebre this is and more. The scherzo has a delightful magnificence and rousing sense of heroism. The whole symphony is performed in a heavily inevitable manner that befits this, the first of romantic symphonies. I struggle to think of a rival but Klemperer's recording on EMI is a classic. Interestingly, it was a live performance, led by Klemperer, of 'Eroica' that left an indelible mark upon Karajan.
No. 4 - easy to be brief her. Many critics wax lyrical about this performance. It is one of the greats - Karajan never had it so good in this symphony again. Few can match this.
No. 5 - Again, this was probably Karajan's best 5th though the new release of his mid-late 70's 5th in 24-bit is worth investigating. Few can match the demonic energy, power and drama of this recording. With the inspired BPO led by an equally inspired maestro this music comes to life in spite of its overtones and undercurrents of death and unremitting tragedy. The transition from scherzo to finale, from dark despair to immutable human victory, is handled well and with a subdued vigour that allows the finale to burst dramatically from the chains that the previous movements bind it with. Carlos Kleiber's first rate performance with the VPO is one of the few rivals to Karajan and is top notch.
Symphony no. 6 is a let down - simple as. Karajan is unresponsive to much of Beethoven's finer composition in this recording. This is disappointing considering the wonderful 6th he recorded with the Philharmonia in London in the 50's. The mid-late 70's 6th also has wonderful detail and is also available in lush 24-bit with the 5th and 9th of the same era. Karl Bohm's interpretation of the sixth is highly thought of but his 'haphazard' way can turn people off, though it is a decent recording and performance. Bohm has everything that Karajan lacks here - "a relaxed drive with due care and attention" and an orchestra that seems to have been more connected with the music at the time.
Karajan seemed to have a special connection to the 7th (like his idol, Toscanini). This performance shows potential and promise but is not the best seventh around. Karajan's later 70's performance is similar but in every respect superior. Something can also be said for his final account in cold digital sound but it is hard hitting and seriously exciting. Of course, we cannot mention the seventh without regard to Carlos Kleiber's monumental account though later Karajan does come very close.
Symphony no. 8 - 'my little symphony' as Beethoven referred to it. There may be superior accounts to be found but they will only have their heads or noses in front of this one.
No. 9 - what a joy. Here, the first movement has a great tragic element throughout. I don't believe it to be emotional moribund as others do but there are more spiritual and emotive performances on record. The drama builds throughout the movement to a point where every note seems to have a punch of its own no matter how small it appears in the grand scheme. The second movement has the typical Beethovenian demonic force fed by the overwhelming forward force of Karajan. The adagio is a thing of beauty. This is paced between the swifter modern interpretation that places great emphasis on the intercourse between the various elements of the orchestra and the older stately pace that speaks of deep human emotion - in all it comes off well and Karajan concentrates to the very end (unlike some who seem to wander aimlessly in this movement). Yet, to think that Beethoven contemplated leaving the symphony here at the disintegration of the adagio - not to include the 4th movement would have been a crime against humanity, surely. The Choral finale is in a class of its own. Though some have maligned this interpretation for being too swift I find it strange to discover that, often, the same people recommend the likes of Mackerras or Gardiner for this symphony. Personally, I find the tempo near perfect throughout - it lends itself to the rest of the cycle regarding the interpretation being slightly more Toscanini than Furtwangler. The quartet of singers are fantastic - few recordings can match this one on that account - though the choir is backwardly balanced but not as badly as some older recordings (e.g. Furtwangler in 1951). The orchestra are also superb throughout.
A big concern in this set is that in crucial double or treble forte parts the recording equipment sounds like it has been overdriven to the point where much sound has been lost - a very big negative. Other people have also noticed that at crucial points (the forte statements of the Eroica theme and, most heartbreaking of all, the big choral restatement in the 4th movement of the 9th) the sound has been compressed - don't ask me why but it has damaged the overall conception here. The recent releases of this cycle on hybrid-SACD has meant considerable remastering and rebalancing which has gone a long way to rectifying the recording issues (one cannot expect miracles, though and, though the compression may have been removed the recording still fails to deliver at crucial moments). Bad DG! Despite the fact that the remasterings were PCM rather than DSD, both layers sound superior to this one. (Some more attuned to LPs may find it hopelessly over processed but I can't comment - being a child of the nineties, CDs are the only option for me).
Overall, a very good cycle but by no means perfect. As individual components each symphony can be seen as a let down but as an holistic vision, the cycle comes off rather well. Personally, I think it quite excellent but you must make your own mind up. You will not hear as I hear and you may not like what I like. For beginners I would advise collecting these symphonies one or two at a time in truly acclaimed performances by various orchestras and conductors. For instance Klemperer's third could be considered superior to the present third and Kleiber's 5th and 7th are considered definitive. In the world of music, however, it is for the individual to make their own way - would we have it any other way?
PS There is a live recording of the Ninth under Karajan on the BPO's own label (Berliner Philharmoniker) in their limited edition 'changing times' series which I believe to be preferable to the present ninth. For further info, read my review of it on Amazon.co.uk (I can't find it on Amazon.com), ASIN:3898162664.
Description of Beethoven: 9 Symphonies (1963)
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.By general consensus, Herbert von Karajan's first (1963) Beethoven cycle for Deutsche Grammophon is the best of the four (!) that he recorded. The Berlin Philharmonic was in top form, and they had not yet made an artistic fetish out of the bland smoothness that typified the conductor's later recordings of this music (and just about everything else). Karajan's squeaky clean, emotionally cool Beethoven will always be something of an acquired taste, but this set makes the best possible case for it. --David Hurwitz
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