Search - José van Dam, Ludwig van Beethoven, Herbert von Karajan :: Beethoven: Nine Symphonies

I respectfully disagree

Warren R. Davis | Haddonfield, NJ USA | 02/28/2002

(5 out of 5 stars)

"I relish listening to each of the Karajan Beethoven cycles. But I will not join the persistent near consensus which hails the 1963 cycle over the 70's version heard here, nor the last cycle from the 80's. The 1963 Berliners were fiery, but rarely elegant; the 1970's Berliners, more elegant. After the 60s, the partnership with Karajan, although sometimes rocky, was a devoted one, and the results became extraordinary - the best was even better.



There is a balance of precision and emotion in this later period which Karajan and the orchestra achieved over decades together. Surely this perfect blend is what Beethoven might have idealized. Listen to the phrases he wrote, and try to gauge if they could be played with a greater combination of technical perfection and passion than heard in this cycle. One can hope for more fire as in 1963, but not more passion by these musicians. At the most important moments, this collaboration very nearly transcends the limits of human artistry, and that is all we could hope for.



The Seventh and Ninth are the richest treasures of the Karajan-Beethoven cycles, and this is, I think, the best Seventh (including the last version by Karajan/BPO). Richard Osbourne, the distinguished Gramophone magazine reviewer, over the years repeatedly gave rapturous praise to this recording, and I can't see the slightest reason to disagree.



All of the symphonies as recorded here are highest caliber and will not disappoint. This includes the Ninth. While the last recording from the 1980s set somewhat excels in recorded (digital) sound, the soloists in this rendering are arguably superior. The last version also benefits from a matured collaboration between Karajan and the BPO, which despite the occasional spats forged some of the most glorious recorded music available. But those differences are really only marginal. This Ninth commands its own respect.



Certainly, there are no better complete sets of these symphonies than any of those by Karajan and the BPO. (The Karajan/Philaharmonia set on EMI suffers by comparison for its 1950s technology.) Two complete sets, both by Bruno Walter, are equal to Karajan's interpretations: the monaural set with the NYPO (except the Phila. Orch. in Sym. 6), and the set in stereo with the handpicked-for-Walter (largely LA Phil) - sometimes underrated but really superb - Columbia Symphony Orchestra. However, there are comparable performances of individual symphonies, the most important of the Ninth, of course. The concert performances by Furtwaengler (war time BPO and 1951 Bayreuth Festival), Klemperer (1957 and 1961, both with the Philharmonia on BBC Testament), and Walter (especially fiery with the London Phil in 1947 on Music & Arts, among others in NY and Vienna), are certainly rivals to any of the Karajan recordings. But these are not part of complete cycles, and even Klemperer's marvelous EMI recordings of the 3rd, 5th, and 7th symphonies are studio versions, not on a par with his extraordinary concert performances. This recorded cycle was well worth it at full price, and the performances rarely equalled."

Bring me the desert island, please.

Good Stuff | 12/16/2005

(5 out of 5 stars)

"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."

!963 set far superior

Robert J. Higgs | Kogarah Bay, NSW Australia | 12/10/2001

(3 out of 5 stars)

"Good though these performances are, the 1963 ones are far better, perhaps with the exception of the 6th. The performance of it in this set has the best scherzo I have ever heard, with the repeat intact and oboe and horn playing that are out of this world (not at all like peasants, but never mind) and I never tire of listening to it. But that's where it ends. The first movement of the Eroica is misty and much too fast, a far cry from the superb offering Karajan gave us in 1963, the same goes for the 4th symphony. It reminded me of thick gluggy gravy. The 7th is very well articulated and hard to fault, and yet something is missing that is present on the 1963 recording. Go for the earlier set which has the best 3rd, 4th, 7th 8th and 9th ever made."