วีดีโอ

Excellent ,!!😊

Dmitri Shostakovich th-cam.com/play/PLpT0iJjEyPDUCVlD8z-SV2UXH30chu6mn.html www.musicweb-international.com/classrev/2016/Aug/Shostakovich_sy5_0300750BC.htm The conductor Kurt Sanderling (1912-2011) first met Dmitri Shostakovich during WW2. Colleagues first, the men went on to forge a strong personal friendship that affords a unique insight into both the music and character of this most conflicted composer. Sanderling recorded most of the symphonies with the Berlin Symphony Orchestra, which he led from 1960 to 1977, but it’s his dark, deeply moving account of the Fifteenth with the Berlin Philharmonic that I’d want for my desert island. Originally issued on the BP’s own label, it’s well worth scouring the internet for a used copy of that recording - coupled with a genial performance of Haydn’s Symphony No. 82 ‘The Bear’. This version of the Fifth - newly remastered from Eterna’s master tapes - is reviewed here as a 24/192 download from Qobuz. It’s also been reissued on LP, the original sleeve notes of which are reprinted in the new booklet. For some reason Sanderling’s BSO Shostakovich - Berlin Classics 9217 - has passed me by; perhaps I can make amends with this belated assessment of their Fifth. Of course there’s plenty of competition in this, Shostakovich’s most recorded symphony. Among the most satisfying Fifths I’ve encountered in recent years are two Euroarts videos: Leonard Bernstein’s with the LSO in 1966 (review) and Yutaka Sado’s with the Berlin Phil in 2011 (review). Both belong at the more volatile end of the scale, whereas Andris Nelsons’ recent Boston recording - part of his ongoing cycle for DG - seems comparatively laid-back (review). I say ‘seems’ because behind its public clamour lurks a reading of remarkable intensity and insight that I found quite overwhelming. Indeed, that’s probably the most revelatory account of this great symphony that I’ve ever heard, either on record or in the concert hall. So, where does Sanderling’s BSO Fifth fall in this spectrum? The first movement is certainly measured - perhaps spacious is a better description - but then there’s a startling vulnerability here that I wasn’t prepared for. Clearly this is not the overt, scruff-grabbing approach that one associates with, say, Bernstein, and some may find this thoughtful, proportionate reading a little too subdued. Those upward-winding string figures certainly aren’t as anguished as they can be, but then there’s no denying the quiet, compelling authority of this performance. I was particularly taken with the lovely pastoral quality of this opener, its idylls circled by threatening storm clouds. If you’re looking for extra angst and urgency you won’t find it here; what you will encounter, though, is a rare transparency - witness that light, perky march tune - and sensibly scaled tuttis. In many ways this is a very musical reading which, like Paavo Jarvi’s ‘paradigm shifting’ Seventh, reveals - and revels in - a lyricism that belies the composer’s reputation for crudity and bombast. If that is what Sanderling is trying to highlight here he succeeds admirably. The playing of this East German band - the fall of the Wall was still seven years away - is warm and plangent; the very refined recording, with plenty of air and detail, adds to the sense of a performance deeply felt and gratefully given. There’s point and polish to the Allegretto, not to mention some beguiling string passages that bring to mind Mahler at his most easeful and bucolic. I realise this conductor’s unhurried pace won’t please everyone, but for others it’s a wonderful opportunity to rejoice in the score’s inner workings. And no, such instruction is not achieved at the expense of pulse or purpose. As for the Largo it’s both spacious and beautifully spun. Yes, there’s a small hiatus at one point - a bad edit, perhaps - but that hardly matters in the presence of such exemplary musicianship. At times there’s a Beethoven-like strength/stoicism to the lower strings, which contrasts most strongly with the pliant loveliness of the BSO woodwinds. Here, more than anywhere else in this performance, one senses these are personal utterances, not public proclamations, and that Sanderling brings us much closer to Shostakovich the man than most of his rivals do. By the time we get to the Allegro non troppo it’s as if we’ve come to the end of a long and very eventful journey. Sanderling really is a wonderful guide, revealing all the details and nuances that others miss. His finale is brisk and cleanly articulated - such attack in the violins, and what muscular timps - with no hint of the pale gestures or empty rhetoric that so often afflict this problematic finale. Like Nelsons he builds to that great coda without recourse to unnecessary artifice, so that when those mighty bass-drum thwacks arrive the effect is simply overwhelming. This is not the only recording of Shostakovich’s Fifth I’d want to own, but it’s certainly one I’d welcome on my already well-stocked hard drive. More than anything else there’s an openness to this performance, an honesty if you prefer, that illuminates the score in the most unexpected ways. Factor in a first-class remastering - no steely strings, bloated bass or coarseness in the climaxes - and you have a very special release indeed. A fresh, unaffected Fifth, chock-full of insight and character; not to be missed. Dan Morgan From a reader Please pass on to Dan my appreciation of his review of Sanderling's recording. I've been trying to spread the news that Sanderling was one of the very greatest conductors. That's been an interesting process because I've found that part of the problem with conductors like Sanderling is that they came from Communist Bloc countries; yes, I know that Sanderling was born in Arys, Germany. I'm sure this affected reviewers from the self-righteous so-called 'West', whether it was a subliminal prejudice or not, it was certainly there. If you doubt me try wading through Gramophone reviews from the late 1950s and 1960s. Go directly to the Supraphon reviews of such great performers like Ancerl, the Smetana, Vlach and Janacek Quartets, and cop the smug sense of British superiority. There was one infamous review of a recording by the Dresden Staatskapelle where the reviewer was distracted by vibrato in the winds and brass and surmised that this was because of Dresden's proximity to the Czech border. There was only one way for a band to sound, you see, the British way, So, I love it that Dan Morgan's review is so positive and he seems to 'get' what Sanderling was all about. The very opening of the symphony is unlike any other recording - it has a really great sense of urgency - contrast it with the limpness of the Mackerras recording - and then move to that simply lovely way that after the opening attacca the main theme is announced - at precisely 4.59. No other recording manages that delicious sense of hush, if you get what I mean. Dieter Barkhoff

Nice !

Gracias por subirlo. Hermoso de inicio a fin. Feliz de llegar acá.

Музыка прекрасна.Но и с нацистами скорее всего сотрудничал.

Поздравляем с завершением великолепного цикла!

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes.

Sublime música, para disfrutar y soñar que estoy en la época del genio Bruckner y lo estoy conociendo en persona.

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes. www.classicstoday.com/review/review-4166/ Bohm Beethoven 7 & 8 / Jed Distler Karl Böhm’s tempos for Beethoven’s Seventh and Eighth Symphonies are generally slow, yet his crisply sprung rhythms, tart linear balances, and masterful accentuations decisively propel these works onward and upward. The obsessive figurations in the Seventh’s outer movements, for instance, build with holy-rolling joy, and the slow movement moves at a real allegretto. After a perky Scherzo, the lethargic Trio is a real letdown, and never seems to end. Listeners who respond to Klemperer’s grim reaping of the Eighth’s quirky fields may find Böhm’s similar, yet more transparent and firmly etched reading more to their taste. There’s nothing remotely dated about Deutsche Grammophon’s nearly 30-year-old sonics. A most attractive bargain.

Böhm is always so organic. And that trio is sublime!

Fantastisch!

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes. www.classicstoday.com/review/review-4166/ Bohm Beethoven 7 & 8/ Jed Distler Karl Böhm’s tempos for Beethoven’s Seventh and Eighth Symphonies are generally slow, yet his crisply sprung rhythms, tart linear balances, and masterful accentuations decisively propel these works onward and upward. The obsessive figurations in the Seventh’s outer movements, for instance, build with holy-rolling joy, and the slow movement moves at a real allegretto. After a perky Scherzo, the lethargic Trio is a real letdown, and never seems to end. Listeners who respond to Klemperer’s grim reaping of the Eighth’s quirky fields may find Böhm’s similar, yet more transparent and firmly etched reading more to their taste. There’s nothing remotely dated about Deutsche Grammophon’s nearly 30-year-old sonics. A most attractive bargain.

Восхитительная симфония и сказочное звучание🎉❤

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes.

Excellent!

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes.

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes.

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes.

One of my favorites… what a marvel! Both so light and rigorous. There something about Russian pianists playing Bach: it reminds me the recording by Ekaterina Derzhavina.

Помню в молодости коробку с пластинками винила и все семфонии с этим маэстро : дирижер - бесподобный. В гостинной слушал и за окном лес весны или лета сиял!!!

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes.

Thanks you very much I like Karl bohm!🎉🎉🎉

Love this, so hauntingly beautiful. Thanks for posting G.M's version.

Karl Böhm & Wiener Philharmoniker • Beethoven • The Nine Symphonies th-cam.com/play/PLpT0iJjEyPDUWvQVuUXP_ieZnJxzg1kAD.html www.amazon.com/Collectors-Beethoven-Symphonies-Nos-Overtures/dp/B00E59ZROG Terrance Aldon Shaw 5.0 out of 5 stars Böhm's Beethoven has never sounded better Reviewed in the United States on October 25, 2013 Verified Purchase What sheer, beautiful, divinely-sparked joy to have Karl Böhm's magnificent, classic Beethoven performances back in my collection again after far-too long an absence--all together in this handsomely packaged 6-disc box set from 2013. Not that these recordings have ever been out of the catalog for very long (if at all) since their initial release in the early 1970s (the symphonies were recorded between 1970 and 1971); the integral 8-LP box set was available for many years under several different cover designs (including the ubiquitous introductory come-on from the International Preview Society (BMG Music Service) in its early days), as well as individual albums on LP, cassette, and CD. I've owned a number of them in addition to that much-treasured box set; an early full-price 2-LP coupling of the superb Eighth and Ninth, a cassette of the Sixth, and a rather disappointing late-eighties or early nineties-era CD-re-issue of the Ninth. Much better was the delightful 1996 pairing of the Sixth with Schubert's Fifth symphony--still one of my very favorite CDs out of more than 1,000. The complete symphonic cycle was again re-issued in the early 1990s as part of the DG Doubles series. The Ninth has knocked about on various mid-price issues for more than thirty years now. It's a pretty safe bet that most long-time collectors will have at least a few of these--in one iteration or another--already. Why then plop down $30 for yet another re-issue of Böhm's Beethoven? Aside from the quality and convenience of this new packaging (individual discs in printed cardboard sleeves housed within a sturdy, laminated cardboard clamshell box with no excess "shake" room), improved sound is a major plus. Many of the earliest analog-to-digital transfers were less than adequate, certainly lacking the warmth and immediacy of vinyl without much gain in depth, detail, or fidelity. While DG was often ahead of the industry's technological curve, it too had its share of disappointing releases in the first years of the CD boom, when it was all some companies could do to keep up with the frenetic, ever-growing demand for more. (The muddy-sounding re-issue of Böhm's brilliant Ninth mentioned above is a case in point.) Then too, some engineers didn't quite know what to make of the new digital technology. As such, one was often subjected to shrill, shrieking trebles, raucous, loud, rock-n-roll-like basses, and murky, nebulous mid-levels that were virtually unlistenable. Sound levels were often set to extremes, sometimes barely turned up beyond a whisper, other times, deafeningly wide open (early BIS CDs even came with a warning label on the jewel case). Although there is no reference to re-mastering in the documentation accompanying this present album--no dates or mention of processing other than 2013 as the year of compilation--my ears remark a greater clarity in the overall sound picture of these transfers, blessedly devoid of tape hiss without the concomitant loss of detail at either end of the spectrum; the trebles less harsh, the basses less rambunctious. The sweet sound of the Vienna Philharmonic woodwind section has never been more pleasantly apparent. The strings shimmer, and the sometimes rather mellow-sounding brass shines through with admirable grace and nobility. This effectively takes the bad taste of so many earlier ill-conceived re-issues from my perpetually skeptically-discriminating palate. Of course, the best and most important reason to own this set is for these splendid benchmark performances--the last of the great "old-school classical" interpretations, and definitely among the finest of their most-celebrated near-contemporaries (the cycles by Szell and the Cleveland Orchestra (Sony) and Karajan with the Berlin Philharmonic (DG)). Where Szell could seem obsessively rigid in his quest for technical precision, and Karajan almost flippant in his prettified, breezy, surface-skimming approach, Böhm emphasized drama without sacrificing lyricism or buoyancy. These lucid, well-paced performances strike a commodious balance between dramatic heft and textural clarity. Beethoven's compositional technique often reminds me of one of those clear-glass clock cases, in which all the workings are plainly (and intentionally) visible solely for the sake of aesthetic delectation, and Böhm takes expert advabtage of this artfully built-in transparency. (Listen, for example, to the scherzo movements of the Second and Third symphonies, or to the wonderfully lithe first movements of the Fourth and Eighth.) While it wouldn't be exactly right to refer to Böhm as "self-effacing"--one is always aware of a strong hand at the helm--there is no conductorly self-indulgence here, no idiosyncratic excess. This is not the temperamental heaven-storming of Toscanini trying to channel Beethoven's tortured soul anew; nor Klemperer at war with his own demons (or, as in the case of his Ninth, with his own orchestra); nor is it Karajan or Carlos Kleiber (as much as I admire the latter's splendid Fifth and Seventh (DG Originals)) striking off in some radically new "modern" interpretive direction, largely involving playing the music faster than anyone before them. This set features what may be the finest versions of Beethoven's Fourth and Eighth ever recorded; a glorious, top-flight "Eroica", a Ninth that comes as close to "perfection" as any one is ever likely to hear (including one of the most exquisitely synergistic vocal quartets ever assembled for the work), a brilliant "Pastoral" for the ages, and, overall, some of the most consistently satisfying readings of these iconic, eternally quintessential works made in modern times. Enthusiastically, passionately recommended! www.amazon.com/Beethoven-Symphonies-Nos-Ludwig-van/dp/B000001GL9 Joseph M. Perorazio 4.0 out of 5 stars Hidden gems. Reviewed in the United States on March 15, 2011 Verified Purchase Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning. Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance. Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound. For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes.

Magnifique. Le piano dans sa plu s belle expression

Исполнение К.Аррау западно-европейской классической и романтической музыки всегда конгениально авторскому замыслу.

Kurt Sanderling & Staatskapelle Dresden • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUSk8UQkVLKcTvKuKlpZbqe.html Видео заблокировано в следующих странах: Россия

The best interpretation i have yet heard... (particularly the 3rd an 4th movements don't sound like Czerny)...My search for an appropriately dignified performance of the supreme masterpiece is finally at an end after listening to over 60 pianists...now I can sleep in peace 😊

first performed in paris 1837director was francois habenecht berlioz was in the audience front row at the tuba miram of the 2nd mvt habenecht laid the baton down ,,reaching into his vest for a piinch of snuff berlioz ran up to the dais picked up the baton to continue beating time for this solo and the rest of the massive workno mention made about habenechts' future perfoming berlioz work it is the greatest, I think ,of any requiem by the others

Kurt Sanderling & Staatskapelle Dresden • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUSk8UQkVLKcTvKuKlpZbqe.html Видео заблокировано в следующих странах: Россия

Are you hearing sound improvements in the CD layer of these Tower Records JP remasters? I am. Even on original DDD recordings. 'Vintage +'

Kurt Sanderling & Staatskapelle Dresden • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUSk8UQkVLKcTvKuKlpZbqe.html Видео заблокировано в следующих странах: Россия

Kurt Sanderling & Staatskapelle Dresden • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUSk8UQkVLKcTvKuKlpZbqe.html Видео заблокировано в следующих странах: Россия

Kurt Sanderling & Staatskapelle Dresden • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUSk8UQkVLKcTvKuKlpZbqe.html Видео заблокировано в следующих странах: Россия

Kurt Sanderling & Staatskapelle Dresden • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUSk8UQkVLKcTvKuKlpZbqe.html Видео заблокировано в следующих странах: Россия

Rudolf Kempe & Munich Philharmonic Orchestra • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUdCWS3ymzH5Kwk10ZpDQav.html

Rudolf Kempe & Munich Philharmonic Orchestra • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUdCWS3ymzH5Kwk10ZpDQav.html

Rudolf Kempe & Munich Philharmonic Orchestra • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUdCWS3ymzH5Kwk10ZpDQav.html

Самый человечный Бах у Татьяны)

Rudolf Kempe & Munich Philharmonic Orchestra • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUdCWS3ymzH5Kwk10ZpDQav.html

Rudolf Kempe & Munich Philharmonic Orchestra • Johannes Brahms th-cam.com/play/PLpT0iJjEyPDUdCWS3ymzH5Kwk10ZpDQav.html

Lo que mas me impresiona. Es la claridad expositiva de los temas. El equilibrio sonoro de las partea orquestales. La diafanidad. La pastosidad del sonido. Creo que es la más optimista de las versiones de la novena.

Sir Adrian Boult • Brahms • Symphonies th-cam.com/play/PLpT0iJjEyPDUAnoH675fMXbsST8lbqvzY.html

Sir Adrian Boult • Brahms • Symphonies th-cam.com/play/PLpT0iJjEyPDUAnoH675fMXbsST8lbqvzY.html

Sir Adrian Boult • Brahms • Symphonies th-cam.com/play/PLpT0iJjEyPDUAnoH675fMXbsST8lbqvzY.html

Sir Adrian Boult • Brahms • Symphonies th-cam.com/play/PLpT0iJjEyPDUAnoH675fMXbsST8lbqvzY.html

Extremely clean finger work, serene and contemplative. This is the first time I have heard her play them, although I’m familiar with her Shostakovich. There were so many new insights and discoveries to my experience of these wondrous and timeless pieces. Interpretations have changed so much over the past 40 years. Compared to the 2020s her interpretation seems to avoid a dancing rhythm, or excitement, when compared to Schiff, Perriah, or Hewitt. However, it is lovely to hear another interpretation, which adds to one’s pleasure of these sublime Preludes. I’m so grateful to you for bringing so much beguiling music for our pleasure.

Просто невозможно хорошо. Мудрость, поэзия, раздумье. Внятная музыкальная речь. Простота и значительность вместе. Человек живёт в этой музыке и ею мыслит.

She has an interesting interpretation of the final contrapunctus. She plays octaves on the first subject appearance. It's an interesting choice to do that. And she has some interesting choices for making some of the notes staccato. Sokolov went in a similar direction, but he kept the staccato motif throughout this piece. Both are fantastic interpretations of this otherworldly piece.

Cello: Tibor de Machula