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.amazon.ca/Beethoven-Symphony-Pastorale-Schubert/dp/B000001GQL cdsullivan@massed.net 5.0 out of 5 stars A magical performance and a transcendent experience Reviewed in Canada on March 21, 2002 This is one of my favorite recordings ever. Karl Böhm, one of the most sadly underrated conductors of the twentieth century, turns in an absolutely magical interpretation of Beethoven's gorgeous Sixth. It is difficult to describe what makes this such a miraculous performance. The main reason is that Böhm doesn't feel the need to give us "Karl Böhm's version of Beethoven's Sixth Symphony." He simply allows Beethoven to speak directly to us, with his conducting merely enhancing and intensifying what is already in the music. He paints the symphony vividly and with an enormous range of astonishingly beautiful colors - he draws the most intoxicating orchestral playing I have ever heard, on any set, out of the Vienna Philharmonic Orchestra. The sound is unbelievably gorgeous, but it's always meaningful, and is always a true Beethoven sound. The strings' translucent radiance and refined beauty are truly stunning, the brass is enormously rich and sonorous, the timpani are clear and incisive, but the most amazing section of the orchestra is the woodwind. The flute, oboe, clarinet and bassoon all produce the most glorious sound, phrasing ardently and radiating an almost otherworldly light. The tender beauty of the flute and oboe solos in the central section of the Scene by the Brook is almost overwhelming. That movement is perhaps the most exceptional part of an exceptional recording. Böhm takes fourteen minutes over this movement, but he has the extremely rare gift of superbly sustaining slow tempi, with the result that this performance flows more smoothly than many much quicker performances, while the actual spaciousness of the tempo aids the conveying of the movement's stillness and serenity. A slower tempo also means the movement is longer, a cause for rejoicing when given the level of the performance! Böhm's orchestral sound and texture in this movement is also exceptional, with woodwinds and violins soaring over a rustling, gloriously warm and transparent bass including two gorgeous solo cellos. But it's wrong to single out one movement of this exceptionally cohesive, unified recording. The first movement is twelve minutes of pure delight. Böhm takes a very sensible tempo, one which allows the music time to breath and unfold without ever impeding the flow of the music. His performance is wonderfully feeling and emotional without ever becoming sentimental: indeed, he is one of the very few conductors who don't kill the very first phrase by indulging in a big ritardando at its close. He takes the exposition repeat, which enhances the structure of the movement and balances the symphony as a whole. The Scene by the Brook, as I have mentioned, is glorious. The Scherzo is just as fabulous. Böhm takes what I suppose is a somewhat slower tempo than usual, but it's hard to tell because it has such a strong rhythmic pulse and drive that it's impossible to say the tempo is slow. Rather, he gives every note time to be articulated clearly, something many swifter performances miss. It is the vivid country atmosphere to the performance that is most compelling, though. He also takes the repeat. The storm is absolutely terrifying, probably the most vivid performance of this movement on disc, firmly refuting any notion that Böhm was an uninvolving or boring conductor. The rainbow-like transition to the finale is handled with superb skill, and the glorious finale itself flows serenely from the opening horn-call to the miraculously beautiful, almost religiously fervent sotto voce string chorale in the coda nine minutes later. This performance is remarkable for its ability to evoke an emotion or scene vividly. The emotions this performance produces in the listener, both during and after listening, are better experienced than described. All I'm going to say is that this is one of the most magical, overwhelming recordings ever made. The coupling is a delightful performance of the Schubert Fifth, made a few years later. It is characterized by the same radiant orchestral playing the Pastoral enjoys, and a delightful feeling of playfulness and joy. This disc is one of the greatest achievements in the history of recorded music, and is an unbeatable bargain at mid-price. The Pastoral is one of the most emotional, magical, and miraculous experiences recordings can convey. I have listened to this recording at least fifty times, and I have never found the smallest flaw in it. This is one of those very few great recordings I just can't say enough about. Seventy-four minutes of sheer bliss. Enjoy!
![HIWWHEE | OHM [Official MV]](http://i.ytimg.com/vi/OJJLtTLqLag/mqdefault.jpg)
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.amazon.ca/Beethoven-Symphony-Pastorale-Schubert/dp/B000001GQL
cdsullivan@massed.net
5.0 out of 5 stars A magical performance and a transcendent experience
Reviewed in Canada on March 21, 2002
This is one of my favorite recordings ever. Karl Böhm, one of the most sadly underrated conductors of the twentieth century, turns in an absolutely magical interpretation of Beethoven's gorgeous Sixth. It is difficult to describe what makes this such a miraculous performance. The main reason is that Böhm doesn't feel the need to give us "Karl Böhm's version of Beethoven's Sixth Symphony." He simply allows Beethoven to speak directly to us, with his conducting merely enhancing and intensifying what is already in the music. He paints the symphony vividly and with an enormous range of astonishingly beautiful colors - he draws the most intoxicating orchestral playing I have ever heard, on any set, out of the Vienna Philharmonic Orchestra. The sound is unbelievably gorgeous, but it's always meaningful, and is always a true Beethoven sound. The strings' translucent radiance and refined beauty are truly stunning, the brass is enormously rich and sonorous, the timpani are clear and incisive, but the most amazing section of the orchestra is the woodwind. The flute, oboe, clarinet and bassoon all produce the most glorious sound, phrasing ardently and radiating an almost otherworldly light. The tender beauty of the flute and oboe solos in the central section of the Scene by the Brook is almost overwhelming. That movement is perhaps the most exceptional part of an exceptional recording. Böhm takes fourteen minutes over this movement, but he has the extremely rare gift of superbly sustaining slow tempi, with the result that this performance flows more smoothly than many much quicker performances, while the actual spaciousness of the tempo aids the conveying of the movement's stillness and serenity. A slower tempo also means the movement is longer, a cause for rejoicing when given the level of the performance! Böhm's orchestral sound and texture in this movement is also exceptional, with woodwinds and violins soaring over a rustling, gloriously warm and transparent bass including two gorgeous solo cellos. But it's wrong to single out one movement of this exceptionally cohesive, unified recording. The first movement is twelve minutes of pure delight. Böhm takes a very sensible tempo, one which allows the music time to breath and unfold without ever impeding the flow of the music. His performance is wonderfully feeling and emotional without ever becoming sentimental: indeed, he is one of the very few conductors who don't kill the very first phrase by indulging in a big ritardando at its close. He takes the exposition repeat, which enhances the structure of the movement and balances the symphony as a whole. The Scene by the Brook, as I have mentioned, is glorious. The Scherzo is just as fabulous. Böhm takes what I suppose is a somewhat slower tempo than usual, but it's hard to tell because it has such a strong rhythmic pulse and drive that it's impossible to say the tempo is slow. Rather, he gives every note time to be articulated clearly, something many swifter performances miss. It is the vivid country atmosphere to the performance that is most compelling, though. He also takes the repeat. The storm is absolutely terrifying, probably the most vivid performance of this movement on disc, firmly refuting any notion that Böhm was an uninvolving or boring conductor. The rainbow-like transition to the finale is handled with superb skill, and the glorious finale itself flows serenely from the opening horn-call to the miraculously beautiful, almost religiously fervent sotto voce string chorale in the coda nine minutes later. This performance is remarkable for its ability to evoke an emotion or scene vividly. The emotions this performance produces in the listener, both during and after listening, are better experienced than described. All I'm going to say is that this is one of the most magical, overwhelming recordings ever made. The coupling is a delightful performance of the Schubert Fifth, made a few years later. It is characterized by the same radiant orchestral playing the Pastoral enjoys, and a delightful feeling of playfulness and joy. This disc is one of the greatest achievements in the history of recorded music, and is an unbeatable bargain at mid-price. The Pastoral is one of the most emotional, magical, and miraculous experiences recordings can convey. I have listened to this recording at least fifty times, and I have never found the smallest flaw in it. This is one of those very few great recordings I just can't say enough about. Seventy-four minutes of sheer bliss. Enjoy!
Восхитительная симфония и сказочное звучание🎉❤
Nice !