I love his Beethoven's Pastoral as well. And I have never heard a better finale of Mozart's Jupiter symphony than Böhm's with the Wiener Philarmoniker.
I am a music lover since the 1970s and Karl Böhm was always one of my favourite conductors from the beginning his tempi and the sound he created is absolutely perfect
Aah... Thanks for the tie in the ninth, Dave. I recently listened/watched Böhm's famous Elektra video again from Vienna. I was amazed how passionate and gripping it actually was. I personally never looked at him like a Kapellmeister (and I don't say you do!), his music-making was just always inspired and knowledgeable, and mostly very idiomatic as a result... I'd take 10 Böhm's over any Currentzis
The first record I ever bought ("classical") was Karl Böhm's late Beethoven 9th. The slow, foot on the grave 9th. I remember I bought it because I saw the name Placido Domingo on it, and I thought, this must be good... And it is a sentimental piece for me, this was in the early 90s, and at that time, when you got a record you had to stick with it, and play it like there's no tomorrow. Plus I was a kid, with no money to buy other records, especially records with the same symphonies was out of the question for me at the time. So this was my 9th for a tremendous amount of time. Today, yes I can see the differences 🎶😁 but I still have that album! And because of it, Karl Böhm was my go to guy for a long time, and I still like him.
Thank you for reassessing the much under-rated Bohm. His Schubert symphonies are indeed superb. So lively, idiomatic and clearly textured. As for his Brahms, I have the 1st on a DG Resonance record. Wow! It is wonderful. I have Szell's and, also with the BPO, Kempe & Jochum, but Bohm's is the best. He gets the BPO playing with the most precision, crispness, incisiveness, yet with immense dignity and passion.
Boehm is one of, if not my favourite conductor, always letting the music speak for itself first. Not quite on the orchestral ‘theme’ but my first experience of Bohm’s work was the DG Magic Flute with the likes of Dietrich Fischer Dieskau and Fritz Wunderlich.
Hello David. This was a very interesting video. I am a big fan of Karl Böhm because I think that his interpretations really stand out; they really are top quality. I've got two requests. Would it be possible to review the two Ferenc Fricsay boxes on two separate videos? That will be appreciated. Fricsay is one of my favourite conductors. Thank you for taking the time to read this.
Thank you for this, again. As to your line "... and then I grew up": I guess I had a similar experience when I got the privilege to write some liner notes for Böhm recordings from German radio which were published by audite. I very much felt like you describe your former attitude to Böhm's Mozart, until I was sort of forced to really listen to, and appreciate, Böhm's style. What I discovered was not only a general tunefulness, and an overall very serious approach to the music, but one special thing that seemed to lie at the root of all that. If you listen to Böhm's orchestral conducting, you usually are given the opportunity to recognise the entirety of the texture exceptionally clearly. Apparently, musicians, under his baton, tended to really musically play their parts on every level. Every register appears to support the overall drift of the music, as well as its complexity. Nothing is sold below its true value. I guess that's what makes his approach appear so serious. That being said, I also think his Strauss, orchestral as well as operatic, is of special value. In one WDR "Don Juan" recordings, you can hear his foot going down on the podium in an especially energetic passage, and boy, does the orchestra mirror that passion.
Hello Mr. Hurwitz. Give Bohm's single CD recording of J. Strauss with VPO on DG a try. Every waltz and polka is a gem. Relaxed in tempo with just the right subtle flexibility. Melodic phrases flow without effort and are treated like Mozart and Schubert. Nothing showy but just pure elegance and naturalness. The VPO is absolutely gorgeous in tone and of course they know exactly where to place the slightly anticipated 2nd beat of the bar as only the Viennese can. Please listen to Roses from the South. True to its namesake you can feel the warmth of the southern breeze. Would love to hear what you think.
I wonder if it's worthwhile replacing the VPO Beethoven #7 with the earlier DG Berlin Philharmonic recording, also stereo. The Berlin recording was my first real exposure to the 7th, and I still like it since I don't always need to be dazzled.
Böhm's best Brahms, to my mind, was his 1959 BPO first (last seen on Eloquence). When comparing recordings, I was struck by how well he balances clear lines, strong pulse, and that heavy sonority the symphony kind of needs.
In the 1980s I bought the Bohm Schubert set, the two box Mozart set, and the Vienna Beethoven cycle. By then I had already got Klemperer's stereo Beethoven cycle [beautiful HMV box], Bruno Walter in the late Mozarts, Klemperer and Boult and Walter in the Brahms cycle ... I was looking for a single unified musical view of these wonderful symphonies. And I found it. I wore out many of the LPs from Bohm. First class music making in my humble view. I never did buy the Bohm Brahms. I heard some of it, and stuck with Walter and Klemperer ... But, I later found Klemperer's Mozart and Haydn on CDs, and grew to love his granite-like Brahms more and more. I discovered Klemperer's mono Beethoven recordings. Fell out with Boult's Brahms [and Schubert Great C Major]. Much more recently found Klemperer's Schubert Symphonies Five, Eight and Nine, and have heard his marvellous Concertgebeou Schubert Four, In about 1982/3 I also got the four side Choral Symphony box from Bohm in Dresden ... I don't know. I began to find that Klemperer had you gripped in the music without thinking about it. Like swimming underwater. Immersive. Bohm began to feel like perfectly made performances where you "admire" the music. Klemperer makes you "love" the music in the deepest way possible. It become inevitable, sometimes quite terrifying in its implications, and in spite of granitic qualities extremely beautiful along the journey as well. It is a surprise that Klemperer really did seem to get Haydn! Until discovered, our Bethoven-ish idea of Klemperer might lead you to expect something else. Klemperer in Haydn 102 is a real journey that brings us face to face with one of the masters of the symphony to equal any other!!!!! Same with Klemperer's Mozart Symphonies - even the smaller ones ... These days I fondly remember Bohm's LP sets as part of my youthful getting to know the less famous Mozart and Schubert symphonies [as well as poised and wonderfully played famous ones], but these days I have no Bohm recordings at home. Probably that is his role for the record buying public, as a great template to learn the inner balances and form of these great works, and move to something that takes us to the ultimate level after that. I am glad that DG keep these sincere, beautifully played, and always musically wise performances available, even though I am content to cherish the memories of discovering unknown Schubert and Mozart from him without the need to own copies these days. The exception might be the Schubert cycle, where everything seemed just right. Might get that on CDs if they are available separately these days. Thanks again for a nice video. Best wishes from George
George. I share your sentiments on Böhm and Klemperer. Increasingly I find that Klemperer more than anybody else really gets to the heart of the matter. That sentiment used to enjoy broad recognition when talking about his Beethoven and Brahms. But it is as true in his Mozart and his Bach.
Thanks you for this. I loved them All! I would also recommend the Böhm box set of Mozart Wind concertos and Serenades on DG. And the Strauss operas on DG are exceptional. If you can find any of the live performances of Böhm, say, on YT, by all means have listen. I find an extra aliveness in his live performances sometimes missing in the recordings.
Mr Hurwitz Thank you for this great vid!! I love Bohm and I agree he gets passed over a lot I think because of the war stuff his Tristan is like a magic potion and I have his Mozart symphonies on blue ray and it’s wonderful
I agree with you Dave- underrated Conductor! his Ring Cycle, his Schubert Symphonies! I have a hard time listening to anyone else's interpretations- listening to his Schubert Symphonies today at work- glorious- I still don't understand why Schubert's early Symphonies aren't as loved as they should be!!! 1&2 !!! fantastic ❤️🔥
Richard Strauss Don Juan with LSO live is an astounding achievement. Webern's Passacaglia with the VPO is nicht zuzammen at the start. Everyone has the occasional off day. Schoenberg's Pelleas und Melisande is a great success. Very clear and musical
A very fair and well-balanced review of the Böhm set. Personally, I have more and more tended to gravitate towards Böhm's Brahms, having initially found them a bit staid, as stated in the review.
After your review I bought the box and I have to say I am very happy with it. I already owned 3 CD's with Beehoven symphonies by Böhm but I think they remastered or remixed the recordings because they sound much better and more up front. e.g. the sixth symphony does not sound like the orchestra is in a bath tub anymore and you can hear all the instrument groups much better. Thanks for your review. My CD collection is growing exponentially because of your TH-cam channel. I am not fond of streaming audio.
Hey, David. Nice vídeo. Thanks. Excellent explanation about the period instruments. By the way , I’m looking foward to your reviews on the Bruckner’s 8 with Vienna/Thielemann. (They are recording all the symphonies, right?)
Have you ever thought about doing a discussion(s) about your own personal favorite albums or boxset? Explaining what makes them special if they're any particular performances that stand out if the whole set isn't all A+ for you. Unless you have already done this and I've just missed this talk all together. It'd be pretty cool just for your own personal recommendations kinda like with the miniatures.
Just checked my previous suggestion and that brings up 4 talks on amazing box sets. Before you watch it though, cancel your bank cards and close you EBay and Amazon accounts. Otherwise you’ll have no money left. It happened to me.
@@nickhamshaw1234 Oh okay cool, thanks! And there's no way I'm buying these sets since I have Spotify, most of the suggestions David talks about are on there, albeit sometimes not completely together in sets or collections, but they are there. Plus I just don't have the money for some of this either rare or immense boxes, more in it for the convenience factor at the moment.
I just picked up the DG vinyl box of all nine Beethoven symphonies, Bohm/Vienna. Pristine condition, doesn't look played. Booklet included. Only $9, so I figured I can't go wrong. I have a few other Bohm records and I love them!
David, if someone had asked me to review these discs, and Böhm’s career, I don’t think I would’ve said anything different than you just did! You expressed my feelings towards him perfectly! I don’t listen to him much, not because they are bad, but I just prefer other, more exciting versions, But, I find his opera performances perfect for the most part. I think you’re correct that it is his emphasis of the vocal line in everything. I hadn’t thought about that but it makes perfect sense.
I only know Bohm's Mozart 40th and 41st symphonies with the BPO from the 60's which I've always found a bit stodgy and dull compared to Karajan or Kertesz but my view of him was transformed by his superb recording of the two sinfonia concertantes- maybe because they are works which benefit from letting the music tell it's own story in a natural way without putting a particular spin on it. Look forward to hearing his Beethoven and Schubert.
Thank you for this very interesting talk on one of my favourite conductors (along with Schuricht, Barbirolli and Mravinsky...). I've listened to all the symphony cycles. I'd like to say that his Brahms symphonies are those of an old man and I tend to think they are among the best even though they can't be regarded as a first choice. The colours of the orchestra are beautiful. I agree with you as regards Beethoven 's fourth symphony. What' s more, in his recordings, I think that Bohm manages to convey what conducting really means to him, in other words, what conducting should be like. To conclude, I suggest you talk about another great conductor : Rafael Kubelik. Thank you. Philippe, from France.
Based on what you've said I'll have to re-listen to his Beethoven 4th. You're right that his 7th falls short but I'm glad you gave his 3rd its due, since it really delivers for me. I found what you said about his Mozart really enlightening. They were my go-to until I got MacKerras' set with Prague, and now I want to listen to them again. For a long time I never really got Schubert's Unfinished, maybe because I had the Carlos Kleiber and in retrospect it doesn't seem right. Once I listened to Bohm though I heard what all the fuss was about. What a performance, and the 4th 5th and 9th are all fabulous too. It seems DG put Bohm permanently in the shadow of Karajan but I'm glad they've given him a substantial box set. Does the box set include Mozart's serenades too, or just the symphonies?
In my opinion you hit the proverbial nail on the head in your Classics Today review of Bohm’s Beethoven cycle years ago when commenting the cycle was underrated primarily for political reasons - DG being totally in thrall to marketing Karajan. While I enjoy much of Karajan’s work, I enjoy Bohm’s Beethoven, Mozart and Schubert more. His 1959 BPO Brahms Symphony 1 performance is, in my opinion, magnificent. His performance of Haydn Symphonies 88-90 with the VPO on DG rank among the most enjoyable I’ve heard. And his Mozart Posthorn Serenade with the BPO is magnificent.
Thanks Dave...my first acquaintance with Bohm was through a review...his Beethoven cycle and of course the Pastorale were adjudged best ever by the BBC Music Guide books that came out of Radio 3 transcripts. You must remember them (I was fascinated without having listened to a single note!). The CD age remedied this via Eloquence for the Beethoven and the DG collectors edition boxes for the rest. As others have mentioned his Brahms 1 and 2 in Berlin are much better, more fiery even...now how about a take on the old rogue...Knappertsbusch...Scribendum has 5 boxes out...Now here was someone who could be really have off and on days...I have the old RIAS box...also Bohm also has some live releases on Audite...any thoughts on Bohm’s Bruckner 7 and 8? The 4 of course is magnificent...also the old per-war EMI recordings I think of the 4th and 5th which are seriously challenged sonically but gives an opportunity to hear the Kapellmeister in the 5th
I remember I was in Vienna when Böhm passed away in 1981 - it was like a period of national mourning in Austria. On a completely tangential note and just to say that life goes on, I also remember buying in Vienna at the time the then fairly recent recording of Mahler's 2nd Symphony with Abbado and Chicago and being blown away by it. I also think it was the first time I heard Respighi's wonderful orchestration of Rachmaninoff's Études-Tableaux, Op. 39 (that's an idea for some talks - orchestrations of piano works!).
I have that box. Well worth owning. The Schubert cycle is well done, but let me zero in on the 6th symphony - somewhere I have a recording of that by Charles Mackerras and a chamber orchestra, and I remember the witty finale-akind of walking theme that Mackerras conducts perfectly...
May I ask about somenthing not connected with the video (by the way, thank you for it. I love Bohm). Have you “planned” a video about sacred music of Vivaldi ? I think that his greatness lies more in sacred music than in the orchestral one, and it seems to me that is not well-known and listened as much as it deserves. If I should choose just one little gem: “Et in terra pax” from the Gloria 588, much less famous and played than the 589 I know only one version that - as far as I can understand and for my taste and limited knowledge - do justice to this beautiful gem, a difficult one to sing for the enchanting chomatic inflections. I really hope you will dedicate, a day, one of your gripping videos to it.
I only heard his mozart cycle, it was the first cycle I heard. And I hated it. It was heavy handed, without even a smidge of humor or lightness. It bored me. It almost got me of the symphonies. Then I heard other cycles- with szell for instance or Gardiner - and it was like hearing the symphonies anew. And so I was glad when you described your second reaction to the mozart cycle. Maybe I will change my mind again in the future.
Many thanks, Dave, for this fine review of the Böhm Symphonies Box. I agree that Böhm tends to be underappreciated these days, though he was both technically and interpretively one of the greats. For him it was always about the music and never, or seldom, about his ego. I have known and loved these recordings for many years. The Mozart and Schubert sets have been, and remain my benchmark recordings (with the exception of Mozart's "Paris" Symphony in the finale of which Böhm takes an unconscionably slow tempo--otherwise his tempos in Mozart are pretty sprightly). I can't say the Beethoven cycle is for me a benchmark, but his Second, Fourth, Sixth and Ninth Symphonies come close to being ideal. I disagree somewhat about the Brahms cycle, which, though rather slow and ponderous at times does convey a majesty and expansive sense of scale that I enjoy hearing on occasion. It's Brucknerized Brahms, and perhaps none the worse for that. Now, Dave, how about a review of Italian Universal's Scherchen Box ("The Art of Herman Scherchen")? Such a review should at least prove fascinating. When Scherchen was "on" he had unique insights into the music he conducted; when he wasn't, well at least you can say he produced a critical mass of "party records."
Dave, Bohm’s Brahms 1 with the BRSO on Orfeo is much better than his recording with the VP. It’s quicker and livelier especially the 4th movement. Be interested in your thoughts. Also agree with you on Beethovens 9th, it is the best of them in my opinion and the only one I can enjoy. His Schubert 9th with the BP is great.
I have to however second Dave's points on Bohm's Mozart. He treats the cantilena and singing qualities of Mozart although I wish Kleiber would have done the cycle (!)
Is it a game now to see how many "The Ninth" mentions you can do? Ha, funny! Regarding Böhm, agree with many of your comments. He could be a bit dull at times with performances like the Brahms' symphonies and at other times really surprise you. I think his Tchaikovsky (yes, Tchaikovsky!) 4th with the LSO is astonishing. If you listened to it you would say it is so un-Böhm-like. The end of the first movement is thrilling. Shame that the 5th and 6th weren't as exciting, would have been a great mini-cycle.
Dear David, first of all, I was one of those who requested a video about Böhm's boxes, so thanks so much!!! After that I must say that I agree with you almost completely, except that for me the minus in the Beethoven's cycle is the 5th, not so the 7th. I also think that nowadays Böhm is underrated under that appreciation of kapellmeisterisch conducting. But I tend to think he's the most consistent of the three conductors you have mention. Perhaps not so "genial" as Karajan or Bernstein, but he always made at least excellent versions, while the other two were capable of the best but also of the worst. So, we must keep on listening Böhm, 👍
Really nice review. I agree with pretty much everything you say about the Beethoven cycle - as well as 4, 6 and 9, the Eroica is also a real highlight for me. I heard him do the Eroica live on two occasions (with the VPO) and both were magnificent, so I guess I'm a bit sentimental about it too. As for the Brahms series, the 1950s Second (on an old Heliodor LP which I'm sure has been reissued on CD) and Third (Decca, now Eloquence) are so much better than this cycle. He sounds rather out of sorts except in the wonderful Alto Rhapsody (so glad you highlighted how good that is) which is a shame. I heard him doing No. 2 several times (VPO and LSO) and always enjoyed it, but the recording in this set is just as you describe it: decent but ordinary. With Mozart, I really enjoy the VPO remakes of the late ones, but these Berlin discs are vastly enjoyable. You're spot on with the Schubert set too - it's lovely, but the later 5th (VPO) and 9th (Dresden) are essential supplements to this cycle.
Sometimes it is not unusual hearing that in order to build a personal music library it is not important to stick on this or that interpretation. What it count the most is to have the work, the composition. Bohm would be the perfect example of owning the work with a respectful and loyal interpretation.
I somewhat agree with this advice but also feel that its validity has gradually been eroded by the prevalence of streaming. As a record collector, I keep thinking what exactly should I have in my collection, now that high-quality music is so accessible online? Now one's collection seems to serve less the need to play a particular work (because you can almost definitely find multiple versions of it on streaming sites) but as a reflection of personal preference in interpretation. Sometimes I do wonder whether I really need to have a work in my collection if I don't have such a strong preference for one recording over another?
You'll get a laugh out of this one. I'm commenting before the video's over, because I first heard Beethoven's First, Second and Ninth with Bohm, but never heard Bohm do Mozart. I'm not a Mozart fan per say, but I would love to hear Bohm's version of Symphony #39. The Bohm Beethoven Symphony set is excellent (which I have on vinyl). You are absolutely right: Bohm's performance of Beethoven's 9th is the best
I love Boehm's Figaro and Cosi, and especially his Wozzeck. His importance in the opera world is inestimable. I think WWII hurt his career and image worse than was the case with Furtwangler and Karajan. Furtwangler was already a world-famous artist by 1933, and in 1945 Karajan was still pretty young. But Boehm was just hitting his stride when the Nazis came to power, and his record of public statements does not cast a flattering light on him. Of course, the other thing with Boehm is that he is not identified in our minds with one orchestra that was his own. Most celebrated conductors of symphonies are remembered together with the orchestras they molded. That makes it easier to overlook him.
"THE NINTH." Love your droll, dead pan interjections; the Beatles' Revolution 9 has nothing on you. I had Bohm's Mozart's late and Schubert's early symphonies on bargain bin vinyl(!) back when it could be found in discount bins. Great performances. Now I need to buy the box.
The competition for these cycles is all very strong. You could miss the Boehm cycles and not realize what you are missing. I recall that Boehm caught the beauty of the Beethoven, Mozart, and Schubert and never got to hear the Brahms back in the LP era. Kapellmeister? That might better fit opera than the symphony, but Boehm could do both and do them well. Boehm wasn't flamboyant, but do you need flamboyance when you get the music right? He got The Sound, and when you do that you can get away with some stodginess.
I also feel sorry for Wolfgang Sawallisch and Kurt Masur, both of whom did some excellent work, and yet both suffered criticism, Masur especially for being dull. It seems the fate of even great conductors like Kubelik to fade from memory. I noticed someone saying the same for von Dohnanyi's stint at Cleveland, which yielded fine, yet neglected, recordings.
Decades ago, when I was experiencing the Beethoven symphonies for the first time, I bought a Bohm recording of the Eroica. Looking back on it, I found it very dull. Stodgy, slow, ponderous...just not interesting at all. My favorite recording is Maazel on Telarc. Sounds terrific, and is wonderfully fleet of foot. So much more exciting.
Agreed about the Beethoven in every way. His Brahms also masterly. Mozart (?) Very Germanic lacking the Austrian grace but still sober and good. Brahms is excellent specially No. 1
Thanks David. It is not a very large box. I do not understand why DG failed to include his wonderful survey of Haydn 88 - 92 (the Oxford of Oxfords) with the Vienna Phil. Additionally, there is his recordings of Bruckner 7 & 8 on DG: they too were omitted. BTW, Uncle Karl's Brahms 1 on Orfeo - where he also accompanies Geza Anda in Mozart's 9th Piano Concerto - is a hoot. Best wishes and please keep them coming - B PS - Your recent comment re the Posthorn Serenade has made me hopeful that sooner or later you will turn your attention to it, where Bohm burns down the house with the Berlin Phil. Sorry, what a ramble this comment is!
Better yet, instead of stuffing everything into big boxes, perhaps DG should notice that Haydn's symphonies 88-92 tend to be much less frequently recorded than the Paris and London symphonies on each side of them, and keep them in print as a mid priced 2 or 3 disc set.
@@Don-md6wn , I agree. With this Box Fashion, there are a lot of outstanding recordings that are only edited in a huge (and expensive) box and you can't find them individually.
Dear Dave. I always wonder why Karajan arouse so much mixed reactions and dark assosiations due to his Nazi past, (though he was apparently mainly driven by opportunism) - while Bohm, who was a staunch Nazi believer and an openly Hitler admirer, turned out to be concieved as some benigh, Gemütlichkeit-driven good German Uncle. I know this issue is supposedly external to their Music-Making and directoral style, yet I wonder... is it just their looks?
I think it was just that (a) Bohm was a less powerful figure and so less of a target and (b) he was always pretty clear about where he stood and why, whereas Karajan tried to weasel his way out of it.
Thank you for remembering a lot of listeners the great Karl Böhm. His Schubert's Ninth with Berlin has always been my favourite. Böhm always looked like Karajan's nemesis, his main competitor on DGG in the 70's and 80's. Although Karajan cautiously approached Bartok, Stravinsky and Mahler amongst contemporary composers, Karl Böhm never did. He was addicted to Richard Strauss, and that's all. He never recorded any Mahler's symphonies, only song cycles, and seemed to ignore Stravinsky, Bartok, Hindemith. Do you have any idea why he did not play contemporary stuff from his time? Did Strauss himself on his deathbed forbid him to do so?
Don't forget that Boehm was a good friend of Alban Berg and conducted his operas (with very fine results) - he actually introduced them to the Vienna State opera audience. Also there are a few samples of him online rehearsing the firebird suite with the Vienna philharmonic, although this music was hardly his specialty. He did a few Mahler song cycles with some of his regular collaborating singers, you can find them around. You're right, he wasn't a great champion of contemporary music, but I'd say he dipped his feet in and at least excelled with Berg.
Hi Richard, I have a cd with a live concert Bohm gave with the Bavarian forces in which he conducts the Firebird suite. Very nice. Also you can find in TH-cam a performance by Bohm of the Pelleas and Mellisande with the Vienna Phil. You shoud try. Be well.
@@christianstark2381 Thanks for reminding me that Böhm excelled in conducting Berg's operas. He conducted Wozzeck at Expo 1967 in Montreal with the Vienna Philharmonic and he recorded both operas too for DGG. Dave's critic has been a reminder of how great a master he is.
Okay, I’ll admit it: I’m almost totally ignorant of the recordings of Karl Böhm. He might be the single most prominent conductor wholly absent from my collection. Perhaps it’s because I don’t care for opera for the most part. HOWEVER, I do love a good Beethoven 4th, so I’m going to buzz over to Qobuz and educate myself a bit.
That's clearly a new clip of "THE NINTH!" You're looking somewhat more styling there than in the earlier incarnation. Well done! Speaking of "THE NINTH," I kind of have a problem with Bohm's Vienna 9th, and it's the alla marcia in the finale. It is WAYYYY too slow (is it just me?)! It feels like the music falls to a crawl at that point. I found it quite unsettling, particularly as things seem to go swimmingly almost throughout the rest of the performance. Completely ruins it for me, and for this reason (almost alone) is ruled out for me a s top ninth. Am I crazy? Does anyone else hear this?
Should one listen to Karl Böhm with "sympathy"? In view of his biography and personality, this is difficult for me. Sure, it is questionable to conflate person and work, and so perhaps what can be said about Böhm is how puzzling his ability of musical interpretation was in contradiction to his personality. Böhm was a Nazi, ardent and slimy like few others and throughout his life. And he was a cynic of the highest order. His son, Karl-Heinz, has spoken candidly in an interview about his suicide attempt as a youth. His father ordered that the attending physician should sew the cut wrists without anesthesia. I have often heard Böhm in concert and opera and had exactly the impression of that averageness which David Hurwitz carefully describes. And I know of a few quite extraordinary recordings. But the respect that David Hurwitz says he should be owed, he doesn't get from me. There are enough conductors who are more great in terms of person and work.
Well, it's an interesting issue. I think that once the man is dead the only thing we must evaluate is his work (I'm talking always about musicians: composers, conductors, soloists), and that his factual life is of no importance for our appretiation of his art. Of course, I understand your opinion, but if we only attend to "good people"'s works, perhaps we won't hear music by Wagner or Gesualdo or Paganini, or many others which in their way weren't exactly good men. But it's truely a very interesting issue.
It’s an ever tricky issue, I agree. A long list of artists who fall short- in one way or other- on a personal level. As you probably know Karl-Heinz Böhm was a notable actor. He had a suitably eerie presence in “Peeping Tom” and always comes across as very likeable in interviews.
Obviously everyone must decide this issue personally, and Bohm was notoriously grouchy. I sort of respect his attitude about his behavior during the Nazi period--he was unapologetic about it. I recall him saying in an interview words to the effect: "I was starting out, with a young family to care for, and I had nowhere else to go. I needed work, so I worked. Sue me." it's a bit difficult to take issue with that, frankly, with the benefit of hindsight. It may have been dirty but at least he didn't try to kid anyone about it.
@@DavesClassicalGuide statements, because he "could not do otherwise with regard to his family" trivializes his role. He had long been in a position where he could have acted differently. And he would have had enough opportunity after the war to change and rehabilitate himself. He remained true to his Nazi ideology. Today, one knows very precisely about Böhm's career, too precisely to say "he didn't fool anyone". That misses the point. My solution is to rather avoid Böhm (or comparable conductors, like Carl Krauss, who was also unspeakable in Nazi times) and to prefer any conductor who is morally upright and artistically more outstanding. David Hurwitz, you have occasionally made very interesting remarks about the connection between politics, history and music (interpretation), not always only concerning the Nazi period. I found remarks about Dvorak's situation in Prague, which was dominated by German culture, very helpful and has changed my image of Dvorak. One question that haunted the German critic Jürgen Kesting was how political-ideological attitudes penetrate into aesthetics itself. He tried to do this for classical singing in the relevant period and after 1945. That would be an interesting track - perhaps a way to relate the biographical and the aesthetic, and another criterion in judging interpretations.
![ทุกครั้งที่หลับตา (Lucid Dream) - AYLA's [ Official MV ]](http://i.ytimg.com/vi/4i1OBAQyv58/mqdefault.jpg)
LMAO the "The Ninth" thing kills me every time.
Same here 😂 I’m a simple man.
Hah me too
Oh yes...seriously funny and a case in point for repeats!!! I played it multiple times just to see Dave suited up for THE 9th...
I love his Beethoven's Pastoral as well. And I have never heard a better finale of Mozart's Jupiter symphony than Böhm's with the Wiener Philarmoniker.
I am a music lover since the 1970s and Karl Böhm was always one of my favourite conductors from the beginning his tempi and the sound he created is absolutely perfect
Aah... Thanks for the tie in the ninth, Dave. I recently listened/watched Böhm's famous Elektra video again from Vienna. I was amazed how passionate and gripping it actually was. I personally never looked at him like a Kapellmeister (and I don't say you do!), his music-making was just always inspired and knowledgeable, and mostly very idiomatic as a result... I'd take 10 Böhm's over any Currentzis
The first record I ever bought ("classical") was Karl Böhm's late Beethoven 9th. The slow, foot on the grave 9th. I remember I bought it because I saw the name Placido Domingo on it, and I thought, this must be good... And it is a sentimental piece for me, this was in the early 90s, and at that time, when you got a record you had to stick with it, and play it like there's no tomorrow. Plus I was a kid, with no money to buy other records, especially records with the same symphonies was out of the question for me at the time. So this was my 9th for a tremendous amount of time. Today, yes I can see the differences 🎶😁 but I still have that album! And because of it, Karl Böhm was my go to guy for a long time, and I still like him.
Thank you for reassessing the much under-rated Bohm. His Schubert symphonies are indeed superb. So lively, idiomatic and clearly textured. As for his Brahms, I have the 1st on a DG Resonance record. Wow! It is wonderful. I have Szell's and, also with the BPO, Kempe & Jochum, but Bohm's is the best. He gets the BPO playing with the most precision, crispness, incisiveness, yet with immense dignity and passion.
Under-rated?!
Boehm is one of, if not my favourite conductor, always letting the music speak for itself first. Not quite on the orchestral ‘theme’ but my first experience of Bohm’s work was the DG Magic Flute with the likes of Dietrich Fischer Dieskau and Fritz Wunderlich.
Hello David. This was a very interesting video. I am a big fan of Karl Böhm because I think that his interpretations really stand out; they really are top quality. I've got two requests. Would it be possible to review the two Ferenc Fricsay boxes on two separate videos? That will be appreciated. Fricsay is one of my favourite conductors.
Thank you for taking the time to read this.
Thank you for this, again. As to your line "... and then I grew up": I guess I had a similar experience when I got the privilege to write some liner notes for Böhm recordings from German radio which were published by audite. I very much felt like you describe your former attitude to Böhm's Mozart, until I was sort of forced to really listen to, and appreciate, Böhm's style. What I discovered was not only a general tunefulness, and an overall very serious approach to the music, but one special thing that seemed to lie at the root of all that. If you listen to Böhm's orchestral conducting, you usually are given the opportunity to recognise the entirety of the texture exceptionally clearly. Apparently, musicians, under his baton, tended to really musically play their parts on every level. Every register appears to support the overall drift of the music, as well as its complexity. Nothing is sold below its true value. I guess that's what makes his approach appear so serious. That being said, I also think his Strauss, orchestral as well as operatic, is of special value. In one WDR "Don Juan" recordings, you can hear his foot going down on the podium in an especially energetic passage, and boy, does the orchestra mirror that passion.
Hello Mr. Hurwitz. Give Bohm's single CD recording of J. Strauss with VPO on DG a try. Every waltz and polka is a gem. Relaxed in tempo with just the right subtle flexibility. Melodic phrases flow without effort and are treated like Mozart and Schubert. Nothing showy but just pure elegance and naturalness. The VPO is absolutely gorgeous in tone and of course they know exactly where to place the slightly anticipated 2nd beat of the bar as only the Viennese can. Please listen to Roses from the South. True to its namesake you can feel the warmth of the southern breeze. Would love to hear what you think.
I wonder if it's worthwhile replacing the VPO Beethoven #7 with the earlier DG Berlin Philharmonic recording, also stereo. The Berlin recording was my first real exposure to the 7th, and I still like it since I don't always need to be dazzled.
Böhm has some great Bruckner recordings, like the seventh with VPO
Böhm's best Brahms, to my mind, was his 1959 BPO first (last seen on Eloquence). When comparing recordings, I was struck by how well he balances clear lines, strong pulse, and that heavy sonority the symphony kind of needs.
Agreed, that old performance was my introduction to Brahms symphonies.
@@geoffharris9396 Fully agreed. That Brahms 1st with the BPO is exceptional.
In the 1980s I bought the Bohm Schubert set, the two box Mozart set, and the Vienna Beethoven cycle.
By then I had already got Klemperer's stereo Beethoven cycle [beautiful HMV box], Bruno Walter in the late Mozarts, Klemperer and Boult and Walter in the Brahms cycle ...
I was looking for a single unified musical view of these wonderful symphonies. And I found it. I wore out many of the LPs from Bohm. First class music making in my humble view. I never did buy the Bohm Brahms. I heard some of it, and stuck with Walter and Klemperer ...
But, I later found Klemperer's Mozart and Haydn on CDs, and grew to love his granite-like Brahms more and more. I discovered Klemperer's mono Beethoven recordings. Fell out with Boult's Brahms [and Schubert Great C Major]. Much more recently found Klemperer's Schubert Symphonies Five, Eight and Nine, and have heard his marvellous Concertgebeou Schubert Four,
In about 1982/3 I also got the four side Choral Symphony box from Bohm in Dresden ...
I don't know. I began to find that Klemperer had you gripped in the music without thinking about it. Like swimming underwater. Immersive. Bohm began to feel like perfectly made performances where you "admire" the music. Klemperer makes you "love" the music in the deepest way possible. It become inevitable, sometimes quite terrifying in its implications, and in spite of granitic qualities extremely beautiful along the journey as well.
It is a surprise that Klemperer really did seem to get Haydn! Until discovered, our Bethoven-ish idea of Klemperer might lead you to expect something else. Klemperer in Haydn 102 is a real journey that brings us face to face with one of the masters of the symphony to equal any other!!!!! Same with Klemperer's Mozart Symphonies - even the smaller ones ...
These days I fondly remember Bohm's LP sets as part of my youthful getting to know the less famous Mozart and Schubert symphonies [as well as poised and wonderfully played famous ones], but these days I have no Bohm recordings at home.
Probably that is his role for the record buying public, as a great template to learn the inner balances and form of these great works, and move to something that takes us to the ultimate level after that. I am glad that DG keep these sincere, beautifully played, and always musically wise performances available, even though I am content to cherish the memories of discovering unknown Schubert and Mozart from him without the need to own copies these days. The exception might be the Schubert cycle, where everything seemed just right. Might get that on CDs if they are available separately these days.
Thanks again for a nice video.
Best wishes from George
George. I share your sentiments on Böhm and Klemperer. Increasingly I find that Klemperer more than anybody else really gets to the heart of the matter. That sentiment used to enjoy broad recognition when talking about his Beethoven and Brahms. But it is as true in his Mozart and his Bach.
Thanks you for this. I loved them All! I would also recommend the Böhm box set of Mozart Wind concertos and Serenades on DG. And the Strauss operas on DG are exceptional. If you can find any of the live performances of Böhm, say, on YT, by all means have listen. I find an extra aliveness in his live performances sometimes missing in the recordings.
Mr Hurwitz Thank you for this great vid!! I love Bohm and I agree he gets passed over a lot I think because of the war stuff his Tristan is like a magic potion and I have his Mozart symphonies on blue ray and it’s wonderful
I agree with you Dave- underrated Conductor! his Ring Cycle, his Schubert Symphonies! I have a hard time listening to anyone else's interpretations- listening to his Schubert Symphonies today at work- glorious- I still don't understand why Schubert's early Symphonies aren't as loved as they should be!!! 1&2 !!! fantastic ❤️🔥
Richard Strauss Don Juan with LSO live is an astounding achievement. Webern's Passacaglia with the VPO is nicht zuzammen at the start. Everyone has the occasional off day. Schoenberg's Pelleas und Melisande is a great success. Very clear and musical
A very fair and well-balanced review of the Böhm set. Personally, I have more and more tended to gravitate towards Böhm's Brahms, having initially found them a bit staid, as stated in the review.
His Schumann’s 4th is superb
Agree. Always wished he recorded all four
After your review I bought the box and I have to say I am very happy with it. I already owned 3 CD's with Beehoven symphonies by Böhm but I think they remastered or remixed the recordings because they sound much better and more up front. e.g. the sixth symphony does not sound like the orchestra is in a bath tub anymore and you can hear all the instrument groups much better. Thanks for your review. My CD collection is growing exponentially because of your TH-cam channel. I am not fond of streaming audio.
Hey, David. Nice vídeo. Thanks. Excellent explanation about the period instruments.
By the way , I’m looking foward to your reviews on the Bruckner’s 8 with Vienna/Thielemann. (They are recording all the symphonies, right?)
Have you ever thought about doing a discussion(s) about your own personal favorite albums or boxset? Explaining what makes them special if they're any particular performances that stand out if the whole set isn't all A+ for you. Unless you have already done this and I've just missed this talk all together. It'd be pretty cool just for your own personal recommendations kinda like with the miniatures.
Search TH-cam for ‘Hurwitz box sets’ or something similar. There are a few he’s done on box sets, including an amazing one about conductor boxes.
Just checked my previous suggestion and that brings up 4 talks on amazing box sets. Before you watch it though, cancel your bank cards and close you EBay and Amazon accounts. Otherwise you’ll have no money left. It happened to me.
@@nickhamshaw1234 Oh okay cool, thanks!
And there's no way I'm buying these sets since I have Spotify, most of the suggestions David talks about are on there, albeit sometimes not completely together in sets or collections, but they are there. Plus I just don't have the money for some of this either rare or immense boxes, more in it for the convenience factor at the moment.
He was a great conductor not a showman ! Thank you. God bless you. Bill. UK
I just picked up the DG vinyl box of all nine Beethoven symphonies, Bohm/Vienna. Pristine condition, doesn't look played. Booklet included. Only $9, so I figured I can't go wrong. I have a few other Bohm records and I love them!
P.S. -- Kleiber/Vienna is the best 5th hands down.
No, it's not. Don't talk nonsense please.
David, if someone had asked me to review these discs, and Böhm’s career, I don’t think I would’ve said anything different than you just did! You expressed my feelings towards him perfectly! I don’t listen to him much, not because they are bad, but I just prefer other, more exciting versions, But, I find his opera performances perfect for the most part. I think you’re correct that it is his emphasis of the vocal line in everything. I hadn’t thought about that but it makes perfect sense.
I only know Bohm's Mozart 40th and 41st symphonies with the BPO from the 60's which I've always found a bit stodgy and dull compared to Karajan or Kertesz but my view of him was transformed by his superb recording of the two sinfonia concertantes- maybe because they are works which benefit from letting the music tell it's own story in a natural way without putting a particular spin on it. Look forward to hearing his Beethoven and Schubert.
I love the Schumann 4. and Brahms 3. with the Vienna Orchestra.
Thank you for this very interesting talk on one of my favourite conductors (along with Schuricht, Barbirolli and Mravinsky...). I've listened to all the symphony cycles. I'd like to say that his Brahms symphonies are those of an old man and I tend to think they are among the best even though they can't be regarded as a first choice. The colours of the orchestra are beautiful. I agree with you as regards Beethoven 's fourth symphony.
What' s more, in his recordings, I think that Bohm manages to convey what conducting really means to him, in other words, what conducting should be like.
To conclude, I suggest you talk about another great conductor : Rafael Kubelik. Thank you.
Philippe, from France.
Umm, do run a search on my home page. Plenty of Kubelik, including just last week.
Based on what you've said I'll have to re-listen to his Beethoven 4th. You're right that his 7th falls short but I'm glad you gave his 3rd its due, since it really delivers for me. I found what you said about his Mozart really enlightening. They were my go-to until I got MacKerras' set with Prague, and now I want to listen to them again. For a long time I never really got Schubert's Unfinished, maybe because I had the Carlos Kleiber and in retrospect it doesn't seem right. Once I listened to Bohm though I heard what all the fuss was about. What a performance, and the 4th 5th and 9th are all fabulous too. It seems DG put Bohm permanently in the shadow of Karajan but I'm glad they've given him a substantial box set. Does the box set include Mozart's serenades too, or just the symphonies?
It's all there.
In my opinion you hit the proverbial nail on the head in your Classics Today review of Bohm’s Beethoven cycle years ago when commenting the cycle was underrated primarily for political reasons - DG being totally in thrall to marketing Karajan. While I enjoy much of Karajan’s work, I enjoy Bohm’s Beethoven, Mozart and Schubert more. His 1959 BPO Brahms Symphony 1 performance is, in my opinion, magnificent. His performance of Haydn Symphonies 88-90 with the VPO on DG rank among the most enjoyable I’ve heard. And his Mozart Posthorn Serenade with the BPO is magnificent.
Yeah his Haydn recordings are brilliant
Thanks Dave...my first acquaintance with Bohm was through a review...his Beethoven cycle and of course the Pastorale were adjudged best ever by the BBC Music Guide books that came out of Radio 3 transcripts. You must remember them (I was fascinated without having listened to a single note!). The CD age remedied this via Eloquence for the Beethoven and the DG collectors edition boxes for the rest. As others have mentioned his Brahms 1 and 2 in Berlin are much better, more fiery even...now how about a take on the old rogue...Knappertsbusch...Scribendum has 5 boxes out...Now here was someone who could be really have off and on days...I have the old RIAS box...also Bohm also has some live releases on Audite...any thoughts on Bohm’s Bruckner 7 and 8? The 4 of course is magnificent...also the old per-war EMI recordings I think of the 4th and 5th which are seriously challenged sonically but gives an opportunity to hear the Kapellmeister in the 5th
I remember I was in Vienna when Böhm passed away in 1981 - it was like a period of national mourning in Austria.
On a completely tangential note and just to say that life goes on, I also remember buying in Vienna at the time the then fairly recent recording of Mahler's 2nd Symphony with Abbado and Chicago and being blown away by it. I also think it was the first time I heard Respighi's wonderful orchestration of Rachmaninoff's Études-Tableaux, Op. 39 (that's an idea for some talks - orchestrations of piano works!).
I have that box. Well worth owning. The Schubert cycle is well done, but let me zero in on the 6th symphony - somewhere I have a recording of that by Charles Mackerras and a chamber orchestra, and I remember the witty finale-akind of walking theme that Mackerras conducts perfectly...
May I ask about somenthing not connected with the video (by the way, thank you for it. I love Bohm).
Have you “planned” a video about sacred music of Vivaldi ?
I think that his greatness lies more in sacred music than in the orchestral one, and it seems to me that is not well-known and listened as much as it deserves. If I should choose just one little gem: “Et in terra pax” from the Gloria 588, much less famous and played than the 589
I know only one version that - as far as I can understand and for my taste and limited knowledge - do justice to this beautiful gem, a difficult one to sing for the enchanting chomatic inflections.
I really hope you will dedicate, a day, one of your gripping videos to it.
Thanks for the suggestion!
I only heard his mozart cycle, it was the first cycle I heard. And I hated it. It was heavy handed, without even a smidge of humor or lightness. It bored me. It almost got me of the symphonies. Then I heard other cycles- with szell for instance or Gardiner - and it was like hearing the symphonies anew. And so I was glad when you described your second reaction to the mozart cycle. Maybe I will change my mind again in the future.
Many thanks, Dave, for this fine review of the Böhm Symphonies Box. I agree that Böhm tends to be underappreciated these days, though he was both technically and interpretively one of the greats. For him it was always about the music and never, or seldom, about his ego. I have known and loved these recordings for many years. The Mozart and Schubert sets have been, and remain my benchmark recordings (with the exception of Mozart's "Paris" Symphony in the finale of which Böhm takes an unconscionably slow tempo--otherwise his tempos in Mozart are pretty sprightly). I can't say the Beethoven cycle is for me a benchmark, but his Second, Fourth, Sixth and Ninth Symphonies come close to being ideal. I disagree somewhat about the Brahms cycle, which, though rather slow and ponderous at times does convey a majesty and expansive sense of scale that I enjoy hearing on occasion. It's Brucknerized Brahms, and perhaps none the worse for that. Now, Dave, how about a review of Italian Universal's Scherchen Box ("The Art of Herman Scherchen")? Such a review should at least prove fascinating. When Scherchen was "on" he had unique insights into the music he conducted; when he wasn't, well at least you can say he produced a critical mass of "party records."
Dave, Bohm’s Brahms 1 with the BRSO on Orfeo is much better than his recording with the VP. It’s quicker and livelier especially the 4th movement. Be interested in your thoughts. Also agree with you on Beethovens 9th, it is the best of them in my opinion and the only one I can enjoy. His Schubert 9th with the BP is great.
I have to however second Dave's points on Bohm's Mozart. He treats the cantilena and singing qualities of Mozart although I wish Kleiber would have done the cycle (!)
Is it a game now to see how many "The Ninth" mentions you can do? Ha, funny!
Regarding Böhm, agree with many of your comments. He could be a bit dull at times with performances like the Brahms' symphonies and at other times really surprise you. I think his Tchaikovsky (yes, Tchaikovsky!) 4th with the LSO is astonishing. If you listened to it you would say it is so un-Böhm-like. The end of the first movement is thrilling. Shame that the 5th and 6th weren't as exciting, would have been a great mini-cycle.
Dear David, first of all, I was one of those who requested a video about Böhm's boxes, so thanks so much!!!
After that I must say that I agree with you almost completely, except that for me the minus in the Beethoven's cycle is the 5th, not so the 7th.
I also think that nowadays Böhm is underrated under that appreciation of kapellmeisterisch conducting. But I tend to think he's the most consistent of the three conductors you have mention. Perhaps not so "genial" as Karajan or Bernstein, but he always made at least excellent versions, while the other two were capable of the best but also of the worst.
So, we must keep on listening Böhm, 👍
Really nice review. I agree with pretty much everything you say about the Beethoven cycle - as well as 4, 6 and 9, the Eroica is also a real highlight for me. I heard him do the Eroica live on two occasions (with the VPO) and both were magnificent, so I guess I'm a bit sentimental about it too. As for the Brahms series, the 1950s Second (on an old Heliodor LP which I'm sure has been reissued on CD) and Third (Decca, now Eloquence) are so much better than this cycle. He sounds rather out of sorts except in the wonderful Alto Rhapsody (so glad you highlighted how good that is) which is a shame. I heard him doing No. 2 several times (VPO and LSO) and always enjoyed it, but the recording in this set is just as you describe it: decent but ordinary. With Mozart, I really enjoy the VPO remakes of the late ones, but these Berlin discs are vastly enjoyable. You're spot on with the Schubert set too - it's lovely, but the later 5th (VPO) and 9th (Dresden) are essential supplements to this cycle.
Sometimes it is not unusual hearing that in order to build a personal music library it is not important to stick on this or that interpretation. What it count the most is to have the work, the composition. Bohm would be the perfect example of owning the work with a respectful and loyal interpretation.
I somewhat agree with this advice but also feel that its validity has gradually been eroded by the prevalence of streaming. As a record collector, I keep thinking what exactly should I have in my collection, now that high-quality music is so accessible online? Now one's collection seems to serve less the need to play a particular work (because you can almost definitely find multiple versions of it on streaming sites) but as a reflection of personal preference in interpretation.
Sometimes I do wonder whether I really need to have a work in my collection if I don't have such a strong preference for one recording over another?
Have the recordings been remastered, or is this simply a repackaging? Thanks. Nice Video.
Repackaging, I believe.
You'll get a laugh out of this one. I'm commenting before the video's over, because I first heard Beethoven's First, Second and Ninth with Bohm, but never heard Bohm do Mozart. I'm not a Mozart fan per say, but I would love to hear Bohm's version of Symphony #39. The Bohm Beethoven Symphony set is excellent (which I have on vinyl). You are absolutely right: Bohm's performance of Beethoven's 9th is the best
I love Boehm's Figaro and Cosi, and especially his Wozzeck. His importance in the opera world is inestimable.
I think WWII hurt his career and image worse than was the case with Furtwangler and Karajan. Furtwangler was already a world-famous artist by 1933, and in 1945 Karajan was still pretty young. But Boehm was just hitting his stride when the Nazis came to power, and his record of public statements does not cast a flattering light on him.
Of course, the other thing with Boehm is that he is not identified in our minds with one orchestra that was his own. Most celebrated conductors of symphonies are remembered together with the orchestras they molded. That makes it easier to overlook him.
Too bad they (DG) didn't incluye in this box his Richard Strauss great recordings.
"THE NINTH." Love your droll, dead pan interjections; the Beatles' Revolution 9 has nothing on you. I had Bohm's Mozart's late and Schubert's early symphonies on bargain bin vinyl(!) back when it could be found in discount bins. Great performances. Now I need to buy the box.
The competition for these cycles is all very strong. You could miss the Boehm cycles and not realize what you are missing. I recall that Boehm caught the beauty of the Beethoven, Mozart, and Schubert and never got to hear the Brahms back in the LP era.
Kapellmeister? That might better fit opera than the symphony, but Boehm could do both and do them well. Boehm wasn't flamboyant, but do you need flamboyance when you get the music right? He got The Sound, and when you do that you can get away with some stodginess.
I also feel sorry for Wolfgang Sawallisch and Kurt Masur, both of whom did some excellent work, and yet both suffered criticism, Masur especially for being dull. It seems the fate of even great conductors like Kubelik to fade from memory. I noticed someone saying the same for von Dohnanyi's stint at Cleveland, which yielded fine, yet neglected, recordings.
There's just too much of everything. That's a big part of the problem. People have choice and we can make comparisons.
Decades ago, when I was experiencing the Beethoven symphonies for the first time, I bought a Bohm recording of the Eroica. Looking back on it, I found it very dull. Stodgy, slow, ponderous...just not interesting at all. My favorite recording is Maazel on Telarc. Sounds terrific, and is wonderfully fleet of foot. So much more exciting.
Agreed about the Beethoven in every way. His Brahms also masterly. Mozart (?) Very Germanic lacking the Austrian grace but still sober and good. Brahms is excellent specially No. 1
Thanks David. It is not a very large box. I do not understand why DG failed to include his wonderful survey of Haydn 88 - 92 (the Oxford of Oxfords) with the Vienna Phil. Additionally, there is his recordings of Bruckner 7 & 8 on DG: they too were omitted. BTW, Uncle Karl's Brahms 1 on Orfeo - where he also accompanies Geza Anda in Mozart's 9th Piano Concerto - is a hoot. Best wishes and please keep them coming - B PS - Your recent comment re the Posthorn Serenade has made me hopeful that sooner or later you will turn your attention to it, where Bohm burns down the house with the Berlin Phil. Sorry, what a ramble this comment is!
There are other two boxes with the rest of his orchestral recordings, except the concertante music. In them you can find all those recordings.
Better yet, instead of stuffing everything into big boxes, perhaps DG should notice that Haydn's symphonies 88-92 tend to be much less frequently recorded than the Paris and London symphonies on each side of them, and keep them in print as a mid priced 2 or 3 disc set.
@@Don-md6wn , I agree. With this Box Fashion, there are a lot of outstanding recordings that are only edited in a huge (and expensive) box and you can't find them individually.
Dear Dave. I always wonder why Karajan arouse so much mixed reactions and dark assosiations due to his Nazi past, (though he was apparently mainly driven by opportunism) - while Bohm, who was a staunch Nazi believer and an openly Hitler admirer, turned out to be concieved as some benigh, Gemütlichkeit-driven good German Uncle. I know this issue is supposedly external to their Music-Making and directoral style, yet I wonder... is it just their looks?
I think it was just that (a) Bohm was a less powerful figure and so less of a target and (b) he was always pretty clear about where he stood and why, whereas Karajan tried to weasel his way out of it.
Thank you for remembering a lot of listeners the great Karl Böhm. His Schubert's Ninth with Berlin has always been my favourite. Böhm always looked like Karajan's nemesis, his main competitor on DGG in the 70's and 80's. Although Karajan cautiously approached Bartok, Stravinsky and Mahler amongst contemporary composers, Karl Böhm never did. He was addicted to Richard Strauss, and that's all. He never recorded any Mahler's symphonies, only song cycles, and seemed to ignore Stravinsky, Bartok, Hindemith. Do you have any idea why he did not play contemporary stuff from his time? Did Strauss himself on his deathbed forbid him to do so?
Don't forget that Boehm was a good friend of Alban Berg and conducted his operas (with very fine results) - he actually introduced them to the Vienna State opera audience. Also there are a few samples of him online rehearsing the firebird suite with the Vienna philharmonic, although this music was hardly his specialty. He did a few Mahler song cycles with some of his regular collaborating singers, you can find them around. You're right, he wasn't a great champion of contemporary music, but I'd say he dipped his feet in and at least excelled with Berg.
Hi Richard, I have a cd with a live concert Bohm gave with the Bavarian forces in which he conducts the Firebird suite. Very nice. Also you can find in TH-cam a performance by Bohm of the Pelleas and Mellisande with the Vienna Phil. You shoud try. Be well.
Schonberg’s
@@paulocordaro8748 Happy to hear about the existence of such documents. You caught my attention. Thanks for your reply.
@@christianstark2381 Thanks for reminding me that Böhm excelled in conducting Berg's operas. He conducted Wozzeck at Expo 1967 in Montreal with the Vienna Philharmonic and he recorded both operas too for DGG. Dave's critic has been a reminder of how great a master he is.
Okay, I’ll admit it: I’m almost totally ignorant of the recordings of Karl Böhm. He might be the single most prominent conductor wholly absent from my collection. Perhaps it’s because I don’t care for opera for the most part. HOWEVER, I do love a good Beethoven 4th, so I’m going to buzz over to Qobuz and educate myself a bit.
@Robert Bryantthank you for the suggestion!
Although contrarian that I am, I will probably give Böhm’s much derided, historically long 1980 Beethoven 9 on DG a try first.
That's clearly a new clip of "THE NINTH!" You're looking somewhat more styling there than in the earlier incarnation. Well done!
Speaking of "THE NINTH," I kind of have a problem with Bohm's Vienna 9th, and it's the alla marcia in the finale. It is WAYYYY too slow (is it just me?)! It feels like the music falls to a crawl at that point. I found it quite unsettling, particularly as things seem to go swimmingly almost throughout the rest of the performance. Completely ruins it for me, and for this reason (almost alone) is ruled out for me a s top ninth. Am I crazy? Does anyone else hear this?
It's just you!
Should one listen to Karl Böhm with "sympathy"? In view of his biography and personality, this is difficult for me. Sure, it is questionable to conflate person and work, and so perhaps what can be said about Böhm is how puzzling his ability of musical interpretation was in contradiction to his personality. Böhm was a Nazi, ardent and slimy like few others and throughout his life. And he was a cynic of the highest order. His son, Karl-Heinz, has spoken candidly in an interview about his suicide attempt as a youth. His father ordered that the attending physician should sew the cut wrists without anesthesia.
I have often heard Böhm in concert and opera and had exactly the impression of that averageness which David Hurwitz carefully describes. And I know of a few quite extraordinary recordings. But the respect that David Hurwitz says he should be owed, he doesn't get from me. There are enough conductors who are more great in terms of person and work.
Well, it's an interesting issue. I think that once the man is dead the only thing we must evaluate is his work (I'm talking always about musicians: composers, conductors, soloists), and that his factual life is of no importance for our appretiation of his art. Of course, I understand your opinion, but if we only attend to "good people"'s works, perhaps we won't hear music by Wagner or Gesualdo or Paganini, or many others which in their way weren't exactly good men.
But it's truely a very interesting issue.
It’s an ever tricky issue, I agree. A long list of artists who fall short- in one way or other- on a personal level.
As you probably know Karl-Heinz Böhm was a notable actor. He had a suitably eerie presence in “Peeping Tom” and always comes across as very likeable in interviews.
@@MorganHayes_Composer.Pianist , Yes I knew it, thanks. Here in Spain he was especially known for his role of Sissi's husband, the Kaiser Franz Josef.
Obviously everyone must decide this issue personally, and Bohm was notoriously grouchy. I sort of respect his attitude about his behavior during the Nazi period--he was unapologetic about it. I recall him saying in an interview words to the effect: "I was starting out, with a young family to care for, and I had nowhere else to go. I needed work, so I worked. Sue me." it's a bit difficult to take issue with that, frankly, with the benefit of hindsight. It may have been dirty but at least he didn't try to kid anyone about it.
@@DavesClassicalGuide statements, because he "could not do otherwise with regard to his family" trivializes his role. He had long been in a position where he could have acted differently. And he would have had enough opportunity after the war to change and rehabilitate himself. He remained true to his Nazi ideology. Today, one knows very precisely about Böhm's career, too precisely to say "he didn't fool anyone". That misses the point. My solution is to rather avoid Böhm (or comparable conductors, like Carl Krauss, who was also unspeakable in Nazi times) and to prefer any conductor who is morally upright and artistically more outstanding. David Hurwitz, you have occasionally made very interesting remarks about the connection between politics, history and music (interpretation), not always only concerning the Nazi period. I found remarks about Dvorak's situation in Prague, which was dominated by German culture, very helpful and has changed my image of Dvorak. One question that haunted the German critic Jürgen Kesting was how political-ideological attitudes penetrate into aesthetics itself. He tried to do this for classical singing in the relevant period and after 1945. That would be an interesting track - perhaps a way to relate the biographical and the aesthetic, and another criterion in judging interpretations.