Search - Janowitz, Rossel-Majdan, Kmentt :: Beethoven: 9 Symphonies / Karajan (1963)

Karajan's Best Beethoven in new budget packaging

John Kwok | New York, NY USA | 12/05/2004

(4 out of 5 stars)

"Music critics and fans alike agree that Herbert von Karajan's first Berlin Philharmonic Beethoven symphony cycle was his best; this imported Deutsche Grammophon CD set is a new, slimmer, budget version of these recordings. These are exhilarating performances of most of Beethoven's symphonies, with the finest performances probably those of the 7th and 8th symphonies. I also admire the glorious sound of his recording of the 3rd Symphony, replete with ample tension and drama, that is only excelled by the recording of this symphony in his final Deutsche Grammophon Beethoven symphony cycle. His 5th symphony is almost as exciting as Carlos Kleiber's celebrated Vienna Philharmonic recording which Deutsche Grammophon recorded over a decade later. If one wishes to acquire this CD set, then it is really only for these recordings only.





Although the sound quality in this set is very good, those interested in hearing the finest version of this cycle should find a copy of the digital imaging bit remastered version which is part of Deutsche Grammophon's Complete Beethoven Edition. Unfortunately, that edition may be out of print. Personally I have never been a fan of this cycle or Karajan's other two Berlin Philharmonic cycles (The third cycle - which many regard as his worst - does have a fine version of the 3rd Symphony.); those interested in hearing exceptional Beethoven symphony cycles recorded in the 1960's or 1970's might be better advised to listen to Bohm's and Bernstein's versions with the Vienna Philharmonic. Furthermore, I regard as first choice for those in search of superb Beethoven symphony cycles those recorded by Abbado (his second Berlin Philharmonic cycle), Harnoncourt and Zinman, and if you are in search for only one Beethoven symphony cycle, you would be much better off acquiring any of these than Karajan's first Berlin Philharmonic (1963) cycle."

Let's just say it's among the best handful of Beethoven Symp

Warren R. Davis | Haddonfield, NJ USA | 07/15/2007

(5 out of 5 stars)

"To my mind, of the fifty or so versions of Beethoven's Ninth Symphony I've enjoyed over 40 years listening, this is one of the very best. The other eight symphonies in this set rate just as highly. It is a fun set to hear, a young star ("Wunderkind") conductor with the first important recording cycle for the re-emerging Berlin Philharmonic - soon to be, and ever since generally recognized as the world's finest ensemble. This particular, long lived marriage of star conductor and brilliant orchestra produced many of arguably the best performances ever recorded. Not among those who insist on winners always, I would say this set is unsurpassed, if equalled. Its main attractions are the quick and agile, often fiery tempi, perhaps outdone only slightly at times by Karajan's even more youthful Philharmonia Orchestra set from the fifties on EMI which is technically inferior, and by the rather italianate renderings by Toscannini and the NBC Symphony, less satisfying technically and interpretively. Karajan's interpretations are sometimes judged to be somewhat cool or aloof - as opposed to warm and impassioned, I suppose. I don't agree, and can only suspect that often people hear what they want to hear for reasons unrelated to the music before them. For instance, many of these same critics contend incredibly that Toscannini was superior for these reasons. As the years go by, Toscannini's style sounds more like a pop band in comparison with many of the versions since. To contend that Karajan's versions are not as "deeply felt" as Toscannini's is, I'd say, disingenuous. Karajan certainly brought as much clarity and musicality, and the BPO as much passion and finesse, as could be desired, with remarkably even results throughout the entire cycle. The enthusiasm of the newly betrothed brings us a set Beethoven would surely have loved to hear.



The later two cycles of Beethoven's symphonies by Karajan and the BPO were technically superior, and in my view musically as well for the most part, but only marginally. A given soloist in the Ninth is slightly better than another, or not, but these would be quibbles in the bigger picture. Absent later would be the sense of anticipation as the musicians embarked on their noble project, replaced by the assured sophistication of a conductor and BPO which had "arrived." By the third set, indeed, these same had nothing in particular left to prove, but DGG wanted a new cycle to market with ever newer technology, and Karajan another chance to perfect his renderings, already thought deridedly by some to be "too perfect" the last time. One simply cannot go wrong with any of these Karajan/BPO sets (the Philharmonia set is rendered redundant).



As alternatives, there are truly few comparable performances let alone complete cycles, but each example brings its own definitive contribution to the repertoire. The best of them technically is by Bruno Walter in his later years with the Columbia Symphony, the orchestra handpicked by Walter mostly from the LA Philharmonic and west coast freelancers (except for the last movement of the Ninth recorded in New York City - it is not certain if those were players picked, as during the years when Walter lived there, from the NY Phil, the Met, etc., or perhaps less likely the same LA players). Some argue the CSO players were not as good as found elsewhere, but I believe they are as good as any and gave us some of the most beautiful music we could ever wish to hear. Doubters should really try to explain how an inferior group could have achieved Walter's astounding CSO recording of Mahler's Ninth Symphony. These Walter/CSO recordings of Beethoven, Brahms, Mahler, Mozart, Bruckner, and others are some of the most gorgeous sounds recorded (especially the remastered releases by Sony), led by one of the most gifted interpreters of all time. Walter's magic was to seemingly effortlessly achieve performances which leave us wondering if there could be any other way to play the music that would be as "right." Granted the Ninth heard in the Walter CSO set is not as fiery as his brilliant live recording with the London Philharmonic (1947), but most studio recordings, regardless of the conductor, suffer exactly that fate, including the earlier NYPO version (1949, with 1953 version of the last movement). Both this CSO and the earlier NYPO performances include their fair share of marvelous musicmaking notwithstanding. Another remarkable case in point would be the magnificent live performances of the Beethoven Ninth by Otto Klemperer with the Philharmonia Orchestra in 1957 and 1961, both on BBC Testament. These were rivetting, electric performances, far outshining the familiar EMI studio version eventhough the latter was better sounding technically. The EMI studio versions of the Third, Fifth and Seventh fare better, and are deservedly classics. They are representative of the "dignified," unadorned musicmaking for which Klemperer is well known. Unfortunately, a complete set by Klemperer fitting this standard is not available. Nor is there a complete set by Wilhelm Furtwaengler. We do have available older (and even less satisfying technically) but perhaps the most frenzied versions of the Ninth: by the wartime Berlin Philharmonic in a version often called "daemonic," and by the 1951 Bayreuth Festival Orchestra at the inaugural (reopening) of that institution after the war. Like Walter, Furtwaengler came from a German tradition that was hardly restricted by the metronome, as was, say, Toscannini (to his detriment, in my view). For them both, the conductor made magic with their wands. Tempo management was their main contribution to the experience, and during live performances they took ever greater risks, in later years wider latitude. The results for these particular artists were particularly captivating, and I'm sure will live on into perpetuity. Rather than pick one, serious collectors should consider having them all, but at least one of the Karajan, and the Walter sets (the London Philharmonic performance of the Ninth is available, too, from Music & Arts), the Third, Fifth and Seventh studio versions, and both live versions of the Ninth by Klemperer, and the live Furtwaengler Sevenths and Ninths."

--1 STAR FOR THE RE-MASTERING

Ryan Kouroukis | Toronto, Ontario Canada | 02/05/2009

(1 out of 5 stars)

"Although this is one of the best cycles out there, the remastering job DG did on it does more hurt than help (in my opinion).



You get quite a bit of digital edginess throughout it, and a loss of the natural warmth and wonderful bloom from the original recordings.



It's very difficult to prove this in a review but if you compare the original recordings to the re-mastered versions, you'll begin to see what I'm saying.



Mind you, I love Karajan and his '63 Beethoven cycle (I give it 5 stars!), but I would say, stay with the original recordings in the gold and red box set...plus the packaging is so much more beautiful and is perfect for shelf display!"