Search - Ludwig van Beethoven, Walter Berry, Herbert von Karajan :: Complete Beethoven Edition, Vol. 1: Symphonies

Don't believe the critics...

Joey Joe Joe Jr. Shabadoo | Boston, MA USA | 11/25/2005

(5 out of 5 stars)

"For some reason, this remastered edition is poorly rated. However, go check out the reviews of the 1963 non-remastered Karajan edition for a better idea of what you are in store for. This set is considered an integral collection of the Beethoven symphonic output, and a quick listen will show you why. Karajan delivers knockout, even defintive renditions of the 3rd, 4th, 8th and 9th symphonies in this set, along with a very strong 5th and 7th. His "Eroica" and "Choral" are probably amongst the greatest accounts of Beethoven's two largest-scale symphonies, and his 4th and 8th may be the best recordings available.

Karajan's sound emphasizes a sense of urgency and a rather streamlined approach to Beethoven. In a sense, these recordings are illustrative of the "old-school" approach to Beethoven, the way the old masters used to conduct his symphonies, rather than a modernistic, highly interpretive approach (e.g. Norrington, Gardiner, the 1999 Abbado cycle). To me, the old-school approach works much more effectively for a composer like Beethoven than the less emotional modern accounts, with their highly varied tempi and rather rough-hewn sound. However, like most things this is a matter of taste.

The sound in this release is greatly improved; DG utilized their Original Image Bit Processing technique on these 1962 recordings, and as a result, the sound is more balanced, the signal-to-noise ratio is greatly improved, and the overall clarity of sound in both the high-end and low-end is enhanced. I compared this set to the previously released version and it's not even close. This set sounds almost as good as Karajan's 1977 cycle, and that set has great sound.

A must-have for fans of Beethoven or Karajan as it represents the magnum opus of both artists."

Truly Powerful Accounts, Still The Best Complete Cycle You C

dv_forever | Michigan, USA | 08/10/2006

(5 out of 5 stars)

"This is the famous early 1960's Karajan recording of Beethoven's 9 symphonies. This is Karajan at his absolute best, the orchestra and conductor seem to be a world removed from lesser conductors and ensembles. The Berlin Philharmonic has a real air of swaggering confidence in these recordings and Karajan seems to be on a mission to make a lasting impression, which he does! The exceptional rhythmic drive, the unbelievable intergrity of ensemble have to be heard to be believed and the best part of all is that this cycle as sold here is remastered using DG's "Original Image Bit-Processing" which makes the recordings shine like new. These remastered versions completely supersede the earlier maroon box-set of the same recordings, yes the one with the cool Karajan picture on the front of the box.



The cycle I'm reviewing is like I said, the first of 3 DG cycles, the old mono EMI set is not competitive with the 3 DG cycles. So what distinguishes this first DG set from the other Karajan cycles, not to mention the dozens of cycles by other conductors?



Symphony 1 is played just like mature Beethoven, not second hand Mozart or Haydn. You relish hearing this symphony played in the grand manner with complete conviction as opposed to the typical quasi-period fashion that is considered good manners today! Forget good manners, I want a great performance! Karajan does that but I would have liked a slightly slower tempo in the andante movement.



Symphony 2 is one of the best you'll ever hear. It has everything, power, vigor, just hear the BPO go for the gusto in the codas to the outer movements, no one else can duplicate that! So intoxicating. The larghetto is wonderful too, even though I have heard more loving portrayals of this movement. But you really get the sense of joy that the musicians have in this music and is that perhaps Karajan moaning in pleasure? If you listen on headphones really closely, it's possible to hear the typically stone-faced authoritarian conductor elicit moans of pleasure from the music that his orchestra is creating before his ears.



Symphony 3, this Eroica is one for the ages. With the opening movement taking flight you know this is going to be great. Karajan certainly looks back to the bold and dramatic Toscanini performances of old but what Karajan brings to the interpretation is that beauty of sound typically associated with him. It is not a hinderance at all, the whole work sounds suave, dark, cool and mysterious. The funeral march is great, all 17 minutes of it, Karajan's longest take and it is involving every step of the way. The scherzo and finale are also bubbling with life and total commitment. As good as this Eroica is though, I still would have to nominate Karajan's final digital Eroica from the 1980's on the "Karajan Gold" label as being the conductor's best. The first movement on that "Karajan Gold" Eroica is faster and more explosive while the funeral march, although faster and less mysterious compensates in it's sheer power with high-intensity dramatic contrasts.



Symphony 4 is one Karajan never did better than in this 1960's set although some would say it was matched by a later digital record. I can't complain about a single thing here except Karajan's continual insistence to drop the final movement's exposition repeat. Speaking of repeats, yes I know Karajan drops most of Beethoven's repeats which is fine by me except in some cases. He keeps the repeats in the opening movements of Symphonies 1, 5 and 8. He also repeats the exposition in the finale of Symphony 1. Basically he keeps in line with his conducting generation on this matter, which is fine by me. Even with that thought, the short and sweet extra exposition run-through in the final movement of Symphony 4 he should have kept too!



Symphony 5, wow this is a keeper! It is one of the most intense 5ths ever recorded. The opening movement is terrifying, forget about Carlos Kleiber! The only conductor who comes even remotely close to Karajan's fury here is Guilini with the Los Angeles Philharmonic in a record from the 1980s. After the grim and powerful opening, Karajan gives his most loving and spacious account of the andante before moving into a precise, impactful scherzo which leads inevitably into the imposing finale. The brass are magnificient throughtout this finale and near the end of the recapitulation there is a massive crash, a huge wall of sound that will pin you back to your seat! That's only if you are in a seat, you might be jumping in the air, waving your invisible baton with a serious case of conductor envy! This is a really macho performance, Karajan delivers one of the best 5ths of all time.



Symphony 6, the Pastoral is smooth-sailing or rather it is smooth-sailing where smooth-sailing is not wanted. The first 2 movements are too fast and too slick. The scherzo of the peasants is done very well, with plenty of unbridled energy but it lacks a crucial repeat which makes this movement incomplete. The storm is ultra dramatic in the best Karajan tradition, you gotta love it. The finale sails along with astounding beauty and grace, so basically the performance has it's many faults but also some merits and the Berlin Philharmonic are on their toes throughout. I saw Karajan's filmed version of the Pastoral on DVD directed by Hugo Niebeling and Karajan has a smile on his face almost the whole time. It's no doubt he loved this music, I just wish his first 2 movements were not as hectic and I wish he kept the repeat in the scherzo. Karajan did later keep the repeat in his 1970's version, but then dropped it again for the digital 1980's version which is his worst Pastoral of all.



Symphony 7, contagious energy and optimism are the hallmarks of this performance. Karajan always conducted in the Toscanini trend of the fast flowing tempo in the allegretto, which bugs me because at a slower speed like that of Furtwangler the allegretto is much more communicative spiritually. In the allegro con brio finale Karajan is barely matched by anyone, he drives the orchestra like a rollercoaster, just the way it should be! Nothing but greatness.



Symphony 8 is a fantastic performance, however I still prefer the later digital "Karajan Gold" 8th over this one. There is nothing remotely wrong with this one, just that the later version sounds even more intense and has digital sound.



Symphony 9, there is still plenty of controversy to go around about which Karajan Ninth is his best. I think the Ninth from the 1970's is slightly ahead of this 60's version but that does not take away anything from this vigorious interpretation which is miles away from the heaven storming spirituality of Furtwangler. Karajan clearly favors Toscanini, so did Szell for instance but whereas Szell can seem cold at times, Karajan is always on fire here. The adagio is more spacious in the 1970's version and that version has a truly volcanic conclusion in the finale's coda. No matter, if you buy this set, you'll still get one of the better Ninths around even though Furtwangler's conception of this music will forever be superior to Karajan's in my mind and in the minds of many music lovers.



In conclusion, this cycle, with it's remastered sound, is the clearest investment if you are looking for a complete set of Beethoven's immortal symphonies. Karajan's digital Eroica is better in my opinion. Also, you might want to get Bruno Walter or Karl Bohm's version of the Pastoral. Karajan's digital Eighth is also slightly better and Karajan's Ninth from 1977 is perhaps finer than the one you're looking at here. If you want more great Ninths, check out Furtwangler in 1942 on Music and Arts and on EMI in 1951. For something more modern, Solti on Decca in 1972. Have fun shopping!



( P.S. I forgot to mention that the Coriolan Overture is also included in this package. It is the first track on the last disc, preceding the Ninth Symphony which begins on track 2. Typically dramatic in the best Karajan tradition, the overture is the icing on the cake of this unbeatable Beethoven collection. )



( P.P.S. March 2007. Upon further listening I have come to the realization that the Ninth included in this set is clearly superior to Karajan's later 1977 Ninth. The sound is much more vibrant in the Ninth here in 1962, Karajan is more thrilling and the singers are far more impressive. Karajan also repeats the first section of the scherzo, something that he didn't do in his later remakes of this symphony. So definitely this 1962 account is superior to the 1977 version and the 1980's version as well, because the 1980's recording lacks the amazing singers that Karajan has here. As far as the Eroica is concerned, my allegiance still lies with the digital Karajan Gold version from the 1980's. )"