Symphony No. 5 in C minor ('Fate'), Op. 67: Allegro con brio
Symphony No. 5 in C minor ('Fate'), Op. 67: Andante con moto
Symphony No. 5 in C minor ('Fate'), Op. 67: Allegro
Symphony No. 5 in C minor ('Fate'), Op. 67: Allegro
Symphony No. 7 in A major, Op. 92: Poco sostenuto - Vivace
Symphony No. 7 in A major, Op. 92: Allegretto
Symphony No. 7 in A major, Op. 92: Presto
Symphony No. 7 in A major, Op. 92: Allegro con brio
Recorded in the early '80s, this pairing of Beethoven's Symphony Nos. 5 and 7 is a classic. Vladimir Ashkenazy leads the Philharmonia Orchestra through these Beethoven classics in a powerful, if slightly conservative, mann... more »er. As part of the Penguin Music Classics collection, this disc features liner notes by author Arthur Miller. Miller's story is particularly striking and descriptive of Beethoven's prowess. He describes the rising tension during the pre-show hours of the debut night of Death of a Salesman in 1949, where actor Lee J. Cobb (playing Willie) was quickly letting fear get the best of him. For a distraction, the pair went to hear to hear Beethoven--the Seventh Symphony--played across the street at a concert hall. It was there, listening to the dramatic, yet bridled, near-climaxes of the Symphony, that Cobb and Miller found their inspiration for the night's performance. Listening to the Philharmonia Orchestra, it's easy to understand Miller's sentiment. The piece is driven by tension, right until the moving climax at the end, just like a good play. --Jason Verlinde« less
Recorded in the early '80s, this pairing of Beethoven's Symphony Nos. 5 and 7 is a classic. Vladimir Ashkenazy leads the Philharmonia Orchestra through these Beethoven classics in a powerful, if slightly conservative, manner. As part of the Penguin Music Classics collection, this disc features liner notes by author Arthur Miller. Miller's story is particularly striking and descriptive of Beethoven's prowess. He describes the rising tension during the pre-show hours of the debut night of Death of a Salesman in 1949, where actor Lee J. Cobb (playing Willie) was quickly letting fear get the best of him. For a distraction, the pair went to hear to hear Beethoven--the Seventh Symphony--played across the street at a concert hall. It was there, listening to the dramatic, yet bridled, near-climaxes of the Symphony, that Cobb and Miller found their inspiration for the night's performance. Listening to the Philharmonia Orchestra, it's easy to understand Miller's sentiment. The piece is driven by tension, right until the moving climax at the end, just like a good play. --Jason Verlinde
CD Reviews
One of the best reditions I've hear
Ruinaen | Washington State, USA | 08/06/2001
(5 out of 5 stars)
"This is most certainly one of the best reditions I've ever heard, and as far as the Fifth Symphony is concerned, I've hear quite a few. In many recordings of these two symphonies, the tempos either rush the music too much, or are two slow and make it drag. This, to me, results in the orchestra sounding like it's "pushing" the tempo or at least like they want to. I found that this recording of Beethoven's Fifth Symphony to be just the right speed to keep the music moving with all the vigor that the orchestra could put out-- being quite a lot in this case. The Seventh Symphony is just as powerful in its own more pastoral way. Ashkenazy takes the bold Beethovien themes and creates full sound that only an orchestra with the technical ability of Philharmonia can do. Since hearing this CD, one of my first, I have measured all other's to it. While it may not be the most definitive preformance, it is still definately worth hearing. I would recomend this CD to anyone that wants to hear a truely recording that is probably quite under-rated. Keep in mind that it is older, recorded in 1982 for the Fifth and 1984 for the seventh, but the age doesn't detract from the power of the music in any way. This is a must-have for any veteran Beethoven lover or someone just begining their classical music collection. It certainly worked out as a great place to start for me!"
I agree
james5anderson | USA | 01/12/2004
(5 out of 5 stars)
"Some push the music too much, some too little and it drags. Ashkenazy keeps it moving perfectly and perfectly balanced. I hear details which get lost in other famous conductor's conducting. I think famous conductors sometimes make it crash and bang just to "sound" exciting. But Ashkenazy is perfect - you hear many details like never before. Top recommendation."
Ashkenazy's vision of Beethoven's 5th and 7th symphonies
John Kwok | New York, NY USA | 05/17/2001
(4 out of 5 stars)
"Vladimir Ashkenazy's conservative view of Beethoven's 5th and 7th symphonies remains valid when fresh insights from Jonathan del Mar's edited scores are increasingly in vogue. While this fine coupling won't supplant classic recordings by Carlos Kleiber, and Leonard Bernstein with the Vienna Philharmonic, it is still one worth hearing. The Philharmonia Orchestra's level of playing is as fine as the Vienna Philharmonic's; both symphonies are played with much warmth as well as technical precision. Ashkenazy's tempi are slow, giving him time to wring out as much lyrical phrasing as he can from these scores. Alas his best Beethoven symphony recording with the Philharmonia Orchestra, that of the 6th symphony, isn't available here at Amazon.com. Yet you won't be disappointed with this coupling."
The best Beethoven 5th and 7th Symphonies.
Enaitz Jar | Spain, Europe. | 08/31/2007
(5 out of 5 stars)
"Vladimir Ashkenazy, one of the best pianist of the XX century, is revealed here as a superb conductor.
He has recorded what in my opinion is the best edition of Beethoven's 5th and 7th Symphonies, far better than other versions as for example the overrated Kleiber recording. Ashkenazy's set is real powerful, but also gentle when needed, has a very good sound quality and, more important, always has the correct tempo.
Other very good recordings are Abbado's and Karajan's one with the Berlin Philarmonic Orchestra, but Karajan's one sometimes goes too fast, as for example on the world famous "Zardoz" allegretto from the 7th symphony, which in Ashkenazy's recording is full of power and dignity. I love this allegretto but in Karajan's version sounds like something urgent, like if the orchestra were trying to hurry up because they had to go somewhere after playing.
Some critics claims this Ashkenazy's recordings to be too "conservative". I really don't understand what are they trying to say. One can say that Karajan's romantic aproach to almost every score may be "not conservative", but, is it bad to be conservative when conducting Beethoven? Would you prefer to have this played by distorted electric violins or what? I can't see the "conservative" point anywhere, to my ear is just the best Beethoven's 5th and 7th ever recorded.
I've listened to many other versions of this score, from the highly overrated Kleiber and Toscanini recordings to the good enough, Von Dohnanyi's, Reiner's, Furtwangler's or Mravinsky's versions, and ending with the superb Karajan's (except for the allegretto from the 7th) and Abbado's recordings. If you want the best Beethoven's 5th and 7th, just try this Ashkenazy jewel, and maybe give also a chance to Abbado's recording: Beethoven: Symphonien Nos. 5 & 7
PS. This Ashkenazy CD has recently gone out of stock (you can guess the reason). Don't worry because there are at least 3 editions of this exact same recording and, if you don't care about missing the very good leaflet of this edition, the others are easily available, for example here: Beethoven: Symphonies Nos. 5 & 7
Track Listings (8) - Disc #1
