Search - Florian Boesch, Ricardo Luna, Ludwig van Beethoven :: Beethoven: Symphonies; Concertos; Overtures; Creatures of Prometheus; Missa Solemnis [Box Set]

An Exciting, Memorable Collection Of Most Of Beethoven's Orc

John Kwok | New York, NY USA | 05/13/2007

(5 out of 5 stars)

"This 14 CD box set is truly a magnificient collection uniting virtually all of Beethoven's orchestral works performed by a single orchestra and conductor: Chamber Orchestra of Europe and Nikolaus Harnoncourt. It is magnificient not only for its breadth and depth, but more importantly, for its overall quality, since many of these recordings can be regarded as definitive recordings of these Beethoven pieces, which were recorded between the years 1990 and 2003. One notable set of highlights is Harnoncourt's mesmerizing, period instrument practice-informed recordings of all of Beethoven's symphonies, which have already received ample critical and popular acclaim for being among the finest Beethoven symphony cycles ever recorded. Another fascinating recording is his critically acclaimed recording of Beethoven's Missa Solemnis. Distinguished violinist Gidon Kremer collaborated successfully with Harnoncourt and the Chamber Orchestra of Europe in an inspiring, intriguing period instrument-influenced account of the Beethoven Violin Concerto. Pianist Pierre-Laurent Aimard is well represented in relatively recent, critically acclaimed recordings of the Beethoven Piano Concertos, the Beethoven Triple Concerto (accompanied by violinist Thomas Zehetmair and cellist Clemens Hagen), and two other works for piano and orchestra. For those unfamiliar with Nikolaus Harnoncourt and the Chamber Orchestra of Europe, this box set is a most impressive introduction, and one which I recommend highly."

Authentic Beethoven from veteran conductor

Abel | Hong Kong | 06/27/2007

(5 out of 5 stars)

"Even though Grammophone Magazine did not see it fit to rank Harnoncourt's Beethoven Symphonies as among the 'best 5', I myself rank it before some of those chosen by Grammphone, notably David Zinman.

Harnoncourt's interpretation of Beethoven with his period instruments is so striking and full of character that you need not question 'what is Beethoven like'?

The concertos may have soloists varying in calibre, but the conducting and orchestration are nonetheless terrific. Take the 3rd movement of the No. 1 Piano Concerto, for example. Harnoncourt articulates such dynamics that the interpretation is at once authenticity and moving. The string section simply blow the listener off, even if the pianist Aimard isn't really the true Beethoven interpretor like Yefim Bronfmann for David Zinman, let alone Wilhelm Kempff before.

The ECO under Harnoncourt played elegantly, heroically and dramatically. The No. 5 Symphony is such a stately yet dramatic account that even with the fiery tempo like Zinman, could not be easily surpassed in terms of both excitement and depth."

Qualified Recommendation - These are typical Harnoncourt per

Prescott Cunningham Moore | 08/22/2009

(4 out of 5 stars)

"Many listeners are already familiar with Harnoncourt's Beethoven cycle, previously released without the overtures, the mass, and the concertos. Those that have not heard this set or are unfamiliar with Harnoncourt are in for a treat, so long as they approach Harnoncourt's interpretations with open ears.



Indeed, across the board, Harnoncourt is up to his usual antics in this set. And I say that with all due respect to this great conductor, who's forays into Haydn I consider reference performances and who's Bruckner is revelatory. However, Harnoncourt is always controversial for his unique sense of discovery, and that quality certain pervades this set. Take, as a case study, the first movement of the Eighth, where Harnoncourt touches every measure with unique phrasing markings, extreme dynamics, and quirky punctuations. At times, his ideas can be somewhat off-putting or even strange. Take, for example, how the timpani and lower strings emphasize the three four time by accenting the downbeat during the C major cadence at the close of the exposition. Interesting, yes, but it covers up the violin figures and comes off more grotesque and vulgar than exciting. Or listen to how Harnoncourt's overly muscular handing of the beginning of the recapitulation almost completely covers the lower strings. On the other hand, listen to Harnoncourt's delightful handling of the declamatory two-four rhythmic outbursts where he really emphasizes the syncopated quality of the music. Or listen to how he really adds extra excitement to the already over-charged development with thrilling brass playing. Harnoncourt unearths many details and certainly presents this too-familiar music in a new light.



And that alone may be enough for some listeners who crave something new from the canonic nine. At the same time, listeners interested in purchasing two or three sets of the Beethoven symphonies (really, who can own just one?) may be better served by other cycles. Szell's reference cycle is a nice alternative, as is Blomstedt, Bohm, Toscanini, or, more recently, Vanska or Jarvi. Still, Harnoncourt's cycle is necessary for those who want a well-rounded Beethoven collection. While his interpretations may be unconventional, I still find myself returning every now-and-then to this cycle and always find new surprises upon each hearing.



The same qualities are present in the other orchestral works in the set. However, the concertos are another matter entirely. Aimard, like Harnoncourt, is interested in personalizing the five concertos with his own unique interpretations. However, the result is, at least in my opinion, just too much. Both Harnoncourt and Aimard seem so interested in dissecting the music that they seem to get lost along the way, busying themselves in performances that end up sounding fussy and overly intellectualized. And while our cup certainly does not overflow with great concerto cycles (Fleisher/Szell and the recent Goode/Fischer immediately come to mind as standouts in this glutted mass), listeners can find cycles that present more coherent interpretations. That being said, these performances, like the symphonies, are fascinating, and listeners that know this music well may find Harnoncourt and Aimard's probing readings exactly for what they are looking.



Sonics throughout are good, not great, and are beginning to show their age. Page flipping, breathing, and on-stage noises pepper this set. They are certainly not distracting, but considering modern recording standards, they do sound out-of-place.



So it is with that qualified reservation that I recommend this set."