Composed by Ludwig van Beethoven
with Theo Adam , Annelies Burmeister , Peter Schreier , Anna Tomova Sintow
Conducted by Kurt Masur
2. Fantasia for piano, chorus, and orchestra ("Choral Fantasy"), Op. 80
Composed by Ludwig van Beethoven
with Alfred Brendel
Conducted by Bernard Haitink
3. Die Weihe des Hauses (Consecration of the House), overture for orchestra, Op. 124
Composed by Ludwig van Beethoven
Conducted by Kurt Masur
4. Leonore Overture No. 1 in C major, Op. 138
Composed by Ludwig van Beethoven
Conducted by Kurt Masur
5. Leonore Overture No. 2 in C major, Op. 72a
Composed by Ludwig van Beethoven
Conducted by Kurt Masur
6. Leonore Overture No. 3 in C major, Op. 72b
Composed by Ludwig van Beethoven
Conducted by Kurt Masur
Beethoven: Complete Symphonies, Vol. 3.,Theo Adam,Ludwig van Beethoven,Bernard Haitink,Kurt Masur,Alfred Brendel,Anna Tomova Sintow,Anna Tomowa-Sintow,Peter Schreier,Philips,Choral,Choral Music,Classical,Classical Composers,Classical Music,Orchestral,Romantic Overture for Orchestra,Romantic Symphony,Symphonic
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Complete Beethoven Edition, Vol. 1: Symphonies
Ludwig van Beethoven , Walter Berry , Herbert von Karajan , and Berlin Philharmonic Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD  All Works by Beethoven
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ASIN: B000001GZ4 Release Date: 1997-10-14 |
Tracks:
- Sym No.1 in C, Op.21: 1. Adagio Molto - Allegro Con Brio
- Sym No.1 in C, Op.21: 2. Andante Cantabile Con Moto
- Sym No.1 in C, Op.21: 3. Menuetto. Allegro Molto E Vivace
- Sym No.1 in C, Op.21: 4. Finale. Adagio - Allegro Molto E Vivace
- Sym No.3 in E flat, Op.55 'Eroica': 1. Allegro Con Brio
- Sym No.3 in E flat, Op.55 'Eroica': 2. Marcia Funebre. Adagio Assai
- Sym No.3 in E flat, Op.55 'Eroica': 3. Scherzo. Allegro Vivace
- Sym No.3 in E flat, Op.55 'Eroica': 4. Finale. Allegro Molto
Tracks:
- Sym No.2 in D, Op.36: 1. Adagio Molto - Allegro Con Brio
- Sym No.2 in D, Op.36: 2. Larghetto
- Sym No.2 in D, Op.36: 3. Scherzo. Allegro
- Sym No.2 in D, Op.36: 4. Allegro Molto
- Sym No.4 in B flat, Op.60: 1. Adagio - Allegro Vivace
- Sym No.4 in B flat, Op.60: 2. Adagio
- Sym No.4 in B flat, Op.60: 3. Allegro Vivace
- Sym No.4 in B flat, Op.60: 4. Allegro Ma Non Troppo
Tracks:
- Sym No.5 in c, Op.67: 1. Allegro Con Brio
- Sym No.5 in c, Op.67: 2. Andante Con Moto
- Sym No.5 in c, Op.67: 3. Allegro
- Sym No.5 in c, Op.67: 4. Allegro
- Sym No.6 in F, Op.68 'Pastoral': 1. Awakening Of Cheerful Feelings Upon Arrival In The Country...
- Sym No.6 in F, Op.68 'Pastoral': 2. Scene By The Brook (Allegro Molto Moto)
- Sym No.6 in F, Op.68 'Pastoral': 3. Merry Gathering Of Country Folk (Allegro)
- Sym No.6 in F, Op.68 'Pastoral': 4. Thunderstorm (Allegro)
- Sym No.6 in F Op.68 'Pastoral': 5. Shepherd's Song: Happy And Thankful Feelings After The Storm...
Tracks:
- Sym No.7 in A, Op.92: 1. Poco Sostenuto - Vivace
- Sym No.7 in A, Op.92: 2. Allegretto
- Sym No.7 in A, Op.92: 3. Presto
- Sym No.7 in A, Op.92: 4. Allegro Con Brio
- Sym No.8 in F, Op.93: 1. Allegro Vivace E Con Brio
- Sym No.8 in F, Op.93: 2. Allegretto Scherzando
- Sym No.8 in F, Op.93: 3. Tempo Di Menuetto
- Sym No.8 in F, Op.93: 4. Allegro Vivace
Tracks:
- 'Coriolan' Ov in c, Op.62
- Sym No.9 in d, Op.125: 1. Allegro Ma Non Troppo, Un Poco Maestoso
- Sym No.9 in d, Op.125: 2. Molto Vivace
- Sym No.9 in d, Op.125: 3. Adagio Molto E Cantabile
- Sym No.9 in d, Op.125: 4. Presto - Allegro Assai
- Sym No.9 in d, Op.125: 4. Presto - 'O Freunde, Nicht Diese Tone!' - Allegro Assai - Allegro Assai... - Gundula Janowitz/Hilde Rossel-Majdan/Waldemar Kmentt/Walter Berry/Wiener Singverein
Amazon.com
This 1963 set was conceived as an integral recording, and released as such, rather than piecemeal. It is consistent in terms of sound and interpretation, and the solid performances hold up to repeated hearing. Karajan may not have been as highly individualistic an interpreter as some in the generation that preceded him, but he possessed the same kind of authority--as these readings show. They emphasize tautness of line, grip, momentum, and mechanical precision, and convey exceptional energy without the roughhewn qualities some interpetations emphasize. The highlight of the set is a suave, darkly handsome account of the Eroica,. The only disappointment is a senselessly rushed Pastorale. The Berlin Philharmonic, which had chosen Karajan as its conductor for life just six years before the sessions began, plays with extraordinary discipline, power in reserve, and an understated but convincing sense of expression. One notes already the superb string ensemble and excellent work in the winds that would come to be seen as the orchestra's stock--in-trade, even if the horns are still rather weak and the trumpets thin. Here is the well-dressed, darkly handsome Beethoven of the portraits painted circa 1800, in performances that are dashing and determined but never in danger of careening out of control. The sound is good for the vintage: balanced, reasonably detailed though not close, and clear. DG's latest remastering has brought out as never before the original recordings' warmth and atmosphere. --Ted LibbeyCustomer Reviews:
Truly Powerful Accounts, Still The Best Complete Cycle You Can Buy, Remastered With Love And Care.......2006-08-11
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 horns 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. )
Great music.......2006-02-24
Don't believe the critics..........2005-11-26
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.
The greatest composer at work........2004-05-07
Too me I always thought no musical composer was such a man of his age as Wagner or Beethoven. They could have been drowned to deep in the romance tub. And the music is expressing this romance time very much, I think therefor the drama in these 2 composers is indeed so extrordinary ans special. To mee they are and always will be the best and greatest musicians that ever lived.
"The Karajan Sound" doesn't work for Beethoven.......2001-04-21
In my opinion, it can; not in the technical aspect, but in the actual sound produced. Karajan had a very distinctive, unique orchestral sound that he used, basically without modification, for every piece he ever performed. The characteristics of this sound are refined beauty, streamlined, aerodynamic smoothness, and a texture heavily dominated by the strings. While this texture may work for Romantic works by composers such as Bruckner and Mahler, it definitely does not sound right in works of the Classical period, by composers such as Mozart, Haydn and Beethoven. Classical works require a leaner, more transparent, sound than the "Karajan Sound." Beethoven, contrary to popular belief, is a CLASSICAL composer, not a Romantic one. A good Beethoven sound requires A) incisive but resonant timpani, B) pure and transparent strings, C) sonorous, powerful brass and D) radiant woodwinds. The Karajan Sound gives us resonant but not especially incisive timpani, in addition to gorgeous but opaque string textures which dominate the rest of the orchestra. Therefore, I think Karajan's sound is inappropriate for Beethoven, and so seriously undermines the performance.
The drawbacks of this sound are apparent in every symphony, in every movement. Take, for example, the first movement of the Ninth. The opening tremolo is ominous but unclear, and when the first subject emerges from the mists, the sound is dominated by those cloying string textures. What makes this especially disappointing is that Karajan is one of the very few people who judge the tempo in this movement correctly - some are too fast (Toscanini), others are too slow (Solti, Bernstein, Davis, Giulini, etc.). Just comparing Karajan with superior performances by a conductor like Klemperer will make my point. In that first movement of the Ninth, Klemperer's opening tremolo is perfectly clear, but is no less ominous or mysterious than Karajan's, and the first subject is given in an ideal blend of brass, timpani and strings. Another particular disappointment is the Allegretto of the Seventh. Karajan is one of the very few to take it at a true, flowing Allegretto, but the overweight string textures ruin it again.
Aside from the drawbacks in the approach, however, this is a great set. As mentioned, the tempos are perfect (with the exception of the Pastoral, a disaster in every way - repeats, texture and tempos), and the orchestra is never less than beautiful. In addition, this Ninth boasts arguably the finest solo quartet on records (Janowitz, Rössel-Majdan, Kmentt and Berry).
The sound is good for the most part, but sometimes sounds hazy and indistinct. The timpani are placed rather far back in the sound spectrum, which is a serious problem, particularly in places like the Scherzo of the Ninth, where the timpani are obviously crucial. Even more serious, though, is the backward balance and shifting perspectives on the chorus in the finale. The presentation in DG's Complete Beethoven Edition is gorgeous, with multiple informative essays and wonderful color reproductions of relevant documents and paintings.
Overall, although these recordings have garnered much acclaim over forty years, I don't think they really justify it. Karajan was never at his best in Classical repertoire. His strengths were the Romantic masters like Bruckner and Strauss, where he pulled off some overwhelming performances. He should also be heard in Puccini. But in Beethoven? I don't think so.
I am still searching for the best Beethoven symphony set. Klemperer (EMI) is very high on the list for his monumental grandeur and glorious orchestra (the Philharmonia), but his set is let down by extremely slow tempi in fast movements (in particular the Scherzos of the Sixth and Ninth and much of the Eighth). Davis (Philips) has wonderful playing, if a bit on the fat side, from the Staatskapelle Dresden, but he falls into the slow tempi trap, which is far more serious here than with Klemperer because Davis doesn't come close to Klemperer's electricity. Toscanini on RCA takes a very fast, intense approach. Karajan's performances have always been called Toscaninian, but I refuse to accept that because Toscanini's lean orchestral texture is on the other side of the spectrum from Karajan's. Toscanini's approach works marvelously in the early symphonies, but his very rigid approach, with an almost total lack of rubato, makes for serious problems in the later symphonies. Barenboim (Teldec) is currently at the top of my list for his wonderful orchestra and superb tempi, in addition to his intense, magisterial conducting. His failing is that he is in many places altogether too eccentric; the opening of the Ninth, for instance, is far too slow to be coherent, while the finale of the Seventh falls apart because of absurd tempo fluctuations. The set that looks most promising to me at the moment is Böhm's Vienna Philharmonic set from the 1970's, where slow tempos are present but are not nearly so much of a problem as in Klemperer and Davis because of Böhm's rhythmic pointing and lyrical incandescence - in addition to a glorious sound from the Vienna Philharmonic that meets all four requirements of the "Beethoven Sound" I listed above. If the rest of the cycle is anything like half as good as his 1971 Pastoral, it will jump to the top of my list!!
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Beethoven: Complete Symphonies, Vol. 1
Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Beethoven
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ASIN: B0000041EN Release Date: 1996-06-11 |
Tracks:
- Symphony No. 1 In C, Op. 21: Adagio molto - Allegro con brio
- Symphony No. 1 In C, Op. 21: Andante cantabile con moto
- Symphony No. 1 In C, Op. 21: Menuetto. Allegro molto e vivace
- Symphony No. 1 In C, Op. 21: Finale. Adagio - Allegro molto e vivac
- Symphony No. 3 in E Flat, Op. 55 'Eroica': Allegro con brio
- Symphony No. 3 in E Flat, Op. 55 'Eroica': Marcia funebre. Adagio assai
- Symphony No. 3 in E Flat, Op. 55 'Eroica': Scherzo. Allegro vivace
- Symphony No. 3 in E Flat, Op. 55 'Eroica': Finale. Allegro molto
Tracks:
- Symphony No. 2 in D, Op. 36: Adagio molto - Allegro con brio
- Symphony No. 2 in D, Op. 36: Larghetto
- Symphony No. 2 in D, Op. 36: Scherzo. Allegro
- Symphony No. 2 in D, Op. 36: Allegro molto
- Symphony No 4 in B flat, Op 60: Adagio - Allegro vivace
- Symphony No 4 in B flat, Op 60: Adagio
- Symphony No 4 in B flat, Op 60: Allegro vivace
- Symphony No 4 in B flat, Op 60: Allegro ma non troppo
Customer Reviews:
Beethoven's classical side... ?.......2004-02-27
However, I can't speak as highly of this recording. Perhaps Masur is playing these works more properly than I'm accustomed to hearing them, but nevertheless, they sound too classical. Certainly, the scoring is more on the classical side of Beethoven's writing, BUT that doesn't mean that the playing can't take into account the loudness and largeness of the rest of Beethoven's career. Simply put, I feel these recordings are played too conservatively, too limitedly, too, well, classically.
That's just me, though. They are played well--all the notes are correct and they're all there--but this not the Beethoven you'd expect from Karajan or Solti or Bernstein. This is more of a Sir Neville Marriner Beethoven, but I bet that's what Masur was going for. He does it well, just not to my preference.
So, if you are looking to buy this recording because you like Philips Double-CDs (and I do, too!), or if you already have symphonies 5-9 (like I did) and are looking to get the rest, please take heed of this review. You may be disappointed.
And here's my evidence:.......2000-07-05
"In sheer naturalness of utterance, unforced expressiveness and the superlatively disciplined response of the orchestral playing, the Gewendhaus set has a good deal to offer. The first two symphonies are attractively fresh, with the slow movement of the Second memorable. The Eroica is uncommonly fine, particularly in its nobly paced slow movement which is totally free of excessive emphasis in expression. In the Fourth Symphony Masur is particularly successful, and the Gewendhaus orchestra respond with marvellously alert playing. In the slow movement Masur brings great imagination and poetry to his reading; the homogenous, cultured orchestral sound of the Gewendhaus Orchestra and its rhythmic resilience and vitality are in themselves a sense of pleasure. ...the first set of these three Duos is certainly recommendable."
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Beethoven: Complete Symphonies, Vol. 3.
Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Beethoven
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ASIN: B0000041EP Release Date: 1996-06-11 |
Tracks:
- Symphony No. 9 In D Minor, Op. 125 'Choral': 1. Allegro ma non troppo, un poco maestoso
- Symphony No. 9 In D Minor, Op. 125 'Choral': 2. Molto vivace
- Symphony No. 9 In D Minor, Op. 125 'Choral': 3. Adagio molto e cantabile
- Symphony No. 9 In D Minor, Op. 125 'Choral': 4. Presto
- Symphony No. 9 In D Minor, Op. 125 'Choral': 'O Freunde, nicht diese Tone!'
- Symphony No. 9 In D Minor, Op. 125 'Choral': Allegro assai
- Symphony No. 9 In D Minor, Op. 125 'Choral': Alla Marcia. Allegro vivace assai
- Symphony No. 9 In D Minor, Op. 125 'Choral': Andante maestoso - Adagio non troppo ma divoto
- Symphony No. 9 In D Minor, Op. 125 'Choral': Allegro energico, sempre ben marcato
- Symphony No. 9 In D Minor, Op. 125 'Choral': Allegro ma non tanto
Tracks:
- Fantasia In C Minor, Op. 80: Adagio - Finale;
- Fantasia In C Minor, Op. 80: Allegro - Meno allegro - Allegro molto - Adagio ma non troppo - Marcia, assai vivace
- Fantasia In C Minor, Op. 80: Allegro - Allegretto ma non troppo (quasi Andante con moto) - Presto
- Die Weihe des Hauses, Op. 124
- 'Leonore' No. 1, Op. 138
- 'Leonore' No. 2, Op. 72a
- 'Leonore' No. 3, Op. 72b
- 'Fidelio', Op. 72c
Customer Reviews:
5 star Choral Fantasy, 3 star Choral Symphony.......2001-08-17
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Complete Beethoven Symphonies Vol 4: Sym #3 & 8
Willem Mengelberg , and Concertgebouw Amsterdam Manufacturer: Iron Needle Records ProductGroup: Music Binding: Audio CD Symphonies
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ASIN: B00000J5SC Release Date: 1999-09-15 |
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Beethoven: The Complete Symphonies, Vol. 3
Manufacturer: Enterprise ProductGroup: Music Binding: Audio CD All Works by Beethoven
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ASIN: B000003V1Y Release Date: 1994-04-26 |
Tracks:
- I. Allegro Con Brio
- II. Andante Con Moto
- III. Scherzo
- IV. Finale (Allegro)
- I. Allegro Vivace Con Brio
- II. Allegretto Scherzando
- III. Tempo Di Minuetto
- IV. Allegro Vivace
- Leonore I, Overture - Vienna State Opera Orchestra
- Leonore II, Overture - Vienna State Opera Orchestra
Customer Reviews:
Beethoven's 8th.......2006-10-23
Could be the Best 8th I've Heard.......2003-11-09
In Scherchen's hands the 8th unfolds beautifully, with the tempo and emotional dynamics just right. Having heard this recording of the 8th, I can now clearly see how the Scherzando and Minuetto were powerful influences on Berlioz, particularly heard in the waltz section of the Symphony Fantastique.
The recording of the 5th was a bit rushed for me, and the performances on the Leonore overtures are not particularly stunning, but the 8th must be heard. The symphonies are in musty mono, but it makes no difference; if you need a very special 8th for your dream Beethoven symphony cycle, find a copy of this disk.
Music Review:
- Beethoven: Piano Concerto No. 6; Choral Fantasy; Rondo in B flat
- Beethoven: The Piano Sonatas, Vol. 10
- Berlioz: Béatrice Et Bénédict/Le Roi Lear/Herminie
- Camille Saint-Saëns: Violin Sonatas
- Clarke: Sonata for viola; Trio
- Clementi: Symphony No. 1; Overture in C; Symphony No. 3 "The Great National"
- Clementi: Symphony No. 2 in; Overture in D
- Compositions of Isang Yun, Vol. 9: Gong-Hu, for Harp & Strings / Concerto for Flute & Small Orchestra / Salomo, for Solo Alto Flute / In Balance, for Solo Harp
- Cosmos of Toshi Ichiyanagi I
- Daniel-Lesur: Le Cantique des Cantiques/Messe du Jubilé/In Paradisum/La Vie Intérieure, Messiaen: O Sacrum Convivium
Music Review
Weiss: The London Manuscript, Vol. 3
The Passion of Saint Thomas More (Special Edition)
The Pinnacle Project: Bricks Without Straw, Vol. 1
Serie De Oro: Latinoamericana [Import]