Beethoven: The 9 Symphonies; Overtures

On this CD:

1. Symphony No. 1 in C major, Op. 21
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

2. Symphony No. 2 in D major, Op. 36
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

3. Die Geschöpfe des Prometheus (The Creatures of Prometheus), ballet, Op. 43 Overture In G Major, Op. 43
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

4. Symphony No. 3 in E flat major ("Eroica"), Op. 55
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

5. Leonore Overture No. 1 in C major, Op. 138
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

6. Leonore Overture No. 2 in C major, Op. 72a
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

7. Symphony No. 4 in B flat major, Op. 60
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

8. Symphony No. 5 in C minor ("Fate") Op. 67
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

9. Symphony No. 6 in F major ("Pastoral") Op. 68
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

10. Leonore Overture No. 3 in C major, Op. 72b
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

11. Fidelio, overture, Op. 72c
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

12. Coriolan Overture, Op. 62
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

13. Symphony No. 7 in A major, Op. 92
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

14. Symphony No. 8 in F major, Op. 93
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

15. Symphony No. 9 in D minor ("Choral") Op. 125
Composed by Ludwig van Beethoven
Performed by Leipzig Gewandhaus Orchestra with Theo Adam, Hans-Joachim Rotzsch, Ingeborg Wenglor, Ursula Zollenkopf

Tracks:

Symphonie no. 3 en Mi bemol Majeur 'Heroique', op. 55: Allegro con brio - Ludwig Van Beethoven
Symphonie no. 3 en Mi bemol Majeur 'Heroique', op. 55: Marcia funebre : Adagio assai - Ludwig Van Beethoven
Symphonie no. 3 en Mi bemol Majeur 'Heroique', op. 55: Scherzo : Allegro vivace - Ludwig Van Beethoven
Symphonie no. 3 en Mi bemol Majeur 'Heroique', op. 55: Finale : Allegro molto - Ludwig Van Beethoven
Ouvertures: Ouverture du drame de J.W.v.Goethe 'Egmont', op. 81 - Ludwig Van Beethoven
Ouvertures: Ouverture de la Tragedie II. de J.v.Colin 'Coriolan' op. 62 - Ludwig Van Beethoven
Ouvertures: Ouverture du ballet 'Les Crures de Prom, op. 43 - Ludwig Van Beethoven

Tracks:

Symphonie no. 9 en Re mineur, op. 125: Allegro Ma Non Troppo Un Poco Maestoso - L.V. Beethoven
Symphonie no. 9 en Re mineur, op. 125: Molto Vivace - L.V. Beethoven
Symphonie no. 9 en Re mineur, op. 125: Adagio Molto E Cantabile - L.V. Beethoven
Symphonie no. 9 en Re mineur, op. 125: Presto - L.V. Beethoven
Symphonie no. 9 en Re mineur, op. 125: Presto -`O Freunde nicht diese Tone' - L.V. Beethoven

Amazon.com essential recording

This is one of the greatest recordings of the famous Ninth Symphony. It has long been overshadowed by Karajan's three recordings for the same label, as well as Bernstein's version with the same orchestra. But put them all on your CD player and compare, and this is the one you'll be coming back to. Böhm was the least glamorous of conductors, but he approaches the Ninth with messianic zeal and a fanatical gleam in his eye. The opening movement is a cataclysm, the sublime slow movement never loses its contemplative flow, and everyone involved simply sings and plays the pants off of the finale. If the final minute or two doesn't pull you right out of your seat, nothing will. Grab it while you can at this "twofer" price. It's a steal. --David Hurwitz

Customer Reviews:

A Matter of Taste.......2006-09-16

These are beautifully played but tame performances. Bohm, like Haitink, is a conductor who can somehow get away with this.

If you want stormy weather look elsewhere.

La mejor Eroica de todas!.......2006-03-28

he conocido numerosísimas versiones de la Eroica, todas destacadas: Karajan-Berlín/1962 (y también las posteriores), Klemperer-Philharmonia(1954), Szell-Cleveland, Wand-NDR, Wynn Morris-Londres, Schuricht-Paris, etc., pero la versión de Böhm-Viena que tuve hace treinta años en vinilo, más tarde en cassette y hoy en CD ha gozado siempre de mi preferencia. ¿Razones?, vamos viendo:
1er. movto: los vigorosos acordes iniciales, enérgicos sin ser violentos como un Szell-Cleveland o Wand-NDR, nos anticipan una concepción majestuosa, sin embargo en la sección de transición siguiente el director se muestra más bien tímido o cauteloso, pero después de ese breve pasaje, la potencia de los acordes iniciales regresa paulatinamente para no decaer más hasta concluir el movto. el cual es en su conjunto un torbellino de pasión, la coda final es estremecedora, a mí me causa una impresión similar al crescendo del finale del 1er movto. de la 7a de Bruckner en la versión de Schrowazewsky-Saarbrücken (ARTE NOVA), el pasaje de las trompetas destacadísimo sin nublar el ondular de las cuerdas al fondo, los timbales en su justa medida: destacados, sin un protagonismo exagerado. La conclusión, apoteósica;
2° movto: los tonos grises emergen con moderación desde las sombras y van aumentando en color e intensidad, la emoción crece paulatinamente nó en terminos dramáticos como en Klemperer-Philarmonia/1954, sino en términos épicos o eroicos, no se ejecuta propiamente una marcha fúnebre sino un himno, más que a un drama asistimos a una epopeya épica, prima por sobre la dramaticidad, la solemnidad. Para concluir, desde las sombras emergen esta vez los cornos en perfecto contraste con las maderas y cuerdas graves, cerrando el movto. con una bofetada que nos devuelve la respiración;
3er movto: los violines irrumpen graciosa y elegantemente, sin marcar un acusado contraste con el movimiento precedente como en Karajan-Berlín/62, en que de un funeral se ingresa en una bacanal desenfrenada!, Böhm prefiere abordar este pasaje con moderación reservando las fuerzas para el finale, los cornos nuevamente magníficos en la sección central, tras una recapitulación tanto del tema principal como del trio, el movto se cierra con una rápida conclusión;
4° movto: casi sin pausa emerge poderosa la introducción del movto., y las cuerdas en pizzicato presentan el tema principal, que es el mismo del Prometeo y del Septimino, tras lo cual dos acordes vigorosos dan inicio a las variaciones que como un torbellino se suceden unas a otras, recorriendo las distintas secciones de la orquesta, dejando de manifiesto la maestría del compositor en el manejo de los recursos orquestales, para concluir el movto. con los acordes iniciales que se vuelven marciales recordándonos que estamos en presencia de una "epopeya", para concluir la obra con un frenético final.
La vesión que yo tengo es una antigua edición de una colección de precio medio "resonance", pero tengo entendido que es posible encontrar no sólo la Eroica, sino todas las sinfonías con Böhm-Viena en "Eloquence" y además con el sonido mejorado(¡como para comprarlas todas!) La mejor versión de esta obra que he escuchado. Ofrezco las excusas del caso, porque la 9a contenida en este CD doble no la conozco, pero dificilmente podría superar a mi versión preferida que es la de Eliahu Inbal-Sinf. de Viena en DENON (conc. de Año Nuevo 1991, live recording). De todos modos igualmente 5 estrellas para esta grabación por la Eroica! Atte Oscar Olavarria, Santiago, Chile

Very fine, but could have been so much better.......2005-10-09

The set presents Bohm at his best, but inadvertently illustrates what I always find so frustrating about his musicmaking. Elisabeth Furtwangler, the widow of the great conductor, once said in reference to him, "in the land of the blind, the one-eyed man is king". Bohm is always very sensible in tempo, articulation, balance, etc., and in these performances is passionate, occasionaly inspired, but alas, the music doesn't have the breath of life. One never has the sense of the music evolving on it's own, and of being immersed in that flow, but rather of being detached from it, as if reluctant to surrender oneself to it. In this day and age, it is remarkably rare to have a recording very good, as this is, and one feels thankful for it, but that is only a sign of how far classical music has fallen that we are satisfied with this standard, rather than with a cosmic experience such as Furtwangler often provided. Comparing the recordings certainly does Bohm no favors. Bohm's Eroica is a thrill ride, nothing less and really nothing more, whereas Furtwangler's Eroica (especially the outstanding Berlin Eroica from December 8, 1952) is a deeply moving experience; as one example, the funeral march is rendered strictly and inflexibly by Bohm, whereas Furtwangler fills the piece with an indescribable sense of resignation. The Ninth is an even more strking example. The entire piece emerges from an incredible, otherwordly atmosphere that completely defies description, but Bohm turns a blind eye toward the spiritual significance that the form of the symphony has. Even Furtwangler's worst Ninths (because of poor execution, recording, or because of a somewhat less inspired performance than it could be) tower above the competition, but the great performances that are playing through my mind right now are the wartime Berlin (extremely dramatic), the '51 Bayreuth (great joy), and especially the ethereal Lucerne Ninth. The overtures which fill out the first disc are unquestionably well done, but again, Bohm goes halfway to a remarkable experience.

The "Eroica" gets 5 stars; The Ninth, 3...maybe.......2004-01-08

In Karl Bohm's view of the Ninth, the only thing that stands out in my mind are the closing chords. There are some attractive moments but, for the most part, throughout virtually the entire symphony the "wrist" is rather limp and its pulse rather weak. Even in the final movement, the chorus and orchestra just seem to amble along to the very end. The vital forces that should resound in this work have taken a holiday. I find it difficult to wax eloquent about this mostly uneventful event.... But the Third or "Eroica" is a horse of a different color as far as I am concerned. Bohm gives it one of the finest performances I have encountered. The kinds of musical details he brings out and the way he expresses them make for very satisfying listening. This is especially true of his rendering of the first and fourth movements. But it is in the funeral march where he really scores. While Bruno Walter is particularly effective at conveying the solemnity of the occasion, Bohm digs even deeper, and delivers an even more thoroughly felt combination of seriousness, sadness, tragedy and nobility. To cite another comparison, while Karajan in his 1962 "Eroica" is dramatic here, he is unable to break through to a more profound level of emotional expression. In closing, this Bohm/Eroica deserves to be on the short list of excellent Beethoven Thirds.

What's all the hype about?.......2003-11-28

This is one of the most dissapointing Ninths I have ever heard. Bohm conducts Beethoven as Mozart, controlled and at moderate/slow/incredibly slow tempi. To begin with, these tempi are far off from Beethoven's specifications, regardless of whether or not Beethoven's metronome was off or if he set the tempi too high for whatever reason. Karajan's tempi versus Gardiner's "correct" tempi are convincing, but to slow it down as much as Bohm does is clearly not in Beethoven's intention--Bohm is not within the ballpark. And if Bohm wishes to slow down the tempi so much, he should at least add more emotional intensity. The truth is, Beethoven's symphonies are more emotionally intense at quick tempi and good dynamics. Though the first movement of Furtwangler's 42 or 54 performances are also slow, Furtwangler's first movement plays with terror whereas Bohm's plays with grace. Grace was not the intention of the first movement--that's for sure. The second movement is also too slow, though it does for a second add more mystery to it, but just for a second, then I get bored. I think Furtwangler got it right when he detected both mystery and ferocity in this movement, thus his scherzo starts slow but has rapid changes in dynamics. Bohm's is just boring. Now, Bohm's slow movement isn't bad, as I do believe it is best when played slowly. Slow tempi should be used when they accurately convey the emotion that Beethoven probably was trying to communicate, so the slow movement isn't bad. The fourth movement: in the strings interlude after the turkish march/tenor solo-- how weak is this! Many have interpreted this as being a "war" of some sort (preceded by a call to war by the tenor and followed by victory), but this surely is a weak war! Furtwangler, once more, in his fast mind-blowing tempo choice, conveys the struggle accurately. But Bohm seems to want clarity above anything. The fourth movement, because of the chorus and soloists, however, is not bad. It does play warmly, and that is perhaps why so many love this recording: they only care about one movement! That, or, they are too used to listening to Bohm's recordings of Mozart and need to experience the mind of Beethoven--a possibly bipolar, anything but controlled, madman of fury!

Beethoven: Symphonies Nos. 1-9; Overtures; Violin Concerto (Limited Edition)

Average customer rating:

Bernstein's First, Quite Possibly, Best, Beethoven Symphony Cycle
Bernstein's early Beethoven makes an enticing bargain

Beethoven: Symphonies Nos. 1-9; Overtures; Violin Concerto (Limited Edition)

Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00006OA68
Release Date: 2002-10-28

Tracks:

Symphony No.1 In C Major, Op.21
Symphony No.2 In D Major, Op.36
Symphony No.4 In B-Flat Major, Op.60
Symphony No.6 In F Major, Op.68
Symphony No.9 In D Minor, Op.125
Concerto For Violin And Orchestra In D Major, Op.61

Customer Reviews:

Bernstein's First, Quite Possibly, Best, Beethoven Symphony Cycle.......2007-05-23

For those wondering why Leonard Bernstein was such an important, exciting conductor, there's no better introduction than these fine early stereo recordings he made with the New York Philharmonic Orchestra. Critics have celebrated these as exciting, revelatory accounts, almost as memorable as those from George Szell and The Cleveland Orchestra and Herbert von Karajan and the Berliner Philharmoniker, which were recorded almost at the same time as Bernstein's. The only reason why I'd give higher recommendations to Szell's and Karajan's cycles lies primarily with the acoustical qualities of the recording studios (In Karajan's case the converted Berlin church where he made most of his 1960s and 1970s recordings with the Berliner Philharmoniker was sonically the best at that time.) and the overall quality of the musicianship of their respective ensembles, which I would have to rate slightly higher than the New York Philharmonic's. The two finest recordings from Bernstein's New York Philharmonic cycle are those with of the 3rd and 5th symphonies which remain two of the most dramatic recordings of these pieces that I've heard. Overall, I think this set deserves favorable comparisons with his mid 1970s Deutsche Grammophon cycle recorded with the Wiener Philharmoniker during live performances at Vienna's Musikverein; the only exceptional differences are the slightly warmer acoustics of the orchestra and concert hall in the 1970s cycle, and Bernstein's usage of slightly quicker tempi and smaller orchestral forces. If you're looking for an alternative traditional Beethoven symphony cycle, then you won't miss by acquiring this early Bernstein cycle.

Bernstein's early Beethoven makes an enticing bargain.......2007-02-20

I wonder if Leonard Bernstein was the first American conductor to record a complete Beethoven cycle? He must have been, and two of these performances--the Eroica and the Fifth Sym. -- were made famous as vehicles for LB's television talks in the Fities and Sixties. Millions of post-war kids learned from them and I'm one. In retrospect Bernstein's Beethoven wasn't as propulsive and exciting as memory made them. But these performances are full-boded, direct, and satisfying. Perhaps the authority of Karajan and the Berlin Phil. isn't present, but even so, Sony is offering the cycle as a tremendous bargain, all the more so if you buy it used at Amazon Marketplace. Several overtures are thrown in, along with Isaac Stern's excellent account of the Violin Concerto (conductor and soloist are in sympathy, as always, but this is one of their poorest sounding recordings, unfortunately).

LB used a big orchestra for his Beethoven, and the Columbia Records engineers caught them in a big, reverberant space. If you want to hear this music on a modest scale or with historical touches, lok elsewhere. After he decamped to Europe, Bernstein made a second Beethoven cycle with the Vienna Phil. that's leaner, faster, but somewhat lacking in the excitment of discovery that one heard the first time around.

Beethoven - Symphonies 1-9 · Overtures / London Classical Players · Sir Roger Norrington

Average customer rating:

Nice recording
Strong on the even numbered symphonies ...
Norrington's Performances are the Worst of the Worst of the Worst of the Worst, I wish I was exaggerating!
Great sound, but Symphonies 1, 2 and 4 are the best here.
Excellent - emotion & energy!

Beethoven - Symphonies 1-9 · Overtures / London Classical Players · Sir Roger Norrington
Ludwig van Beethoven , Roger Norrington , Sarah Walker Yvonne Kenny , Petteri Salomaa Patrick Power , and Schütz Choir of London London Classical Players
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Schubert: 8 Symphonies

ASIN: B00005A9O0
Release Date: 2001-11-06

Tracks:

Sym No.1 in C, Op.21: I. Adagio Molto - Allegro Con Brio
Sym No.1 in C, Op.21: II. Andante Cantabile Con Moto
Sym No.1 in C, Op.21: III. Menuetto: Allegro Molto E Vivace
Sym No.1 in C, Op.21: IV. Adagio - Allegro Molto E Vivace
Sym No.3 in E flat, Op.55 'Eroica': I. Allegro Con Brio
Sym No.3 in E flat, Op.55 'Eroica': II. Marcia Funebre. Adagio Assai
Sym No.3 in E flat, Op.55 'Eroica': III. Scherzo - Allegro Vivace
Sym No.3 in E flat, Op.55 'Eroica': IV. Finale: Allegro Molto - Poco Andante - Presto
The Creatures Of Prometheus Ov, Op.43

Tracks:

Sym No.2 in D, Op.36: I. Adagio Molto - Allegro Con Brio
Sym No.2 in D, Op.36: II. Larghetto
Sym No.2 in D, Op.36: III. Scherzo (Allegro)
Sym No.2 in D, Op.36: IV. Allegro Molto
Sym No.8 in F, Op.93: I. Allegro Vivace E Con Brio
Sym No.8 in F, Op.93: II. Allegro Scherzando
Sym No.8 in F, Op.93: III. Tempo Di Menuetto
Sym No.8 in F, Op.93: IV. Allegro Vivace
Coriolan Ov, Op.62
Egmont Ov, Op.84

Tracks:

Sym No.4 in B flat, Op.60: I. Adagio - Allegro Vivace
Sym No.4 in B flat, Op.60: II. Adagio
Sym No.4 in B flat, Op.60: III. Allegro Vivace - Trio: Un Poco Meno Allegro
Sym No.4 in B flat, Op.60: IV. Allegro Ma Non Troppo
Sym No.7 in A, Op.92: I. Poco Sostenuto - Vivace
Sym No.7 in A, Op.92: II. Allegretto
Sym No.7 in A, Op.92: III. Allegro Vivace - Trio: Un Poco Meno Allegro
Sym No.7 in A, Op.92: IV. Allegro Con Brio

Tracks:

Sym No.5 in c, Op.67: I. Allegro Con Brio
Sym No.5 in c, Op.67: II. Andante Con Moto
Sym No.5 in c, Op.67: III. Allegro
Sym No.5 in c, Op.67: IV. Allegro - Presto
Sym No.6 in F, Op.68 'Pastoral': I. Allegro Non Troppo - Awakening Of Happy Feelings On Arriving...
Sym No.6 in F, Op.68 'Pastoral': II. Andante Molto Mosso - Scene By The Brook
Sym No.6 in F, Op.68 'Pastoral': III. Allegro - Merry Gathering Of The Country Folk
Sym No.6 in F, Op.68 'Pastoral': IV. Allegro - Storm And Tempest
Sym No.6 in F, Op.68 'Pastoral': V. Allegretto - Shepherd's Song. Happy And Thankful Feelings...

Tracks:

Sym No.9 in d, Op.125 'Choral': I. Allegro Ma Non Troppo - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London
Sym No.9 in d, Op.125 'Choral': II. Molto Vivace - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London
Sym No.9 in d, Op.125 'Choral': III. Adagio Molto E Cantabile - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London
Sym No.9 in d, Op.125 'Choral': IV. Presto - Allegro - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London

Customer Reviews:

Nice recording.......2007-05-20

I got this recording to hear how Beethoven might sound on period instruments. That sort of thing interests me; I play early woodwinds, myself. The playing is good; and I think I got my money's worth.

Strong on the even numbered symphonies ..........2007-03-22

If you're after superb recordings of the 2nd, 4th, 6th and 8th symphonies, look no further. However, I find Norrington's interpretations of the odd numbered symphonies much less effective for some reason. I've had this set for some years now (I own several recordings of the Beethoven symphonies, five complete cycles, in fact) and I have come to the conclusion that Norrington's recordings of the 2nd, 4th and 8th symphonies are amongst the best available. However, he is weaker in some of the other symphonies. Yet this is a very enjoyable cycle and I do enjoy listening to it, albeit a little critically.

Many or most music lovers will be aware that this was probably the first complete set of recordings on period instruments which took Beethoven's metronome marks very seriously and endeavoured to adhere to them as much as humanly possible. I am inclined to agree with Nikolaus Harnoncourt on this subject and he suggests that Beethoven's metronome markings were worked out in his head and represent how these works might sound in the imagination rather than in the concert hall, does that make any sense?

Hogwood's slightly earlier pioneering H.I.P. recordings of Beethoven symphonies please me a little more than Norrington's. Hogwood wasn't as dogmatic about the metronome markings and I feel that his set is a little more dramatic and "potent" than Norrington's. Those are my feelings.

If you're after a very cheap set of Beethoven symphonies on period instruments, look no further. If you're "cashed up" and a little more choosy, go for Gardiner or Brüggen or, perhaps, Goodman's.

Norrington's Performances are the Worst of the Worst of the Worst of the Worst, I wish I was exaggerating!.......2006-02-05

This was recorded back in the 1980's when the period instrument movement was still just getting off the ground and the incompetence level of period instrument performers and conductors was off the charts! The instruments themselves were weezy, scratchy and just plain pathetic. Performance standards have improved today but I can't believe anyone in their right mind prefered Beethoven played this way, back in the 1980's, today or even 200 hundred years ago.

Since these performances are so pathetic as to be almost unmentionable, I'll zero in on two symphonies in particular, the Eroica and the 9th. The tempos for all the movements of the Eroica are very fast, the first movement with the exposition repeat observed is only 15:20. Very fast, so it should be exciting, explosive, right? Wrong. It's flat out boring and I was actually getting drowsy. It goes without saying that the instruments have no weight, no depth and no power but the performance lacks any insight at all, especially so in the great Funeral March, here played like a stroll in the park.

The Ninth Symphony is even worse, far, far worse. The first two movements rattled off without even a thought or care. The great, spiritual adagio becomes whiney, rushed nonsense in Norrington's hands and the choral finale was so awful I had to stop it several times.

To call the London Classical Players the equals of a high school orchestra would be an insult to high school orchestras everywhere. The London Classical Players are much more like elementary school children with their first instruments.

This kind of mockery of Beethoven might be fine in England but I'm sure the Germans and Austrians had a good laugh as their hearts filled with rage against the idiotic Englishman! Of course I didn't buy this crappy Norrington set, I just borrowed it from the library and returned it as soon as possible. I feel sorry for anyone who thinks this is good and I feel even more sorry for anyone who thinks that this is how Beethoven should actually be played! With no joy, no soul, no power, no spirituality. If you insist on period instruments ( why would you insist on that you moron? ), go get John Eliot Gardiner. If you actually want to hear drama and beauty in this music, go to Karajan or if you want to experience the full depth and profundity of these works, go to Furtwangler.

Great sound, but Symphonies 1, 2 and 4 are the best here........2005-12-04

Roger Norrington's controversial and ground breaking period instrument Beethoven Symphony cycle with the London Classical Players, recorded and released in the mid-late 1980s, is here offered by Virgin Classics at budget price. Norrington's recordings have great sound, and Symphonies 1, 2 and 4 are the best recorded and played here. Perhaps it is also true that the lighter, more Haydn like textures of these symphonies work better on period instruments than do the sterner, more muscular symphonies, such as 3 "Eroica", 5, 6 "Pastoral", 7, 8, and 9.

This is an interesting alternative view of Beethoven, but it should by no means be one's only set of these famous works. For the "larger" symphonies, I would recommend: 3, "Eroica": Szell/Cleveland (Sony); Bruno Walter/Columbia (Sony); Karl Bohm/Vienna Philharmonic (DG); for 5, Reiner/Chicago (RCA);
Bohm/Vienna (DG); Karajan/Berlin (DG, 1975 recording, with complete symphonies); Carlos Kleiber/Vienna (DG); for 6, "Pastoral": Bruno Walter/Columbia (Sony); Bohm/Vienna (DG);
Andre Clutyens/Berlin Philharmonic (Seraphim); for 7, Bohm/Vienna (DG); for 8, Bohm/Vienna (DG); Ormandy/Philadelphia (Sony); Bernstein/Vienna (DG); for 9, Szell/Cleveland (Sony), Karajan/Berlin (DG, 1962);
Furtwangler/Philharmonia (Tahra, Lucerne VIII/1954, perhaps hard to find at the present date); Bohm/Vienna (DG, 1970).
Norrington's fast tempos seem to gloss over important points in many movements of these symphonies, especially 3:I, III; 5: III, IV (blazing intensity, but too fast); 6:I (too fast!); and 9: III and IV are positively bizarre, really turning the Beethoven I know and love inside out, with wildly different tempos from section to section.

Still, I give this 5 stars and applaud Norrington's bravery in recording Beethoven as he was not recorded previously, with period instruments, and different ideas of tempo, articulation, and phrasing. Norrington's recordings will not be confused with others: there are none others quite like them.

Excellent - emotion & energy!.......2005-05-30

I cannot remember the number of times I've listened to this - Fifth very good (survival against misfortune) - Sixth very good (joy/energy/movement to storm/lightening to peace/content) - Ninth the first movement, unbelievable carry of energy, revenge & rightful destruction of old/irrelevant . . . So much emotion & energy created/captured by Beethoven.

Average customer rating:

Beethoven: The 9 Symphonies; Overtures

Manufacturer: Berlin Classics
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B0000035NU
Release Date: 1994-09-20

Beethoven: Complete Symphonies; Overtures; Missa Solemnis

Average customer rating:

Excellent...period!
A delightful change
Hardwearing Velet
Hanover Band Beethoven
Beethoven of varied quality

Beethoven: Complete Symphonies; Overtures; Missa Solemnis

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Tracks:

Symphony No. 1 In C Major Op. 21: I. Adagio molto -- Allegro con brio
Symphony No. 1 In C Major Op. 21: II. Andante cantabile con moto
Symphony No. 1 In C Major Op. 21: III. Menuetto: Allegro molto e vivace
Symphony No. 1 In C Major Op. 21: IV. Adagio -- Allegro molto e vivace
Symphony No. 2 In D Major Op. 36: I. Adagio molto -- Allegro con brio
Symphony No. 2 In D Major Op. 36: II. Larghetto
Symphony No. 2 In D Major Op. 36: III. Scherzo: Allegro
Symphony No. 2 In D Major Op. 36: IV. Allegro molto

Tracks:

Symphony No. 3 In E Flat Major Op. 55 'Eroica': I. Allegro con brio
Symphony No. 3 In E Flat Major Op. 55 'Eroica': II. Marcia funebre: Adagio assai
Symphony No. 3 In E Flat Major Op. 55 'Eroica': III. Scherzo: Allegro vivace
Symphony No. 3 In E Flat Major Op. 55 'Eroica': IV. Finale: Allegro molto
Symphony No. 4 In B Flat Major Op. 60: I. Adagio -- Allegro vivace
Symphony No. 4 In B Flat Major Op. 60: II. Adagio
Symphony No. 4 In B Flat Major Op. 60: III. Allegro vivace
Symphony No. 4 In B Flat Major Op. 60: IV. Allegro ma non troppo

Tracks:

Symphony No. 5 In C Minor Op. 67: I. Allegro con brio
Symphony No. 5 In C Minor Op. 67: II. Andante con moto
Symphony No. 5 In C Minor Op. 67: III. Allegro
Symphony No. 5 In C Minor Op. 67: IV. Allegro
Symphony No. 6 In F Major Op. 68 'Pastoral': Allegro ma non troppo
Symphony No. 6 In F Major Op. 68 'Pastoral': II. Andante molto mosso
Symphony No. 6 In F Major Op. 68 'Pastoral': III. Allegro
Symphony No. 6 In F Major Op. 68 'Pastoral': IV. Allegro
Symphony No. 6 In F Major Op. 68 'Pastoral': V. Allegretto

Tracks:

Symphony No. 7 In A Major Op. 92: I. Poco sostenuto -- Vivace
Symphony No. 7 In A Major Op. 92: II. Allegretto
Symphony No. 7 In A Major Op. 92: III. Presto
Symphony No. 7 In A Major Op. 92: IV. Allegro con brio
Symphony No. 8 In F Major Op. 93: I. Allegro vivace e con brio
Symphony No. 8 In F Major Op. 93: II. Allegretto scherzando
Symphony No. 8 In F Major Op. 93: III. Tempo di menuetto
Symphony No. 8 In F Major Op. 93: IV. Allegro vivace

Tracks:

Symphony No. 9 In D Minor Op. 125 'Choral': Allegro ma nan troppo un maetoso
Symphony No. 9 In D Minor Op. 125 'Choral': II. Molto vivace
Symphony No. 9 In D Minor Op. 125 'Choral': III. Adagio molto e cantabile
Symphony No. 9 In D Minor Op. 125 'Choral': IV. Presto -- Allegro assai

Tracks:

Coriolan, Op. 62
The Ruins Of Athens, Op. 113
King Stephen, Op. 117
Leonore No.2, Op. 72a
Fidelio, Op. 72c
Egmont, Op.84
The Creatures Of Prometheus, Op. 43
The Consecration Of The House, Op. 124

Tracks:

Missa Solemnis: Kyrie
Missa Solemnis: Gloria
Missa Solemnis: Credo
Missa Solemnis: Sanctus
Missa Solemnis: Agnus Dei

Customer Reviews:

Excellent...period!.......2005-05-11

This Beethoven set features the Hanover Band playing on period instruments with less musicians than the average orchestra. These were recorded in a spacious, atmospheric acoustic approximating were Beethoven would have premiered them. The result is thoroughly enjoyable and still sound and feel great after repeated listening.

I also find them far preferable to Hogwood, Norington and Gardiner. Though the Bruggen set on the Phillips label are also pretty good as well. But these seem to have a magical quality about them that is hard to beat.

It's interesting to read about what are the "best" performances, as far as I can tell there are no weak spots to be found. One person wrote - the first was the only letdown - and yet, I found the first to be something quite special. I personally thought the 8th was the only slight drawback to the set, and yet someone else wrote it was their favorite. So who really knows?

This also makes a good second set if you already have a modern interpretation.

A delightful change.......2003-10-07

This is a thoroghly delightful set performed on period instruments and tempo. Well worth the price - I have repeatedly listened to the performances and they wear well. There is also a bonus - the recordings are encoded in Ambiasonic sound and will decode nicely on a home theater surround system. One caveat - the recordings were done in an accoustically live environment and if your system tends to the bright side, the recording will seem a tad on the bright side. If you have a complete set of the Beethoven symphonies with a contemporary interpretation, this set is a worthwile acquisition as a reference.

Hardwearing Velet.......2003-01-29

This Nimbus Beethoven set features the Hanover Band - playing on period instruments with fewer players than the average `symphony orchestra' - recorded in a spacious, atmospheric acoustic. The result is seductive, velvety and thoroughly enjoyable!

The performances are directed by Roy Goodman and Monica Huggett. It's not easy to tell them apart and I dare say the seasoned players of the Hanover Band would do almost as well without anyone `directing' them in these honest, workman-like performances. Nothing `revelatory' or earth-shattering. No fuses blow, no lightening strikes. But on the other hand we're not wearied by pointless idiosyncrasies that after hearing once only annoy. Quite the opposite in fact - the Hanover Band performances wear well after repeated listening, although the complacent, vacuous presentation of the slow movements of the 3rd and 9th symphonies can't be said to improve with re-hearing. But don't be put off - there's much here that's enjoyable. And it must be worth something for once not to have to endure a conductor who insists on impressing you with his `insights'!

Hanover Band Beethoven.......2001-07-22

A lot of critical attention has been drawn to the resonant acoustic in which these performances were recorded. The original Gramophone reviewer for example commended the 'natural' balance and perspective, while the Amazon's reviewer David Hurwitz (an anti-authentic critic if there ever was one!) referred to both sound and performance as 'utterly grotesque'! I personally favour the former evaluation; while the reverberance may not be to everybody's taste, it does mean that the brass can let rip without overwhelming the rest of the orchestra, and gives the string tone a warmth and bloom not found on other period cycles. While the woodwind may at times appear 'disembodied' this is a very minor cavil and again this is a subjective issue. As for the performances themselves, I personally find them far preferable to such rivals as Hogwood and Gardiner; the directorship of Goodman allows more freedom of expression than the former, while avoiding the at times wilful excesses of Gardiner. Overall these are played with zing and character, two qualities Beethoven would have surely admired.

Beethoven of varied quality.......2001-05-13

Do period instruments always make for a more authentic performance? Some would accept that as an axiom, but listening to this set shows that this is not always the case. Remember that Beethoven did not always write his visionary music with the instruments of his time in mind; for him, the limitations of those instruments were something to be overcome, not worked around. Accordingly, the Hanover Band sometimes struggles with this powerful and revolutionary music, producing recordings of varied quality.

For a group whose strengths lie in the music of the early Classical period, it is surprising that perhaps their weakest performance comes in the most Haydnesque of all the symphonies, the First. Monica Huggett takes the music at too measured a pace, and the result is a performance that plods along, in contrast to (for example) Karajan's peppy version of the First. The other more "conservative" symphonies (Second, Fourth, and Eighth), however, are excellent. The Sixth is the best of the set, with Roy Goodman and the Hanover Band managing to capture all the nuances of what is Beethoven's most textural symphony with the possible exception of the Ninth.

It is in the more powerful symphonies (Third, Fifth, and Ninth) where the Hanover Band struggles. It is easy to see the vision and striving of Beethoven in these performances, but they lack the excitement and verve of the greatest recordings, and in the end, they can sound hopelessly old-fashioned (in the Ninth wasting an outstanding effort by the soloists).

The biggest argument in favor of this set is, like all of Nimbus's sets, the bargain price, made even more tempting by the inclusion of a sampling of Overtures, and a fine Missa Solemnis (though it, too, is not without its shortcomings).

Tracks:

Symphony No.1 In C Major, Op.21: I. Adagio molto -- Allegro con brio
Symphony No.1 In C Major, Op.21: II. Andante cantabile con moto
Symphony No.1 In C Major, Op.21: III. Menuetto (Allegro molto e vivace) & Trio
Symphony No.1 In C Major, Op.21: IV. Adagio -- Allegro molto e vivace
Symphony No.7 In A Major, Op.92: I. Poco sostenuto -- Vivace
Symphony No.7 In A Major, Op.92: II. Allegretto
Symphony No.7 In A Major, Op.92: III. Presto -- Assai meno presto
Symphony No.7 In A Major, Op.92: IV. Allegro con brio

Tracks:

Symphony No.2 In D Major, Op.36: I. Adagio molto - Allegro con brio
Symphony No.2 In D Major, Op.36: II. Larghetto
Symphony No.2 In D Major, Op.36: III. Scherzo (Allegro) & Trio
Symphony No.2 In D Major, Op.36: IV. Allegro molto
Symphohy No.4 In B Flat Major, Op.60: I. Adagio - Allegro vivace
Symphohy No.4 In B Flat Major, Op.60: II. Adagio
Symphohy No.4 In B Flat Major, Op.60: III. Allegro vivace - Trio (Un poco meno allegro) - Tempo I
Symphohy No.4 In B Flat Major, Op.60: IV. Allegro ma non troppo

Tracks:

Symphony No.3 In E Flaat Major, Op.55: I. Allegro con brio
Symphony No.3 In E Flat Major, Op.55: II. Marcia funebre (Adagio assai)
Symphony No.3 In E Flaat Major, Op.55: III. Scherzo (Allegro Vivace) Trio
Symphony No.3 In E Flaat Major, Op.55: IV. Finale (Allegro molto-Poco Andante-Presto)
Symphony No.3 In E Flaat Major, Op.55: Grosse Fuge, Op.133

Tracks:

Symphony No.5 In C minor, Op.67: I. Allegro con brio
Symphony No.5 In C minor, Op.67: II. Andante con moto -- Piu mosso -- Tempe I
Symphony No.5 In C minor, Op.67: III. Allegro
Symphony No.5 In C minor, Op.67: IV. Allegro -- Presto
Symphony No.8 In F Major, Op.93: I. Allegro vivace con brio
Symphony No.8 In F Major, Op.93: II. Allegretto scherzando
Symphony No.8 In F Major, Op.93: III. Tempe di Menuetto
Symphony No.8 In F Major, Op.93: IV. Allegro vivace

Tracks:

Symphony No.6 In F Major, Op.66 'Pastoral': I. Allegro ma non troppo - 'Awakening of pleasant feelings on arriving in the country'
Symphony No.6 In F Major, Op.66 'Pastoral': II. Andante molto mosso - 'Scene by the brook'
Symphony No.6 In F Major, Op.66 'Pastoral': III. Allegro - 'Peasants merrymaking'
Symphony No.6 In F Major, Op.66 'Pastoral': IV. Allegro - 'The Storm'
Symphony No.6 In F Major, Op.66 'Pastoral': V. Allegretto - 'Shepherds Hymn after the storm'
Egmont, Op.84 - Incidental Music: Overture
Egmont, Op.84 - Incidental Music: Die Trommel ger
Egmont, Op.84 - Incidental Music: Freudvoll und leidvoll
Egmont, Op.84 - Incidental Music: Klarchens Tod bezeichnend
Prometheus, Op.43: Overture

Tracks:

Symphony No. 9 In D Minor, Op. 125 'Choral': Allegro ma non troppo, un poco maestoso
Symphony No. 9 In D Minor, Op. 125 'Choral': Molto vivace
Symphony No. 9 In D Minor, Op. 125 'Choral': Adagio molto canatabile - Andante moderato - Adagio
Symphony No. 9 In D Minor, Op. 125 'Choral': Presto - Allegro ma non troppo - Allegro assai - Allegro assai vivace - Alla Marcia - Andante maestoso - Allegro energico, sempre ben marcato - Allegro ma non tanto - Pocco Adagio - Prestissimo

Tracks:

Overtures: Leonore Nr.1, Op. 138 - Ludwig Van Beethoven
Overtures: Leonore Nr.2, Op. 72 - Ludwig Van Beethoven
Overtures: Leonore Nr.3, Op. 72a - Ludwig Van Beethoven
Overtures: Fidelio, Op. 72b - Ludwig Van Beethoven
Overtures: Die Weihe des Hauses, Op. 124 - Ludwig Van Beethoven
Overtures: K Stephan, Op. 117 - Ludwig Van Beethoven
Overtures: Coriolan, Op. 62 - Ludwig Van Beethoven

Amazon.com essential recording

Otto Klemperer's Beethoven is one of the towering achievements in the history of recordings. By today's standards, these performances are hopelessly old-fashioned: dark, heavy, and frequently very slow. But they are also the grandest, most unsentimental, most purposeful versions in the catalog. In addition, the relatively slow tempos (only in the fast movements--the slow ones are pretty swift) and forward wind balance permits more detail to be heard than in most original-instrument performances. At budget price and with a fantastic disc of overtures thrown in for good measure, this is greatness incarnate. --David Hurwitz

Customer Reviews:

Unforgettable and Utterly Compelling.......2001-03-02

This Klemperer set belongs in the most exalted company imaginable. In these symphonies and overtures, you find that the entire spectrum of human emotions that Beethoven conjured forth have been understood and communicated perfectly by a man who was a great humanitarian in his own right. For starters, Klemperer's interpretation of the "Eroica" stands alone, and listening to his take on the funeral march is one of the most mind-blowing listening experiences you'll ever have. The rest of his interpretation of this symphony is absolutely formidable too, because Klemperer always has the most incredible control over not only a movement within a symphony, but that movement's relationship to the whole, and his grip never falters. What surprised me most about this collection though is the humour and sheer joy Klemperer brought to the first, second and eighth symphonies; this is entirely appropriate of course, but it illustrated for me how effortlessly he could move from Beethoven's tragic dimension into the less ostensibly heroic works. This adaptability easily transfers over to produce a compact, coiled and vital fourth, and a "Pastoral" that reveals hidden depths of disquiet as well as its better-known lyricism. The transformation from the menacing storm into the Shepherd's Song is operatic in its dramatic intensity, and I don't know of any better rendition of this beautiful moment.

The primary objection to these interpretations is that the tempos are often too slow, especially those of the fifth and seventh, and above all the finales of those two symphonies. When I first heard them I thought so too; however, once you listen to these renditions in their entirety, you find the finales completely consistent with Klemperer's overall vision of the works as a whole, and suddenly you feel Klemperer has been very faithful to their structural integrity. If you want alternative visions of these symphonies, try Carlos Kleiber, who really races through them at controversially fast tempos, or Karajan (1963 versions), who clocks in somewhere in between.

The ninth is fine and you certainly won't be missing out on anything by sticking with Klemperer here, but I think the recording quality leads to a somewhat diminished finale, and Karajan's 1977 recording and Giulini's on EMI/Seraphim (now available at a super-budget price) are unbeatable. Klemperer is nevertheless one of those giants of twentieth century conducting, whose integrity suffuses every aspect of Beethoven's work to create a unique listening experience. Karajan's 1963 collection is wonderful, also gets me close to what Beethoven was doing, and is probably more consistent overall. Still, there's something awe-inspiring about what Klemperer achieves here that makes Karajan seem bland at times, so that Klemperer has to be my first choice. Check out Klemperer's Brahms as well for more magical listening experiences.

The Supreme Beethoven Symphonies.......2001-02-20

I am an extreme lover of classical music and I know quality of music very very well. When I began looking for a great set of Beethoven Symphonies I was expecting to find only the best. Then I came across 2 great recordings: by Klemperer and Karajan. I wasn't sure at all which would be better the strength and power of Karajan's Beethoven, or the real German qualities of Klemperer's Beethoven. I listened very closely to both, and finally came to a conclusion, KLEMPERER!!! The singers in the Klemperer recording are greater (Christa Ludwig, Hans Hotter,and Birgit Nilson) and plus they give you the complete overtures. THIS IS THE GREATEST BEETHOVEN EDITION OF SYMPHONIES THERE EVER WAS, IS, AND EVER WILL BE!!!!!!!!!!

Where's the mono?.......2000-04-11

Klemperer is one of the greatest interpreters of Beethoven and his recordings with the Philharmonia Orchestra remain some of the best interpretations on disc. So why only 4 stars, you ask? The 1st, 2nd, 4th, 6th, 8th are all great, as is the 9th, except that the scherzo is a bit slow and the soloists are a bit of an ear-sore. It's the 4th, 5th and 7th in this set that are the problems. Instead of offering the mono versions of these works, which Klemperer performed with the Philharmonia Orchestra, EMI chose to include the later, worse mono versions. The stereo 3rd is nearly as good as the mono, but the 5th and 7th are too slow and too dull. This set is probably worth buying for 1,2,3,4,6,8 and 9, but I would wait until EMI choses to release the mono versions of the 3rd, 5th, and 7th, if they ever do.

JDFlynn.......2000-03-24

I don't know a lot about classical music, but I do know this -- when it comes to conducting Beethoven with all the sublety of the Grand Canyon, Otto Klemperer is OK! And I don't mean obsessive-kompulsive either, although it sure can sound that way sometimes. Perhaps it had to do with Klemperer's bipolar condition. His mono performances have more vitality in them than nearly all the digitally recorded versions of the past 20 years. You want more details? Just listen to all that knitting going on with the brass and woodwinds. I'll bet ol' Schoenberg used to remind OK about that when the latter sat in on some of Arnold's classes at UCLA/USC. To me, one of the the best things about classical music is when you can simultaneously be awestruck by the composer AND the conductor. Like in recordings with Debussy/Boulez and Mahler/Horenstein. Doesn't happen very often on balance. BTW, Testament's recent release of OK's live performance of Beethoven's 9th, done near the time of the recorded effort included in this set, will knock your socks off, too. I would suggest Klempo-maniacs purchase that one, too.

A Monumental Achievement.......2000-03-10

I was introduced to Klemperer's recordings several years ago and I must say that it took me a while to appreciate his genius. His recording of the Beethoven Symphonies (along with the Brahms, Schumann, and Mahler Symphonies) is a testimony to one of the greatest conductors who ever lived. Under his baton, Beethoven sounded true and unsentimental. What you hear is pure sound. Some of the highlights that are worth listening for would be: the mysterious opening of the 4th Symphony, the transition from the 3rd to the final movement of the 5th Symphony, the granite-like sonority of the opening of the 7th Symphony and, of course, the heavenly account of the 9th Symphony.

I acquired the complete CD recordings produced by EMI for less than $50 (includes the Fidelio Overtures, and some other music).

Tracks:

Sym No.3 in E flat, Op.55 'Eroica': I. Allegro Con Brio
Sym No.3 in E flat, Op.55 'Eroica': II. Marcia Funebre: Adagio Assai
Sym No.3 in E flat, Op.55 'Eroica': III. Scherzo: Allegro Vivace
Sym No.3 in E flat, Op.55 'Eroica': IV. Finale: Allegro Molto/Poco Andante/Presto
Sym No.5 in c, Op.67: I. Allegro Con Brio
Sym No.5 in c, Op.67: II. Andante Con Moto
Sym No.5 in c, Op.67: III. Allegro
Sym No.5 in c, Op.67: IV. Allegro

Tracks:

Sym No.4 in B Flat, Op.60: Adagio/Allegro Vivace
Sym No.4 in B Flat, Op.60: Adagio
Sym No.4 in B Flat, Op.60: Menuetto: Allegro Vivace
Sym No.4 in B Flat, Op.60: Allegro Ma Non Troppo
Sym No.7 in A, Op.92: Poco Sostenuto
Sym No.7 in A, Op.92: Allegretto
Sym No.7 in A, Op.92: Presto
Sym No.7 in A, Op.92: Allegro Con Brio
Leonore I: Ov

Tracks:

Sym No.9 in d, Op.125 'Choral': Allegro Ma Non Troppo - Jarmila Novotna/Kerstin Thorborg/Jan Peerce/Nicola Moscona/Westminster Choir
Sym No.9 in d, Op.125 'Choral': Scherzo. Molto Vivace - Jarmila Novotna/Kerstin Thorborg/Jan Peerce/Nicola Moscona/Westminster Choir
Sym No.9 in d, Op.125 'Choral': Adagio Molto Cantabile - Jarmila Novotna/Kerstin Thorborg/Jan Peerce/Nicola Moscona/Westminster Choir
Sym No.9 in d, Op.125 'Choral': Finale. Presto Ma Non Troppo - Jarmila Novotna/Kerstin Thorborg/Jan Peerce/Nicola Moscona/Westminster Choir
Choral Fant in c, Op.80 - Ania Dorfmann/Westminster Choir

Tracks:

Sym No. 1 in C, Op.21: Adagio Molto/Allegro Con Brio
Sym No. 1 in C, Op.21: Andante Cantabile Con Moto
Sym No. 1 in C, Op.21: Menuetto: Allegro Molto E Vivace
Sym No. 1 in C, Op.21: Adagio/Allegro Molto E Vivace
Sym No. 2 in D, Op.36: Adagio Molto/Allegro Con Brio
Sym No. 2 in D, Op.36: Larghetto
Sym No. 2 in D, Op.36: Scherzo: Allegro
Sym No. 2 in D, Op.36: Allegro Molto
Sym No. 8 in F, Op.93: Adagio Vivace E Con Brio
Sym No. 8 in F, Op.93: Allegretto Scherzando
Sym No. 8 in F, Op.93: Tempo Di Menuetto
Sym No. 8 in F, Op.93: Alllegro Vivace

Tracks:

Sym No. 6 in F, Op.68 'Pastorale': Allegro Ma Non Troppo
Sym No. 6 in F, Op.68 'Pastorale': Andante Molto Mosso
Sym No. 6 in F, Op.68 'Pastorale': Scherzo. Allegro
Sym No. 6 in F, Op.68 'Pastorale': Allegro
Sym No. 6 in F, Op.68 'Pastorale': Allegretto
Leonore III: Ov
Egmont: Ov
Fidelio: Ov
Coriolan: Ov

Ludwig Van Beethoven 9 Symphonien Karajan Overtures Egmont Leonore Fidelio (Import)

Average customer rating:

Ludwig Van Beethoven 9 Symphonien Karajan Overtures Egmont Leonore Fidelio (Import)

Manufacturer: Grammophon Deutsche
ProductGroup: Music
Binding: Audio CD

Product Description

Beautiful GERMAN IMPORT. 6 Discs, booklet and outer sleeve.

Music Review: