This must be one of the year's best performances of the Ninth Symphony. Not a trace of lofty heroism here - Mariss Jansons and the Bavarian Radio Symphony Orchestra bring out the life-affirming aspects of the work, culminating in a hymn of heartfelt naturalness from which the audience draws inner strength' (Mostly Classic).
It's increasingly common to hear the symphonies of Ludwig van Beethoven played on original instruments and according to authentic period practices, which have become de rigueur for many contemporary conductors and orchestras. But Martin Haselböck and the Vienna Academy Orchestra go one step further by playing them in their original Viennese venues, thus creating something close to the sound and impact of the first performances.
Recorded between 1964 and 1968, Paul Kletzki's respected cycle of Ludwig van Beethoven's symphonies on Supraphon rightly should be classified as a historical item for specialists, rather than as a recommended option for anyone seeking a great (and great sounding) modern set. Kletzki was an admired and popular conductor, noted for working with both European and American orchestras, and his interpretations of Beethoven are intelligent and insightful, regarded by some reviewers as among the finest of their time; the performances are still valuable for their musicality and significance among mid-20th century offerings.
Recordings of all the Beethoven symphonies with their chief conductor are always a milestone in the artistic work of the Berliner Philharmoniker. So it was with Herbert von Karajan and Claudio Abbado, and expectations are correspondingly high for this cycle conducted by Sir Simon Rattle. Where does the special status of these symphonies come from? Simon Rattle has an explanation: “One of the things Beethoven does is to give you a mirror into yourself – where you are now as a musician.” In fact, this music contains such a wealth of extreme emotions and brilliant compositional ideas that reveal the qualities of the orchestra and its conductor as if under a magnifying glass.
Major documents from Rudolf Kempe's later years at the head of the Munich Philharmonic. Beethoven's Fifth, that masterpiece of emotional tension, and his Sixth, all vivid depiction of nature, are both readings of maturity and perfection.