This is the start of a Beethoven Symphonies cycle (Nos. 1-9) with Christian Thielemann and the Vienna Philharmonic Orchestra. The Beethoven cycle of the 21st century!
3 Documentaries - In a one-hour-long film for each symphony Maestro Thielemann and Joachim Kaiser (Germany´s most famous music critic) discuss and analyze in an entertaining conversational exchange Thielemann’s interpretation, complemented by excerpts from rehearsals as well as comparisons of Beethoven cycles with Karajan, Bernstein etc. – no aspect of Beethoven’s symphonic œuvre will remain unaffected!
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.
Karl Böhm's Beethoven is, on balance, the best complete cycle available from Deutsche Grammophon. This will come as a surprise to many, given the fact that the label relentlessly promotes performances by Herbert von Karajan (three complete cycles!) and Leonard Bernstein, but for quality of playing, as well as superb sound, these versions are just about unbeatable. And at a "twofer" price, the complete set on three pairs of discs is a terrific value. –David Hurwitz
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
Karl Böhm's Vienna Philharmonic Beethoven cycle is Deutsche Grammophon's best kept secret. Not only is it the finest complete set of Beethoven symphonies in their catalog, it's also far and away the best recorded, and to make matters even more irresistible, it's also the least expensive (it's available on three "twofer" sets). These performances are typical: weighty, intense, powerful, and magnificently played. Listen especially to the (comparatively) neglected Fourth Symphony: if Böhm doesn't convince you that this is major Beethoven, then no one can.
This disc represents Volume 2 of a set of the complete Beethoven symphonies currently in progress (the first volume, on the Talent label, included Symphonies 4 and 7 and was reviewed by Colin Anderson in 29:2). In a clumsily translated note Herreweghe refers to “nature” trumpets and “Baroque kettle drums with modern tuning”; these would appear to be the only concessions to period practice—by all accounts, the Royal Flemish orchestra employs modern instruments. This series would appear, then, to be comparable to the latest set conducted by Roger Norrington, with the orchestra of the Stuttgart Radio, on Hänssler.
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).
Beethoven was Wilhelm Furtwängler’s guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum – and a constant sense of imaginative freshness – through the interrelationship of form, harmony, texture, rhythm and tempo. These recordings, all made in the late 1940s and early 1950s, in the Musikverein in Vienna and at concerts in London, Bayreuth and Stockholm, were newly remastered in 2010, bringing their sound more alive than ever before.