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11 of 11 people found the following review helpful
Format:DVD
Christian Thielemann's readings of the first three Beethoven symphonies in splendid video and uncompressed audio are first-rate interpretations, though rather slow and painstakingly detail-focused. The Wiener Philharmoniker - at first in somewhat smaller complement, then, alas, in increasing strength - play exceedingly well, as can be expected. These are "traditional" interpretations, definitely not of the "historical" or "period" schools. Thielemann, however, is well aware of their accomplishments and he lets the woodwinds, brass and timpani (he often has hard sticks) shine through the rather dense strings fabric wherever he sees fit. I must admit that, after decades of listening (often uneasily) to "big band", bombastic, homogenized Beethoven, my ears opened wide with more recent developments. My reference recordings are: Norrington's 2002 Stuttgart Cycle (CD), Gielen (DVD) and, just recently discovered, Paavo Järvi's Deutsche Kammerphilharmonie Bremen cycle on DVD, which I find revelatory and a towering achievement. Next to these, Thielemann can still hold his own. As we know from his Bruckner readings, he is always conscious of the work as a whole and, moreover, of the totality of Beethoven's symphonic cosmos. He does underplay the incredible vigor and unbound energy of the First. His grip on the Second and Third is much better, although I still miss some of the heaven-storming energy, which he replaces with gravitas and strength. This is the reason for my four stars. These are, for better or for worse, very "Teutonic" interpretations, as are the two overtures in their severe splendor. The bonus work(shop) dialogues with Joachim Kaiser are stimulating, both participants in accord most of the time. I would have wished for a bit more productive dissent.
1 of 1 people found the following review helpful
Format:Blu-ray|Amazon Verified Purchase
This is, on the face of it, a very generous and tempting coupling of Beethoven's first three symphonies plus two overtures all on one disc. The recording company, C Major, is in my opinion one of the very best working today. As a result we get unfailingly excellent surround sound and high quality visuals with sympathetic and knowledgeable camera work. So what of the actual performances?
Thielemann is very much his own man in this important respect. What we have here is 'big band' Beethoven with a large modern orchestra. There is no effort made to reproduce in any way the sound world that Beethoven inhabited. The textures presented here are fuller and more luscious in contrast to the sparer and rawer sounds that 'authentic' instruments deliver. Thielemann favours a well upholstered sound world and for this he is much appreciated by his Viennese audiences. It will also appeal to all listeners at home who find the 'authentic' approach rather too lean for their taste.
Thielemann goes further than just the sound world though and adopts a 'Romantic Period' approach to expression that would fit easily with Berlioz (think of his Fantastic Symphony)and the later Romantics. This is achieved by extensive variations of speed and dynamics, none of which can be found in the score. Indeed by contrast, Beethoven's own instructions for speed, with very fast and steady metronome markings, have often raised doubts about the feasibility of performances at that rate. This has now been answered by the authentic movement who can give lithe performances possible at those speeds with their reduced orchestras and playing on more flexible older instruments.
I myself, was initially taken aback by Thielmann's approach and in particular struggled with his frequent choice of slow and very variable speeds. I felt he was attempting something that was well out of period and therefore inherently questionable. Upon further listening my views remain much the same - but nevertheless I rather enjoy this set of well performed, well recorded but seemingly indulgent Beethoven conducting. Not surprisingly these comments apply especially to the 3rd symphony which would be the one to sample to see if you like it. There are extensive extras provided in which Thielemann discusses his view of Beethoven with Joachim Kaiser.
In summary therefore, this comes with a strong positive recommendation but also with the proviso that this is unlikely to be first choice for purists who feel strongly about period performance style. I am certainly able enjoy it on its own terms but this is really Thielemann's Beethoven rather than the 'Beethoven' that we have now been taught to recognise by current researchers!
Thielemann is very much his own man in this important respect. What we have here is 'big band' Beethoven with a large modern orchestra. There is no effort made to reproduce in any way the sound world that Beethoven inhabited. The textures presented here are fuller and more luscious in contrast to the sparer and rawer sounds that 'authentic' instruments deliver. Thielemann favours a well upholstered sound world and for this he is much appreciated by his Viennese audiences. It will also appeal to all listeners at home who find the 'authentic' approach rather too lean for their taste.
Thielemann goes further than just the sound world though and adopts a 'Romantic Period' approach to expression that would fit easily with Berlioz (think of his Fantastic Symphony)and the later Romantics. This is achieved by extensive variations of speed and dynamics, none of which can be found in the score. Indeed by contrast, Beethoven's own instructions for speed, with very fast and steady metronome markings, have often raised doubts about the feasibility of performances at that rate. This has now been answered by the authentic movement who can give lithe performances possible at those speeds with their reduced orchestras and playing on more flexible older instruments.
I myself, was initially taken aback by Thielmann's approach and in particular struggled with his frequent choice of slow and very variable speeds. I felt he was attempting something that was well out of period and therefore inherently questionable. Upon further listening my views remain much the same - but nevertheless I rather enjoy this set of well performed, well recorded but seemingly indulgent Beethoven conducting. Not surprisingly these comments apply especially to the 3rd symphony which would be the one to sample to see if you like it. There are extensive extras provided in which Thielemann discusses his view of Beethoven with Joachim Kaiser.
In summary therefore, this comes with a strong positive recommendation but also with the proviso that this is unlikely to be first choice for purists who feel strongly about period performance style. I am certainly able enjoy it on its own terms but this is really Thielemann's Beethoven rather than the 'Beethoven' that we have now been taught to recognise by current researchers!
5 of 7 people found the following review helpful
Format:Blu-ray
Some critics seem to have it in for Thielemann so wasnt sure about this, however thoroughly enjoyed all the performances. Sound and picture are excellent and is good to at last hear some passion in Beethoven after all the rather dreary HIP performances of late.
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Most Recent Customer Reviews
I compared this performance To "The Symphnies" With Karajan, from...
I compared this performance To "The Symphnies" With Karajan from 67-72
This performance are definitlly is slowly and 10% to 20% longer in time. Read more
This performance are definitlly is slowly and 10% to 20% longer in time. Read more
Published 17 months ago by Hary Joseph
Rather dull performances
The performances are very serious with great attention to detail by Thielmann but the tempos are slower then anything I have ever heard since Otto Klemperer. Read more
Published 17 months ago by E. M. W. Merrett
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