Beethoven: The 9 Symphonies [Box set]

Before we start - please forgive any inevitable over-simplifications (and spelling mistakes).
Whilst the debate pertaining to which interpretaition (the Wagnerian 'Germanic' idiom as propounded by the philosophical Furtwangler or the leaner 'Italian' reading by Toscanini) of Beethoven's superlative symphonies is the stronger/more acurate/more enjoyable is, possibly, an adventure slightly wasteful of time that could be better spent on savouring magnificent music. It is enough (hopefully) to say that these interpretations are a more than convincing marriage of the two roads - Karajan's 'third way' of Beethoven - though Karajan leans towards Toscanini in tempo but compensates with lyrical phrasing and that stylish polish that makes his flare shine all the more.

Much has been comented about such surface gloss and superficial beauty and, for good or ill, it is in evidence in these performances. Here, though, for me, there is a side to Karajan that may not be in evidence elsewhere in his discography. This is a conductor who cherishes the music he makes - one can here it in the mystical forces active in the hypnotic oppening to Symphony no. 4; in the dramatic presence of the unmatched 5th; in the intoxicating rhythms of 'the aptheosis of dance', Symphony no. 7; in the touching humour and straightforward melodies of the 8th.

Enough of defending the conductor. What is the music realy like?

Symphonies 1 & 2 are satisfactory. It is a strugle to find inspirational performances of these symphonies but these are more than adequate for a building a collection.

'Eroica'! An initial testimony to Beethoven's superiority over most - if not all - other symphonists. This masterwork catalysed Beethoven's career and, strangely, it was a live performance with a small provincial orchestra that launched Karajan into the realms of notoriety. From this recording it is easy to see why Karajan's interpretation caused such a sensational stir. Typicaly, the oppening movement has all the power and drama one expects from this conductor and orchestra. The second movement has a swirling darkness of despair - marcia funebre this is and more. The scherzo has a delightful magnificence and rousing sense of heroism. The whole symphony is performed in a heavily inevitable manner that befits this, the first of romantic symphonies. I strggle to think of a rival but Klemperer's recording with EMI is a classic. Interestingly, it was a live performance, lead by Klemperer, of 'Eroica' that left an indelible mark upon Karajan.

No. 4 - easy to be brief her. Many critics wax lyrical about this performance. It is one of the greats - Karajan never had it so good in this symphony again. Few can match this.

No. 5 - the greatest symphony ever? Simple answer - yes. Again, this was probably Karajan's best 5th though the new release of his mid-late 70's 5th in 24-bit is worth investigating. Few can match the demonic energy, power and drama of this recording. With the inspired BPO lead by an equaly inspired maestro this music comes to life in spite of its overtones and undercurrents of death and unremiting sorrow. The transition from scherzo to finale, from dark despair to immutable human victory, is handled well and with a subdued vigore that allows the finale to burst dramaticaly from the chains that the previous movements bind it with. Carlos Kleiber's first rate performance with the VPO is perhaps the only rival to Karajan.

Symphony no. 6 is a let down - simple as. Karajan is unresponsive to wuch of Beethoven's finer composition in this recording. This is disapoining considering the wonderful 6th he recorded with the Philharmonia in London in the 50's. The mid-late 70's 6th also has wonderful detail and is also available in lush 24-bit with the 5th and 9th of the same era. Karl Bohm's interpretation of the sixth is highly thought of but his 'haphazard' way can turn people off though it is a decent recording and performance. Bohm has everything that Karajan lacks here - a relaxed drive, due care and attention and an orchestra that seems to have been more connected with the music at the time.

Karajan seemed to have a special connection to the 7th. He only recorded it blandly once - with the VPO (I think) in the 40's or 50's. This performance shows potential and promise but is not the best seventh around. Karajan's later 70's performance is similar but in every respect superior. Of course, we cannot mention the seventh without regard to Carlos Kleiber's monumental account though 70's Karajan does come very close.

Symphony no. 8 - 'my little symphony' as Beethoven referred to it. This is the best Karajan 8th but, if you hunt around, there may be superior accounts to be found but they will only have thier heads or noses in front of this one.

No. 9 - what a joy. Here, the first movement has great tragic elemnt throughout that has, almost, the ability to move to tears. The drama builds throughout the movement to a point where every note seems to have a punch of its own no matter how small it appears in the grand scheme. The second movement has the typical beethovenian demonic force fed by the overwhelming forward force of Karajan. The adagio is a thing of beauty that must be cherished for posterity's sake. This is paced between the swifter modern interpretation that places great emphesis on the intercourse between the various elements of the orchestra and the older stately pace that speaks of deep human emotion - in all it comes off well and Karajan concentrates to the very end (unlike some who seem to wander aimlesly in this movement). Yet, to think that Beethoven contemplated leaving the symphony here at the disintegration of the adagio - not to include the 4th movement would have been a crime against humanity. The Choral finale is in a class of its own. Though some have maligned this interpretation for being too swift I find it strange to discover that, often, the same people recomend Mackerras or Gardiner for this symphony. Personaly, I find the tempo near perfect throughout - it lends itself to the rest of the cycle regarding the interpretation being slightly more Toscanini than Furtwangler. The quartet of singers are fantastic - few recordings can match this one on that account - though the choir is backwardly balanced but not as badly as some older recordings. The orchestra are also superb throughout. A big concern in this set is that in crucial double or treble forte parts the recording equipment sounds like it has been overdriven to the point where much sound has been lost - a very big negative. The recent releases of this cycle on hybrid-SACD has meant considerable remastering and rebalancing which has gone a long way to rectifying the recording issues (one cannot expect miracles, though).

Overall, a very good cycle but by no means perfect. As individual components each symphony can be seen as a let down but as an holistic vision, the cycle comes off rather well. Personally I think it quite ecellent but you must make your own mind up. You will not hear what I hear and you may not like what I like. I would advise collecting these symphonies one or two at a time in their best preformances by various orchestras and coductors. For instance Klemperer's third could be considered superior to the present third and Kleibers 5th and 7th are considered difinitive. In the world of music, however, it is for the individual to make their own way - would we have it any other way?

This set of 5 CDs, which are sometimes confusingly referred to as the Karajan `1963 version' of Beethoven symphonies, are in fact recordings of performances between December 1961 and November 1962. This is according to the sleeve notes, which also state the publishing date of 1963 so I assume this is the cause of the mis-quotes.

The collection has also received much criticism for its quality of recording, but I couldn't hear any evidence of this on my set. Maybe recording techniques have improved since the 1960's but I would find these CD releases difficult to fault, and while the much-hyped vinyl pressings of these performances may have great nostalgic value and appeal more to the audiophile, I would find them rather difficult to play while driving to work!

It is worth remembering too that Karajan was a key figure in the development of the CD format, where he attended the first press conference announcing this new medium, although the decision to extend the maximum playing time of CDs from 60 minutes to 75 minutes in order to accommodate Karajan's rendition of Beethoven's Ninth may be a little fanciful.

This is a lovely packaged set of CDs, neatly presented in a slim-line box with 52 page booklet (21 pages in English), and including the words to Schiller's `Ode to Joy' in case you want to sing-a-long.

My favourite of the set is the powerful, yet immaculately controlled and refined, Ninth symphony.

The conductor is dead, long live the recordings...

To a certain extent everyone is familiar with these symphonies,as over the course of them Beethoven transformed the classical style and pushed it to it's limits eventually culminating in the Romantic style. The playing and inerpratation on this collection is flawless, perhaps a little understated in the 2nd symphony but overall an unbeatable collection, showing both Beethoven and his interprater(Karajan)at their very best. I don't understand the comments regarding the quality of Deustche Grammophon's recording! I have found the digital restoration to be fanatastic and actually enhanced my enjoyment, definetly not a cause to discard the collection. Whatever your musical backgroung this collection is true MUST HAVE.