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3 of 5 people found the following review helpful:
5.0 out of 5 stars
Konwitchny's monumental Beethoven, 27 April 2005
Franz Konwitschny's Beethoven 9 Symphonies set is one of the two supremely great ones in existence--the other is Andre Cluytens. Both sets are unfailingly monumental in each of the 9 symphonies. Both render with a hypnotic and selfless intensity each of these 9 musical masterpieces. Both establish at the start of each work the pulse and carry it through unfailingly to the work's end. In both sets, the 9th Symphony comes across as the towering work that it is. And in both, each work holds together as a unity from first note to last. The chief differences are that Konwitschny's Beethoven is phrased squared off, while Cluytens' is rounded; Konwitschny's edges convey a rough Germanic power, whereas Cluytens' smoothness is equally monumental and Germanic but more refined, less physical, more spiritual.Neither set would be for listeners who admire those by Furtwangler, Toscanini or others who race the climaxes. Instead, these are far more powerful, with a vast spiritual reserve and a vastly more penetrating passion. The only Beethoven conductor who was in the league with Konwitchny and Cluytens was Hans Swarowsky, but he never managed to record the 1st and 7th Symphonies and so he left us no integral set. Some of Karajan's Beethoven (such as his 1946 8th, 1947 9th, and 1948 5th (all w. V. Ph. on EMI), are in this league, but most are not. The more that one knows the Beethoven Symphonies as performed by Konwitschny, Cluytens, and Swarowsky, the more amazed one becomes at Beethoven's symphonic achievement. What these conductors ferret out from these scores (and which other conductors usually miss) raises to a higher plane one's appreciation of their meaning. Other, including more-famous, conductors are mere pygmies by comparison.
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