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4.1 out of 5 stars11
4.1 out of 5 stars
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on 4 September 2015
Elsewhere, I have stated my admiration for Jean Moulin. He died a hero. Even so, I fear he was upstaged, bravery-wise, by Barry Keenan, Johnny Irwin, and Joe Amsler. Who are they, I hear you ask? Simple! They're the madmen who kidnapped Frank Sinatra Junior in the winter of 1963. His father, Ol' Blue Eyes, was never one to turn the other cheek - or hand out the astronomical sum of $240K in ransom money "to rats and punks." It was a race between the FBI and Franky's wider circle of friends to find the culprits. Lucky for the trio, the former located them first - otherwise, Klaus Barbie might have been summoned to Vegas as Frank's guest.

Now, if the trio had wanted some dutch courage at the time, there'd be no use sending Jeggy's performances of Beethoven Fifth and Seventh to them via a time-machine. For sure, these are two of the most heroic utterances ever created by mankind. They should make us walker taller when played appropriately . . . . . . . .

To be blunt, this is Beethoven without a wanger. Yet again, Jeggy thinks he can fake his way through these masterpieces with mere lightness and transparency. Yes, you've guessed it: what a crucifix is to a vampire, what krypton is to Superman, what normal underpants are to Batman and the Boy Wonder, majesty, profundity and stillness are to Jeggy. Fundamentally, he's scared of this music. How else does one explain his tepid, walk-on-eggshells response, abetted by a tin-pot ensemble of no distinction whatsoever? As a correspondent wrote to me recently, he plays Beethoven as if it is JC or CPE Bach - and don't tell the Vicar!!! Just listen to his shallow, weedy, prosaic phrasing at the start of the Seventh. How it short-changes the listener! Much the same could be said of the Allegretto: it's gutless and lacking in menace. The Fifth is cut from the same cloth. As played, the opening chords of the finale could serve as the national anthem of Lilliput.

It's time for a giggle. John Kwok is the Generalissimo of Five Stars Reviewers at Amazon. He's a Big Apple culture-vulture. Read his review on - it implies that he graced this concert in question. Who knows - perhaps he supped with greatness (ie, a gin and tonic with Jeggy) at the after-party (what a lark that would be). He panegyrizes "it . . . is one of the best CDs coupling both symphonies together, worthy of comparison with Carlos Kleiber's legendary recording with the Wiener Philharmoniker (Vienna Philharmonic Orchestra) for Deutsche Grammophon." One can only laugh. Is it the last days of Pompeii?

Don't be fooled by mere Zeitgeist and hyperbolic vulturine gabble. There are plenty of Sevenths in the market-place that don't wee their pants when heroism is required. And travel back in time to May 1969 in Moscow if you want to hear a barnstorming rendition of the Fifth (Karajan in Moscow, Vol. 1).

Let's close with a quote from Frank:

"May you live to be 100 and may the last voice you hear be mine (and not Jeggy's)."
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VINE VOICEon 11 January 2013
I know there has been, and will always be, unease with the revisionist historically-informed perspective on the core classical repertoire. The Beethoven symphonies are no exception. I am aware that people are unhappy with the zippy, dapper presentation of such hallowed, profound music. Despite this persistent unease I have loved the Gardiner cycle of Beethoven symphonies from the bottom of my heart ever since its first release in 1994. Though there have been many other Beethoven cycles in the past two decades I have seen that this holds up very well among cycles with historically informed performance practices. The good thing about Gardiner and the ORR is that they were "late pioneers" of the HIPP approach to Beethoven and had time to smooth out the rough edges of Hogwood, Norrington and Goodman's recorded performances (i.e. they were late in the learning curve among the pioneers). Yet they still sound perfectly musical to my ears, playing with stylistic accuracy and musical honesty, punching above their weight to sound beefy, yet about-turning for tender passages. In fact in recent years I have found myself liking the Gardiner cycle more and more because I have seen that the tempo choices of Gardiner and the ORR are occasionally slower than Beethoven's marked speeds, and Gardiner still allows the music to breathe despite keeping to the fast markings.

This new diptych of Beethoven's 5th and 7th symphonies was done during a live concert in Carnegie Hall in 2011, but only released recently from radio recordings on Gardiner's own Soli Deo Gloria label. It is wonderful to have the chance to hear how Gardiner sounds almost 20 years after he and the ORR did their DG Beethoven project. Gardiner may have gained in age but yet his approach is still the same. The ORR is more seasoned and the different sections interact better at a later stage in their existence.

To show two examples of the different character of these performances I would like to highlight the famous Fate motif that starts the Fifth and the opening slow introduction to the Seventh. The first statement of the Fifth Symphony motto does not charge in the same way as it did in the 1990s cycle, but yet the first movement is still propulsive and steady. I also notice that the trio in the Fifth scherzo sounds a little slower. Likewise Gardiner takes a slower speed for the introduction to the Seventh. By and large the basic approach to both symphonies is the same. You still get the propulsive speeds and the interplay between sections, and Gardiner brings out the essence of each symphony so well. On this disc I love the gains that are made in this outing of the Seventh. The second movement sounds more supple with the interaction between the players. And I also like the overwhelming release of energy that informs the finale of the Seventh this time round. This movement alone shows a marked gain compared to the 1990s cycle, which sounded a little cautious when they took the movement at Beethoven's marked speed. Somehow or other I like the Seventh more than the Fifth on this disc because it releases more energy, but Gardiner and the ORR are still excellent and on top form in this music.

I'm not saying that one recording is better than the other. Gardiner's approach is still consistent, except with more experience in this performance. The musicianship is still of an extremely high standard and the orchestra is still punchy with stronger timpani this timr round. And I also like the recording qualify that is achieved. The well-focused and immediate recording is closely balanced but not too much, and the listener feels like he's within the orchestra rather than in the audience stalls.

As my concluding words, I would say that this Gardiner Beethoven disc can be recommended on many different levels. Not only can these be excellent modern stand-alone performances of the symphonies, fit to stand alongside Karajan and Kleiber. They can also be an introduction to Gardiner's Beethoven cycle in its budget-priced reissue. And they can also give the Gardiner fan the chance to know how his music making has ripened through the years. As another example, SDG released his retake of the Brahms German Requiem and the Bach motets and they sound much more supple than his earlier versions. Admittedly it may be too much to hope that Gardiner and the ORR would do the remaining seven symphonies, but this disc is an excellent window into Gardiner's mature approach to Beethoven. And in this case this disc is a worthy complement to his 1990s Beethoven box.

As a concluding aside, I am hoping that Gardiner and the ORR will record a Mendelssohn project soon, after their wonderful work on Beethoven, Berlioz, Schumann and Brahms. I am hoping that Gardiner and the ORR will do the five Mendelssohn symphonies. I'm really hoping that they could start with a CD of the Scottish and Italian symphonies and the Hebrides overture. And I would be keen to hear their treatment of the Lobgesang symphony and even the complete version of the Midsummer Night's Dream. He has redone some of his earlier Polygram and Erato repertoire for the SDG label and I'm sure that he would gladly cover the Italian and Reformation with the ORR after his 1997 version with the Vienna Philharmonic.
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on 24 July 2013
What really attracted me to this disc was Gardiner's superb attack in the scherzo to the Seventh, but they are also magnificent recordings generally.
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TOP 1000 REVIEWERon 8 October 2012
This is a wonderful recording of two immortal and oft recorded symphonies. What sets them apart from other wonderful recordings of these symphonies is that they were recorded live at Carnegie Hall in New York and the sense of occasion has obviously spurred the musicians onto to a higher plane than most recordings usually reach.

I've always loved Gardiner's and his orchestras' Beethoven. At last, one can hear details in these works that have never been noticed before despite having heard multiple recordings AND having read the miniature scores! The nuances and sense of adventure are incredible.

Disadvantages? Well, the 3rd movt. of Symphony 7 seems to go on forever. (Am I alone in thinking this is the weakest movt. in the Beethoven symphonies?)

Dare I suggest this is a worthy successor to the revered Kleiber/VPO recording?
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on 3 February 2013
Later version than this conductor's now famous complete set of Beethoven symphonies. As dramatic and fresh - especially the last movement of the 7th symphony - and due to gut strings very clear. A good alternative to the classic VPO issue under Carlos Kleiber.
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on 23 January 2016
This is difficult. I really like this combination of conductor and orchestra. But having decided to listen to this after a long day in the office it was only when I had opened the last letter I was reading at the same time that I realised the problem. This performance is technically magnificent, played beautifully, but in the end doesn't grab emotionally. That the
response from my local rail company exercised me more than this recording says it all. I know I will return to it in a better frame of mind because there are thoughts underpinning its playing that are fascinating, but as a top recommendation? No!
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on 7 January 2015
Excellent performance of the 7th, more dramatic than some of my favourite, more playful versions. Good 5th, but there are so many excellent performances. Superb sound captures the magnificent timbre of period instruments - what a relief from piercing coppers and pounding timpani - makes for a strong recommendation.
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on 25 February 2015
On November 16, 2011 at Carnegie Hall's Stern Auditorium, Sir John Eliot Gardiner led his Orchestre Revolutionaire et Romantique in two superb performances of Beethoven's Symphony No. 7 in A major and Symphony No. 5 in C minor, revisiting the critically acclaimed recordings of these and the other Beethoven symphonies that he and his orchestra made back in early 1990s, ushering a new area in period instrument-informed performances of them, culminating in the publication of the Jonathan Del Mar-edited Barenreiter Edition. Recorded for Carnegie Hall by New York City classical music radio station WQXR - and broadcasted live by them - this recording can be viewed as a "historic document" preserving what was a great live concert of these works by Gardiner and his orchestra. Production-wise, however, I don't think this recording is as fine as those made by producer James Mallinson for the LSO Live (London Symphony Orchestra) and CSO-Resound Live (Chicago Symphony Orchestra) with regards to sound quality, in this recording, there is, unfortunately, more audience noise than what I recall hearing in most of the LSO and CSO recordings. However, this shouldn't dissuade potential purchasers from buying this recording, since it still is one of the best CDs coupling both symphonies together, worthy of comparison with Carlos Kleiber's legendary recording with the Wiener Philharmoniker (Vienna Philharmonic Orchestra) for Deutsche Grammophon. The liner notes include commentary from several orchestra musicians, remarking on their admiration for Carnegie Hall and its audience, as well as comparing and contrasting this performance with those from the early 1990s.
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on 1 March 2015
Good playing
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TOP 1000 REVIEWERon 20 October 2012
I confess that I've always had a soft spot for the Karajan 1962 5th - nobody, not even the famous Kleiber recording, handles the transition from the third to the fourth movement like it. In addition, I've never been a particularly big fan of the 7th. As usual, this Gardiner recording is live (does he anaesthetise the audience?) and it is nicely-paced and well-played. However, the 5th does not knock Karajan or Kleiber off their respective pedestals, and to be honest I think the inclusion of the 3rd movement fugue repeat takes away from the drive towards the whisper-quiet section before the relentless building of tension for the 4th movement. But overall, a Beethoven worth having.
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