Customer Reviews

Beethoven: Les 9 Symphonies [Box Set]

5 star:		(22)
4 star:		(8)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

For decades, I have considered this set, along with Konwitschny's, to be one of the two best ever recorded; and here is why:

Both sets wear better with each successive hearing, and both are monumental and devoid of mannerisms, or of any pretenses or straining for effects. Furthermore, unlike either of the 1950's & 1960's Karajan sets (first with the Philharmonia, and then with the Berlin Phil.), both the Cluytens and the Konwitschny sets communicate the humanity and warmth of Beethoven, and aren't at all steely cold.

Cluytens in this set introduced himself to the world as an astounding Beethoven conductor, after a career which had previously focused upon French music. This Belgian conductor had unfortunately become typecast as French because he built his career in Paris, but then in the 1950's he conducted several times at Bayreuth, and soon became recognized as a very great conductor of German music. EMI's Walter Legge had discovered him (along with Karajan and Klemperer) right after WWII, and mistakenly categorized him as EMI's French specialist, but after Cluytens's recognition at Bayreuth, Legge rectified his error by commissioning Cluytens to do this complete Beethoven set. Unlike with Karajan and Klemperer, whose EMI/Angel sets were performed with Legge's own Philharmonia Orchestra, Cluytens was granted to perform these symphonies with the world's greatest orchestra at the time, the Berlin Philharmonic. This was before Karajan had had the opportunity to transform this orchestra (after being named in 1956 as the Berlin Phil.'s permanent conductor) into the sleek hard machine they subsequently became. Under Cluytens, they were still the orchestra of Artur Nikisch and Wilhelm Furtwangler, with a deep, resonant and somber tone, which was perfect for Beethoven. Cluytens brought out their fullest glory, before Karajan took over and transformed the orchestra into the cold hard steel machine they subsequently became.

The tone here is golden, but with deeply shaded hues, as if from the forests, with brilliant beams of light shining through -- perfect for Beethoven.

Cluytens's style is perfect for this orchestra, and for Beethoven's music: Everything noble comes forth to the maximum, with a stunning naturalness and lack of strain. Unlike, for example, Furtwangler, who raced climaxes in order to excite the listener, Cluytens is breathing deeply and steadily in the climaxes just as in the quiet passages, always calm no matter how loudly he is playing. There is a hypnotic effect that is at least the equal of Karajan at his best.

One of the reviewers here said that Cluytens was least good on the Ninth, but, to the exact contrary, that was the symphony which I first knew from this set, before the complete Cluytens set was even issued, and I immediately recognized this performance of the Ninth as being among the most noble, radiant, hypnotic, and glorious, in the entire catalog. This recording enabled me to recognize that Cluytens was, without a doubt, one of the greatest of all conductors, and so I eagerly looked forward to hearing his complete set.

The more that I heard each of these performances, the more that I came to revere each one, and I ultimately concluded that no recorded studio performance of any of these symphonies is better than the performance in the present set. Not only is this set the best ever recorded, but on most of the symphonies, the performance is at least tied with the best ever recorded, and that's a spectacular achievement.

The First Symphony is as good as Karajan's Berlin recording of it, but even better in its warmth, which contrasts with Karajan's coldness. Only Konwitschny matches Cluytens here.

The Second Symphony is as good as Swarowsky's and as Konwitschny's, and I prefer all three to Karajan's two recordings of the work.

The Cluytens Beethoven Third, "Eroica," is certainly among the greatest in the catalog, along with von Matacic and the Czech Phil., and perhaps even better than any of the other fine recordings of this work, by Karajan-Berlin, Swarowsky, and Konwitschny. Whereas most performances of the Eroica fall apart in the final movement, Cluytens's interpretation does not; it just keeps the pulse going, strong and steady to the very end.

The Cluytens Fourth is at least the equal of the other great performances of the work, by Swarowsky, Konwitschny, and Karajan-Berlin.

The Cluytens Fifth is likewise on a par with the other great studio recordings of this masterpiece, along with Karajan's 1946 Vienna Philharmonic recording (which is the most visceral), and Swarowsky's South German Philharmonic recording (which is the most severe). Cluytens makes the music glow with warmth and deep humanity, nothing at all harsh, but still retaining full monumentality, perhaps the most Beethoven-like of all recordings. As opposed to the wildness of the Karajan-Vienna, or the severe and unwavering tension of the Swarowsky, we have here a grace and civility that don't diminish this work's power one bit. There is only one performance that's probably better than any of these, and it's the live one by Konwitschny on Weltblick, paired with an equally stunning live Beethoven Seventh. Those two Konwitschny performances are superior even to his superb studio recordings of those two symphonies that are in the complete Konwitschny/Beethoven Symphony set, and his live Beethoven Fifth is everything that anyone could hope for in a performance of this magnificent work. That Konwitchny Beethoven performance is the best ever recorded.

The Sixth, "Pastorale," is also at least the equal of the other great recorded performances of this work, which are the four recordings of it by Swarowsky.

The Seventh has only one equal: Konwitschny's live performance on Weltblick. However, others are close behind these two: Leinsdorf with the Rochester Philharmonic, Karajan with the Philharmonia, Konwitschny's studio recording, and Giulini with the Chicago Sym.

The Eighth is one of the three best, along with Karajan's 1948 Vienna Phil. recording, and Swarowsky's.

There are perhaps a larger number of great recorded performances of the Beethoven Ninth than of any other work: Cluytens, Karajan (Vienna 1948), Swarowsky, Konwitschny, Neumann, Matacic, and Bohm (Vienna 1980), might each be considered the best, though each in different ways. I prefer the Cluytens overall, but barely, because it seems to me to have the best combination of monumentality, warmth, and a mystical trance.

Unfortunately, Cluytens got cancer and died at the age of 62, shortly after completing this set. If he had lived an additional twenty years, he would have come to be recognized as one of the greatest conductors who ever lived, and as the supreme master on Beethoven, for whose music he possessed a very special personal affinity. Oddly, French music, on which he had built his reputation, was far less suited to his temperament. His premature death was an immense loss for the musical world, and this set was the pinnacle of his entire career, easily the best complete Beethoven set, even better than Konwitschny's.

This recording is both technically and artistically WONDERFUL. Beethovian power is pounding out in the room, and everything in your mind may be changed to just want to eternally listen to these wonderful recordings. I was stunned, and I realized why I became a dedicated fan to classical music after I first heard the Cluytens recording of the 5th and 8th symphony when I was a boy. This is THE music, THE life in the music. STRONGLY RECOMMENDED. - And the price is simply so low, you won't believe, that it is possible to get such marvelous music to that price!!!

There is an earlier release of the Cluytens' complete Beethoven symphonies, which is available on Amazon for about four times the price of this one, and which I also reviewed from a somewhat monetary perspective. Decide for yourself which one to pick, but be assured that it is the same recording.

I don't think anyone should have only one version of the Beethoven 9. It just wouldn't be fair to the listener. I have the 60s Karajan, Harnoncourt, Haitink, Wand, Norrington, Zinman and certain selections from Vanska(9th), Kleiber (5 & 7), just to let you know. I share my time with all of them and each brings about an enjoyable experience. The only reason for me buying the Cluytens set is because I read the eight reviews that precede mine. I waited seven weeks to receive it. Was it worth it? Very definitely YES!. Generally, these performances are a little slower. The number 8 is slower, likewise 7. However, in listening to these performances (all with great sound) there are times when you don't want to just skip over the notes as in some cases but surround each note and appreciate its delicacy. Like the true romantic Cluytens reigns in the energy of the piece until he gets to the end and then lets the horses go. This is evident in the third, the fifth and the ninth. The conductor makes the lesser appreciated symphonies 2,4 and 6 seem like it is the first time you have heard them. I don't mean to demean the thoughts of those who feel the previously mentioned symphonies are the best of the lot. The orchestra is truly splendid. It seems like you are sitting in the middle of the cellos. Awesome! EMI France has done a great job in remastering the sound. This conductor gives us a little different view of the nine symphonies and I heartily recommend their purchase. It won't be long before they will be unattainable. The price is incredibly low.

What were the copyright holders thinking? This is a conductor and the Berlin Philharmonic at their finest. Classical Beethoven as it should be. Hidden away for so long that it never even made the guidebooks to classical music. Thankfully, the set is out of the closet and on the market. Overall quality and sound are superb. But buy it, before some short circuited executive retires it yet again.

i add my enthusiastic agreement with the consensus superlatives lavished on this recording cycle. the most direct way to say it: i own the complete beethoven cycles by karajan, klemperer, szell, bohm, harnoncourt, hogwood, gardiner, vanska, abbado, and what's available from furtwangler and kleiber ... and the cluytens set is irreplaceable and indispensible. it's the kind of performance that you listen to after a long interval with the immediate recognition that it sounds better than you remember -- or perhaps i mean better every time.

rank recordings however you will along the dimensions of historical accuracy, conductor stylization, sonic excellence or orchestral virtuosity, and what comes through most directly with this cluytens set is the kind of sheer human exuberance, musical pleasure and heartfelt performance commitment that makes history irrelevant, stylization unthinkable, virtuosity subservient and sound ... well, the sound on this recording is excellent. strings, brass, winds are delicately separated on the sound stage, and the full dynamic and pitch range is presented without distortion, remarkable for recordings made in 1957-60.

if i had to choose one keyword for this performance, it would be "operatic". the music reacts and declaims with a kind of verdian passion, color and nimbleness, the tempos well match the breath of the musical themes, melodies are shaped with a declamatory poignancy and dramatic perfection -- but everything is (to my ear) well within the acceptable bounds of classical style. ritardandos are never wrung out to a pause, the allegro and scherzo movements are brisk and crisp; the adagios are lyrical without lagging; the strings in the 2nd symphony are in sync, scintillating and fiery; the horns in the 8th are warm and glowing; the first movement of the pastoral symphony is wholesome and atmospheric; the 9th symphony is a glorious and unanimous exaltation. the included dramatic overtures (egmont, prometheus, fidelio) are also beautifully narrated.

some beethoven performances create the atmosphere of a music history lecture, or an acrobatic act, or a populist rally, or a perfectly tuned machine ... but with cluytens you want to sing along, at the top of your lungs.

the set is compactly packaged in the usual 2/4 cd box with one fold out tray. as other reviewers have noted, the slim 6 page booklet is entirely in french (c'est bien le grand orchestre philharmonique de berlin qui nous concern!), but no matter: the listing of cd programs and track times takes up 3 pages.

To anyone who loves Beethoven Symphonies, enjoys great sounding recordings and loves to find incredible bargains: Folks, this set is for you.

The Berlin gang has never sounded so inspired and energetic--yes, even more so than for the "big K" himself. The performances are shaped with outstanding artistry by Cluytens and the original analog sound trumps any of the modern digital (and also SACD) recordings presently on the market. It is a triumph for all concerned!

If you don't buy it before EMI (eventually) pulls the plug, you'll regret it.

This vastly underrated and hard to obtain set is a triumph of early stereo recording. Produced by the fastidious Walter Legge in the attractive acoustic of Berlin's Grunewald Church from 1957-1959, the Berlin Philharmonic delivers taught performances with a lovely warm sound and balanced choirs in surprisingly good stereo sound. There is no sign of distortion, yet broad frequency range save for the finale of the 9th which sounds a bit muffled and compressed. Not surprising given the technology of the time. Cluyten was a brilliant musician and talented conductor, known more to serious record collectors than the many star conductors of the mid century. His interpretations are all faithful to Beethoven's score and full of nuance without giving over to mannerisms.

I loaded this set into the CD player and listened to it twice over a weekend with great enthusiasm. I also own the Bernstein Vienna complete set which I adore, but there is something altogether special and less forced about this integral set.

Anyone who loves Beethoven owes it to themselves to hear multiple approaches to his symphonies. There are propulsive performances by Szell, Vanska or Muti for example, granitic ones like Klemperer's, exciting ones from Karajan or Bernstein, and romantic ones by Walter. This is one of the faithful moderate approaches like Ormandy's that deserves to be heard especially at this ridiculously low price. Thank god the french have the sophistication and taste to keep this available.

I found the intro to the 1st a bit slow and the 6th a bit slack but enjoyed every other symphony's performance. The 2nd and 7th are awesome and the 5th and 9th very powerful. No one conductor can interpret all nine to perfection but Cluyten comes close. Just order the damn thing while it's available. Don't wait!

Although I have multiple recordings of Beethoven's Symphonies, I was intrigued by the reviews of this set. They are absolutely right: this is by far the best I have ever heard. It is like hearing this wonderful music for the first time. Most recordings of this age show it. This one sounds as if it had just been recorded, both in its vivid sound quality and its crisp interpretation. But it has a depth that very few modern performances even approach.

There is a difference between seeking out outstanding versions of individual symphonies and finding a set to live with, and while there are undoubtedly performances of single symphonies here which could compete with the best, it is as a coherent and aesthetically consistent survey that Cluytens' accounts are best considered. There is a rightness to his judgement which proves enormously satisfying on repeated listenings and there is a special interest in hearing the fruits of a combination of several stellar talents: the virile, robust sound of the pre-Karajan Berlin Philharmonic, the production genius of Walter Legge working in a congenial recording acoustic, the Romantic but never indulgent interpretations of am under-rated conductor soon to die all too early at 62, and the especially fine vocal contributions from an unusual team of soloists and the wholly committed choir of St Hedwig's Cathedral - all at a very modest price on Amazon Marketplace.

Like many of my generation, as an impecunious student I became acquainted with Beethoven's symphonies through these performances when they were available as super-bargain LP's on the EMI Classics for Pleasure series. I was worried that thirty-five years later my judgement would be clouded by sentimental attachment, but countless hours of listening to scores of versions notwithstanding, I find that this set stands up wonderfully. The Pastoral and the Ninth have long been praised but you will find equally enthusiastic endorsements of every symphony here in one review or another and nowhere - well, virtually nowhere - do you find a discouraging word. They are not the last word in individuality, nor do they bear the stamp of a particular approach, but Cluytens seems to understand and appreciate the spirit and heart of this music. No-one captures the cat-like tread of the opening of the Fourth the way Cluytens does; rhythms and accents are beautifully sprung and he pays close attention to dynamics. I was also especially pleased to discover that Nicolai Gedda, not always a favourite artist, was hugely more impressive than I remembered him in the Choral, and the soaring refulgence of Gre Brouwenstijn's soprano is a special treat.

The remastered stereo sound is warm and spacious; excellent for recordings made between 1957 and 1959. This is an EMI France import with a minimal documentation in French only. There are other super-bargain sets but listening to this one again for the first time in so long confirmed why I had simply given away CfP's modern issue with Mackerras: its relentless, insensitive briskness repelled me. I see no reason why this set in its remastered form should not serve to seduce another generation of potential Beethovenians.