Customer Reviews

Beethoven: 9 Symphonies / Karajan (1963)

5 star:		(6)
4 star:		(4)
3 star:		(3)
2 star:		(0)
1 star:		(2)

 

 

To my mind, of the fifty or so versions of Beethoven's Ninth Symphony I've enjoyed over 40 years listening, this is one of the very best. The other eight symphonies in this set rate just as highly. It is a fun set to hear, a young star ("Wunderkind") conductor with the first important recording cycle for the re-emerging Berlin Philharmonic - soon to be, and ever since generally recognized as the world's finest ensemble. This particular, long lived marriage of star conductor and brilliant orchestra produced many of arguably the best performances ever recorded. Not among those who insist on winners always, I would say this set is unsurpassed, if equalled. Its main attractions are the quick and agile, often fiery tempi, perhaps outdone only slightly at times by Karajan's even more youthful Philharmonia Orchestra set from the fifties on EMI which is technically inferior, and by the rather italianate renderings by Toscannini and the NBC Symphony, less satisfying technically and interpretively. Karajan's interpretations are sometimes judged to be somewhat cool or aloof - as opposed to warm and impassioned, I suppose. I don't agree, and can only suspect that often people hear what they want to hear for reasons unrelated to the music before them. For instance, many of these same critics contend incredibly that Toscannini was superior for these reasons. As the years go by, Toscannini's style sounds more like a pop band in comparison with many of the versions since. To contend that Karajan's versions are not as "deeply felt" as Toscannini's is, I'd say, disingenuous. Karajan certainly brought as much clarity and musicality, and the BPO as much passion and finesse, as could be desired, with remarkably even results throughout the entire cycle. The enthusiasm of the newly betrothed brings us a set Beethoven would surely have loved to hear.

The later two cycles of Beethoven's symphonies by Karajan and the BPO were technically superior, and in my view musically as well for the most part, but only marginally. A given soloist in the Ninth is slightly better than another, or not, but these would be quibbles in the bigger picture. Absent later would be the sense of anticipation as the musicians embarked on their noble project, replaced by the assured sophistication of a conductor and BPO which had "arrived." By the third set, indeed, these same had nothing in particular left to prove, but DGG wanted a new cycle to market with ever newer technology, and Karajan another chance to perfect his renderings, already thought deridedly by some to be "too perfect" the last time. One simply cannot go wrong with any of these Karajan/BPO sets (the Philharmonia set is rendered redundant).

As alternatives, there are truly few comparable performances let alone complete cycles, but each example brings its own definitive contribution to the repertoire. The best of them technically is by Bruno Walter in his later years with the Columbia Symphony, the orchestra handpicked by Walter mostly from the LA Philharmonic and west coast freelancers (except for the last movement of the Ninth recorded in New York City - it is not certain if those were players picked, as during the years when Walter lived there, from the NY Phil, the Met, etc., or perhaps less likely the same LA players). Some argue the CSO players were not as good as found elsewhere, but I believe they are as good as any and gave us some of the most beautiful music we could ever wish to hear. Doubters should really try to explain how an inferior group could have achieved Walter's astounding CSO recording of Mahler's Ninth Symphony. These Walter/CSO recordings of Beethoven, Brahms, Mahler, Mozart, Bruckner, and others are some of the most gorgeous sounds recorded (especially the remastered releases by Sony), led by one of the most gifted interpreters of all time. Walter's magic was to seemingly effortlessly achieve performances which leave us wondering if there could be any other way to play the music that would be as "right." Granted the Ninth heard in the Walter CSO set is not as fiery as his brilliant live recording with the London Philharmonic (1947), but most studio recordings, regardless of the conductor, suffer exactly that fate, including the earlier NYPO version (1949, with 1953 version of the last movement). Both this CSO and the earlier NYPO performances include their fair share of marvelous musicmaking notwithstanding. Another remarkable case in point would be the magnificent live performances of the Beethoven Ninth by Otto Klemperer with the Philharmonia Orchestra in 1957 and 1961, both on BBC Testament. These were rivetting, electric performances, far outshining the familiar EMI studio version eventhough the latter was better sounding technically. The EMI studio versions of the Third, Fifth and Seventh fare better, and are deservedly classics. They are representative of the "dignified," unadorned musicmaking for which Klemperer is well known. Unfortunately, a complete set by Klemperer fitting this standard is not available. Nor is there a complete set by Wilhelm Furtwaengler. We do have available older (and even less satisfying technically) but perhaps the most frenzied versions of the Ninth: by the wartime Berlin Philharmonic in a version often called "daemonic," and by the 1951 Bayreuth Festival Orchestra at the inaugural (reopening) of that institution after the war. Like Walter, Furtwaengler came from a German tradition that was hardly restricted by the metronome, as was, say, Toscannini (to his detriment, in my view). For them both, the conductor made magic with their wands. Tempo management was their main contribution to the experience, and during live performances they took ever greater risks, in later years wider latitude. The results for these particular artists were particularly captivating, and I'm sure will live on into perpetuity. Rather than pick one, serious collectors should consider having them all, but at least one of the Karajan, and the Walter sets (the London Philharmonic performance of the Ninth is available, too, from Music & Arts), the Third, Fifth and Seventh studio versions, and both live versions of the Ninth by Klemperer, and the live Furtwaengler Sevenths and Ninths.

Although this is one of the best cycles out there, the remastering job DG did on it does more hurt than help (in my opinion).

You get quite a bit of digital edginess throughout it, and a loss of the natural warmth and wonderful bloom from the original recordings.

It's very difficult to prove this in a review but if you compare the original recordings to the re-mastered versions, you'll begin to see what I'm saying.

Mind you, I love Karajan and his '63 Beethoven cycle (I give it 5 stars!), but I would say, stay with the original recordings in the gold and red box set...plus the packaging is so much more beautiful and is perfect for shelf display!

Music critics and fans alike agree that Herbert von Karajan's first Berlin Philharmonic Beethoven symphony cycle was his best; this imported Deutsche Grammophon CD set is a new, slimmer, budget version of these recordings. These are exhilarating performances of most of Beethoven's symphonies, with the finest performances probably those of the 7th and 8th symphonies. I also admire the glorious sound of his recording of the 3rd Symphony, replete with ample tension and drama, that is only excelled by the recording of this symphony in his final Deutsche Grammophon Beethoven symphony cycle. His 5th symphony is almost as exciting as Carlos Kleiber's celebrated Vienna Philharmonic recording which Deutsche Grammophon recorded over a decade later. If one wishes to acquire this CD set, then it is really only for these recordings only.


Although the sound quality in this set is very good, those interested in hearing the finest version of this cycle should find a copy of the digital imaging bit remastered version which is part of Deutsche Grammophon's Complete Beethoven Edition. Unfortunately, that edition may be out of print. Personally I have never been a fan of this cycle or Karajan's other two Berlin Philharmonic cycles (The third cycle - which many regard as his worst - does have a fine version of the 3rd Symphony.); those interested in hearing exceptional Beethoven symphony cycles recorded in the 1960's or 1970's might be better advised to listen to Bohm's and Bernstein's versions with the Vienna Philharmonic. Furthermore, I regard as first choice for those in search of superb Beethoven symphony cycles those recorded by Abbado (his second Berlin Philharmonic cycle), Harnoncourt and Zinman, and if you are in search for only one Beethoven symphony cycle, you would be much better off acquiring any of these than Karajan's first Berlin Philharmonic (1963) cycle.

Having always been a fan of Herbert von Karajan (and Beethoven, obviously) I am very happy to have this 5 CD set. The reproduction is crystal clear and the music is, well, Beethoven. Von Karajan has long been recognized as one of the worlds greatest conductors as well as being a Beethoven expert. I suppose that one could say that this is the music the way Ludwig would have wanted it. Somewhat more sostenuto than younger and more modern conductors might play it, but, I feel, perhaps the way it should be played.
If you are looking for an outstanding classic rendition of the 9 Symphonies (and a gorgeous rendition ofthe Ode to Joy), then by all means this is the set for you.

I quite agree to the first reviewer.. having Karajan's 1955 (London) and 1963 (BPO) cycles and having heard the other two. However, the uniform Karajan is not necessarily the best Beethoven.. though it is a good introduction. Please don't forget:

a) Furtwaengler version of 9th, be that the intense war time recording (1942) (music and arts, Berkeley) or post war, for example Bayreuth Festival in 1951.. this is the definition.

b) Also Furtwangler for a fine studio recording of 5th and 7th with VPO

c) Kleiber's 5th.

d) Bernstein's Nos. 3

e) Bruno Walter's version of Pastoral (No. 6)

As one reads the earlier reviews of this Beethoven set, it seems that there are a wide variety of opinions about von Karajan's rendering of this version of the Beethoven symphonies. For what it is worth, I see three versions at the top of the heap--this one, Toscanini's NBC Symphony version, and Georg Solti's Chicago Symphony series. Period.

Obviously, other versions have their advocates and make their unique contributions, whether Bernstein's, Furtwangler's, Klemperer's, and so on.

This version, though, has tension, has a pace that creates excitement, has clarity in the manner in which the various instruments manifest themselves.

The 5th is crisply rendered, with a luminous sound. The 6th is elegaic. The 7th and 8th are appropriately energetic. The 9th is one of the best versions of this great work. Furtwangler had a version, which he conducted during the Second World War, that is chilling in its energy (and its idiosyncracy), unlike other of his versions of Beethoven; Toscanini's 9th is ethereal in its rendering. Von Karajan's version ranks up there.

All in all, this is a "must buy" if one wants a full set of Beethoven's symphonies.

Beethoven's 5th by Karajan was my first classical record purchase.
Thousands of analogue and digital discs later, I again purchased the same 5th and eight others on this CD set.

Karajan lived through the eternal dilemma of the all artists who came after the great predecessors.
At his last Saltsburg Festival, after conducted "Don Giovanni"He said to his wife,

"Furtwangler would have said it wasn't all that great."
She consoled the Maestro,
"It was! It was!"
Karajan had a life long struggle with legacy of Furtwangler and was not too sure if he won.

Well, his style and interpretations are definitely non-Furtwangler, or to more precisely put non-German.
It seems to me that Karajan tried to avoid playing Beethoven's music in conjunction with German culture and spirituality.

Whether his attempt was successful one or not, has been a topic of many music critics and connoisseurs.

Personally, I have a mixed feeling toward this cycle.
I like No.1, 2 and 7 very much. However, there are some flaws; for instance in the fourth movements of 5th and 9th,
cello, bass, tympani and all lower notes suddenly disappear. All you hear is the first violin all the way to coda with painfully
bright tone.(This is more obvious if you own high resolution Audiophile stereo system)

Wonder if this deletion of bass is a part of Karajan's interpretations or a fault of old analog recorder, which is incapable of
recording loud passages?

In each symphonies, the first violin is always exaggerated over other instruments. I think that is the reason why some people
call these recordings "light" Beethoven.

If you must listen to Karajan's Beethoven Symphonies, I would recommend SACD reissue, which is more expensive and bass is
still thin but tonal quality is somewhat more acceptable.

And if you want to listen to the best Beethoven cycle, do yourself a favor:
Obtain the 9 symphonies by Furtwangler.

This set is not my first choice.

By and large there are two images of Beethoven that stand rather uncomfortably side by side in the mind. The first, the one predominant before 1945 is that of the brooding romantic genius tormented by the twin demons of unrequited love and deafness, whose soul, like Faust, was half in pawn to the Devil, and the more modern one of the great composer of the enlightenment, a man of immense intellectual talent and innovative musical skill, a preacher of the rights of man, political freedom and humanistic optimism. The conductor Herbert von Karajan stands at the exact bridging point of these two powerful traditions. Growing up in the late twenties and thirties his idol was the great German conductor Wilhelm Furtwängler. Karajan both admired and feared Furtwängler, who was the musician par excellence whose interpretations appealed most to Hitler's National Socialists. His attitude towards him remained profoundly ambiguous throughout his life.
I have several recordings of the 9th symphony, but felt I could not reasonably omit that of Karajan, especially the 1963 recording. Of all the recordings of the 9th symphony I have heard his is the most fascinating. To describe it as transitional (which in musical terms is usually a term of abuse) would be misleading and unhelpful. This is a unique and highly personal reading that cannot be dismissed by anyone. The first movement is pure Furtwängler. From the brooding opening chords through to the tragic finale, this is the romantic Beethoven par excellence. Karajan is nevertheless sufficiently aware of where he is going, however, to command an exact and precise tone from the Berlin Philharmonic, which is light years away from romantic impressionism. The second movement is one of the most remarkable in the history of performance. None before and few since have dared attack this scherzo with such lightening speed and diabolic energy. This is frightening stuff - panzers rolling across Poland. Whether or not he should have slowed the tempo a little more for the second subject to bring out the contrast, will remain a subject for endless debate.
The most difficult movement in this symphony to bring off is the slow third. In poor hands it can become a miserable dirge or sleep inducing lullaby. Moreover, unlike the corresponding movement in the Eroica, it cannot be played in any sense heroically, as the triumph of the human spirit over death or adversity or some such. There is a sense of farewell about this movement as well as happy recollections of things past and yet it is also difficult to listen to it without the sense of prelude before the transformations of the famous final movement. On the whole it's best here to let the orchestra get you out of it with some lovely playing and that is what Karajan, relaxing for once his notorious iron hand, exactly does.
If there was a piece of music made for the hand of Karajan it is the famous finale of this the most famous of all pieces of classical music. The opening is back to the first movement and Furtwängler. These are the grim tones that Beethoven soon seeks to banish with the celebrated "Ode to Joy". But he is anxious not to push us too quickly into the new arena and after the orchestral introduction, there is a long section of "recitative" in which Beethoven warms us up. He does well to, as Schiller's Ode "Let me embrace you, oh ye thousands" is not easy stuff to digest and requires a considerable leap of faith. It has become the "National Anthem" of the European Union, however, something that barely existed in Karajan's day, so it deserves paying attention to.
Suddenly after this introduction Karajan abandons Furtwängler and it is pure Toscanini - extremely dramatic, operatic contrasts, VERY fast tempi... it is hard to keep up. Karajan is pushing both his orchestra and chorus to their absolute limits. The sound is thick and heavy still and at that this pace.... The iron hand is needed and it is there.
This is an absolutely riveting performance of a very great work and a watershed in interpretation. Whether one sees it as the last in great line of "romantic interpretations" or the first of the modern is irrelevant. If I could keep one CD in my collection it would be this.

In this review I will try to compare various complete recordings of Beethoven's nine symphonies plus Carlos Kleiber's CD with Symphonies number 5 and 7 (on DG). Concerning Carlos Kleiber it is easily done: I will advice anybody who appreciates Beethoven (or who think they might appreciate Beethoven) to buy his CD. I doubt you can find better versions of those two works. When I mention Karajan in this review I refer only to his first complete set of Beethoven's symphonies for DG from 1963 with the Berliner Philharmoniker. The other complete sets I will write about are: Osmo Vanska and the Minnesota Orchestra (Bis), Jos van Immerseel and Anima Eterna (Zig Zag), David Zinman and Tonhalle Orchestra Zurich (Arte Nova), Herbert Blomstedt and Staatskapelle Dresden (Brilliant). All orchestras mentioned here perform on modern instruments except Immerseel's Anima Eterna.

I will go through the symphonies one by one and give short comments on the various recordings. I will start in reverse order since I guess most people will be interested in the late symphonies primarily.

Karajan plays a terrific and grand 9th ("Choral") - his wild gestures and colourful style fit the work well - he is a true romantic in the first romantic symphony in musical history. It is the only 9th I have heard in which all the movements really shine, for instance in Vanska's recording only the two last movements really work for me, but then again those two are amazing - you can hear every polyphonic detail in the choral finale. Immerseel gives us a good "slim" 9th (only 33 musicians in the orchestra which though is 9 more than in the other symphonies). Zinman's recording lacks verve and excitement in the two first movements, but his adagio is pretty and the finale is gripping. A special feature in Zinman's 9th is that he plays it with Beethoven's original general pause in bar 747. Blomstedt plays a vibrant 9th with a beautiful truly romantic adagio (16+ minutes long like Karajan's) and a glorious finale. Thomas Dausgaard with the Swedish Chamber Orchestra Örebro (on Simax as part of a complete recording of Beethoven's orchestral music which I am NOT reviewing here) is - as a whole - the best recent (2009) 9th I have heard, but text and translation of Schiller's ode are not included in the booklet. Some might say that the scherzo in Dausgaard's hands is too aggressive, but I find it fresh and spirited.

Zinman gives you a good 7th but not a great one. The winning set in the 7th is no doubt Immerseel's who's ravishing exhilarating account is full of verve and vigour. Richard Wagner described this symphony as "the apotheosis of dance" and he had/has a point: This is a symphony that demands a "mobile" orchestra - a dancing orchestra. And here Immerseel and Anima Eterna have the advantage of a smaller orchestra that can really dance. Vanska's version of the 7th really disappointed me. It is simply boring - he plays it too slowly. But if you buy Carlos Kleiber's 7th in addition to Vanska's complete cycle you will be doing just fine. What I have said about the 7th also could be said about the 8th - again Immerseel's interpretation is the more lively. But I don't think you will be disappointed in this symphony with either Karajan, Zinman, Vanska or Blomstedt. Karajan's 7th and 8th are highlights of his set.

Karajan's approach is much too heavy for the "Pastoral" (the 6th Symphony). Same thing can be said about Blomstedt's. Vanska's is the best version of this light-hearted symphony (a rare example of program music in Beethoven's oeuvre). Vanska's "Scene by the brook" (the title of the 2nd movement) has a beautiful, tranquil and romantic atmosphere that I find very appealing. I didn't like the "Pastoral" before I heard Vanska conduct it. "The merry gathering of the country folk" is as merry as it should be and "Thunder Storm" really sounds like thunder. Zinman isn't bad in this one either, the 1st movement in particular conveys the "Pleasant, cheerful feelings which awaken in people on arrival in the country" to the listener.

In the first movement of the famous 5th Immerseel plays very fast (maybe too fast) and takes no prisoners. It is a very extreme approach, but it does appeal to me somehow especially because the rest of the symphony seems to follow as a logic conclusion. Vanska plays it slower and gives you time to both try to feel and figure out what Beethoven intended with this work. Karajan might be overdoing it a little bit in the 5th, but it is certainly not boring. Zinman plays the fast movements almost as fast as Immerseel and presents a decent 5th, although I miss some grandeur when it should reach its climax in the 4th movement.

I am not very enthusiastic about Beethoven's 4th Symphony, but maybe I just haven't listened to it enough to get to know it better. The recording I will choose to get to know it better will probably be Vanska's.
.
In the 3rd Symphony ("Eroica") Vanska slowly builds up tension creating a truly heroic feeling - definitely my favourite.

The 1st and 2nd Symphonies are not core repertoire Beethoven and I suppose most performers don't really care too much about them. At least when I listen to them they only really make sense and appeal to me in the hands of Osmo Vanska.

I almost forgot about Herbert Blomstedt. Maybe because his cycle is forgettable in the sense that it just repeats an approach similar to Karajan's.

When it comes to sound Anima Eterna's set is definitely the winner. Not only because it has the best recording technique, but also because the small orchestra enables you to hear every single instrument in the orchestra. With larger orchestras the sound becomes somewhat blurred and you can't tell which instruments are playing what. As I said the Karajan set discussed here was recorded in 1963. Blomstedt's is from the late `70s (the 9th from 1980), Zinman's is from the `90s, Immerseel's and Vanska's were both recorded in the beginning of the new millennium and are of course superior in terms of sound quality.

So my recommendation: Jos van Immerseel with Anima Eterna is the best overall set, but if you don't like the idea of period instruments and a small ensemble choose Osmo Vanska with the Minnesota Orchestra. In addition to that buy Carlos Kleiber's 5th and 7th and Karajan's or Dausgaard's 9th.

Before we start - please forgive any inevitable over-simplifications (and spelling mistakes).
Whilst the debate pertaining to which interpretation (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 accurate/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 commented 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 opening to Symphony no. 4; in the dramatic presence of the unmatched 5th; in the intoxicating rhythms of 'the apotheosis of dance', Symphony no. 7; in the touching humour and straightforward melodies of the 8th.

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

Symphonies 1 & 2 are satisfactory. It is a struggle to find inspirational performances of these symphonies (Szell and Cleveland are good) 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 on the road to renown. From this recording it is easy to see why Karajan's interpretation caused such a sensational stir. Typically, the opening 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 struggle to think of a rival but Klemperer's recording on EMI is a classic. Interestingly, it was a live performance, led 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 - 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 led by an equally inspired maestro this music comes to life in spite of its overtones and undercurrents of death and unremitting tragedy. The transition from scherzo to finale, from dark despair to immutable human victory, is handled well and with a subdued vigour that allows the finale to burst dramatically from the chains that the previous movements bind it with. Carlos Kleiber's first rate performance with the VPO is one of the few rivals to Karajan and is top notch.

Symphony no. 6 is a let down - simple as. Karajan is unresponsive to much of Beethoven's finer composition in this recording. This is disappointing 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 with 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 (like his idle Toscanini). 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. Something can also be said for his final account in cold digital sound but it is hard hitting and seriously exciting. Of course, we cannot mention the seventh without regard to Carlos Kleiber's monumental account though later Karajan does come very close.

Symphony no. 8 - 'my little symphony' as Beethoven referred to it. There may be superior accounts to be found but they will only have their heads or noses in front of this one.

No. 9 - what a joy. Here, the first movement has a great tragic element throughout. I don't believe it to be emotional moribund as others do but there are more spiritual and emotive performances on record. 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. This is paced between the swifter modern interpretation that places great emphasis 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 aimlessly 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, surely. 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 recommend the likes of Mackerras or Gardiner for this symphony. Personally, 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 (e.g. Furtwangler in 1951). 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. Other people have also noticed that at crucial points (the forte statements of the Eroica theme and, most heartbreaking of all, the big choral restatement in the 4th movement of the 9th) the sound has been compressed - don't ask me why but it has damaged the overall conception here. 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 and, though the compression may have been removed the recording still fails to deliver at crucial moments). Bad DG! Despite the fact that the remasterings were PCM rather than DSD, both layers sound superior to this one. (Some more attuned to LPs may find it hopelessly over processed but I can't comment - being a child of the nineties, CDs are the only option for me).

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 excellent but you must make your own mind up. You will not hear as I hear and you may not like what I like. For beginners I would advise collecting these symphonies one or two at a time in truly acclaimed performances by various orchestras and conductors. For instance Klemperer's third could be considered superior to the present third and Kleiber's 5th and 7th are considered definitive. In the world of music, however, it is for the individual to make their own way - would we have it any other way?

PS There is a live recording of the Ninth under Karajan on the BPO's own label (Berliner Philharmoniker) in their limited edition 'changing times' series which I believe to be preferable to the present ninth. For further info, read my review of it on Amazon.co.uk (I can't find it on Amazon.com), ASIN:3898162664.