Customer Reviews

Beethoven: Complete Symphonies; Sir Simon Rattle/Vienna Philharmonic

5 star:		(9)
4 star:		(5)
3 star:		(9)
2 star:		(6)
1 star:		(3)

 

 

Rattle's new Beethoven Symphony cycle is a pretty solid disappointment given the high expectations that I, and many others, had for it. My first impressions were lukewarm, but I was hopeful that the cycle would grow on me. Unfortunately, the opposite occured, and after several weeks aquaintance, this cycle has dropped even lower in my estimation.

As has been noted by many, Rattle makes the VPO play in a period style with little vibrato, quick tempos, and generally spare (if rhythmically detailed) textures. This approach has been successfully applied before (Zinman, Mackerras, Harnoncourt), but Rattle doesn't pull it off as well as the aforementioned others in my opinion. To much of the time the orchestra simply sounds unpleasantly thin, edgy and off balance, as opposed to lean, lithe and transparent.

The thin, edgy sound of the orchestra is exacerbated by the sub-par engineering which is seriously lacking in midbass weight, in addition to having a rather narrow soundstage. Add to that too much emphasis on the high mid-range and the basic sonic picture is unattractive.

Having pointed out these initial basic flaws, I would say that Rattle scores highest marks in the 3rd and 9th symphonies which are very well done, especially the 9th, which is one of the best modern recordings I've heard despite some idiosyncracies in the finale. The rest of the performances are quite mixed.

The first two symphonies are given quick, period style performances as has become almost the norm these days. Rattle's versions are not bad, but not appreciably better than many others I've heard, and not as good as Abbado's.

As I mentioned, the 3rd is quite good - particularly in the first movement which is quite exciting, and in the harrowing second movement. The finale is a bit of a let down, but the reading overall is very strong.

The 4th and 5th are also two of the better readings in the cycle, however I would not consider them competitive with the best available. But they were enjoyable. I would have liked even more fire in the first movement of the 5th, though.

The 6th is terrible, IMO - one of the worst I have ever heard, and the major "turkey" of this cycle. Everything sounds calculated, mannered and unnatural, and in many places Rattle's reading really hangs fire. Tempos are on the broad side, which I don't mind (Celibidache's reading is one of my favorites), but in this case the whole reading is curiously lifeless. The 6th is my favorite of the LvB symphonies, but this was a major chore to sit through. A total bust.

The 7th and 8th are not so great either. I dislike Rattle's fussy way with the first movement theme of the 8th, and the finale is a little slower than I would have liked. The 7th just doesn't sound convincing to me, and I found the vibrato-less period-style incarnation of the VPO more annoying here than elsewhere.

The 9th really is superb, however, and I hope that it is released on its own, because it really is a worthy performance for any collector. The whole period-style thing seems to have been scrapped for this work, and the VPO really sounds more in their element. The first movement is close to ideal - perfectly paced, dramatic, and full of fire. The second is quite good, and the slow third movement is very beautiful. In the finale things go astray a bit, particularly in the coda, which is just bizzarre and totally unconvincing (what's with the piccolo?). But all things considered, this is worth a listen if you ever get a chance.

I would not recommend this cycle to someone looking for their first complete cycle. Blomstedt/Dresden on Brilliant Classics is much better overall, and can be had for under $... Otherwise get individual performances. This cycle is strictly for the curious, and those willing to take a chance - maybe you will like it better than I did.

It's a pity that Simon Rattle's Beethoven symphony cycle is the last in a series of recent recordings using Jonathan Del Mar's newly revised Barenheiter edition of Beethoven's symphonic scores. Otherwise, it might have earned recognition as the best recent Beethoven symphony cycle recording. Still it is by far the best Beethoven symphony cycle recorded by the Vienna Philharmonic Orchestra. But should it be regarded as first choice for those interested in a Beethoven symphony cycle, especially one using the new Jonathan Del Mar-edited edition?

Simon Rattle demonstrates in these recordings that he is a fine interpreter of Beethoven's scores, which he indicated previously in his Beethoven piano concerti cycle with pianist Alfred Brendel, recorded too with the Vienna Philharmonic. However, he doesn't quite match the lyricism or textural richness attained by Harnoncourt, Zinman or Abbado. Instead, for most of the symphonies, these are simply well played, clinical accounts of the Jonathan Del Mar scores. The most notable exceptions are those of the Third Symphony (Rattle's interpretation, especially of the first and second movements, is among the most exciting I've heard, easily comparable in quality to Abbado's most recent account, Giulini's with the Los Angeles Philharmonic, or any of Karajan's.) and the 9th Symphony. The 5th symphony is a fascinating interpretation too, and one of the few which adhere closely to the brisk interpretations favored by Zinman and Abbado. Unfortunately, the 6th symphony lacks the majestic lyricism I've heard in Bruno Walter's classic account with the Columbia Symphony Orchestra and the rich textures I've heard in Harnoncourt's and Abbado's (When I met Harnoncourt earlier this year I had remarked to him that I was not impressed with his COE recording of the 6th symphony, but it's actually much better than I had thought, since it is a rich, texturally glowing account which requires repeated listenings.) versions. And the worst account in this cycle has to be Rattle's interpretation of the 7th symphony; much to my surprise he isn't as inventive as Abbado in using swift changes in tempi or as successful as either Carlos Kleiber or Abbado in emphasizing the score's intricate architecture.

So should you buy Rattle's account of the Beethoven symphony cycle? My answer is yes if you treasure the rich sound produced by the Vienna Philharmonic in its concert hall, the Musikverein. The sound quality is among the best I've heard, equal to Abbado's. But if you prefer more exciting, dynamic accounts of Beethoven's symphonies, then I would recommend instead, Harnoncourt's and Abbado's, with Zinman's a first choice for those on a budget.

I purchased this set with a little trepidation after reading some of the negative reviews here. I recently upgraded my stereo equipment and was looking for a modern recording which would have excellent sound quality. I am also a fan of Simon Rattle, so this seemed to fit the bill perfectly.

After I turned it on, I heaved a huge sigh of relief. Comments about the sound being "thin and edgy", with a "narrow soundstage", were a bit off the mark. It does lean toward the bright side, but I think it is more from the effect of the hall than from bad engineering. From what I can hear, the Musikverein is fairly live and sounds more like LA's new Disney Hall than the old Dorothy Chandler Pavilion (which has a muted tubby sound). A live hall will tend to accentuate the treble, so on a sound system which is already bright (as many speakers and amplifiers tend to be), it probably would sound a little overly bright. However, on a sound system which tends to be neutral to warm (as mine is, with Conrad-Johnson amplification and Vandersteen speakers), this recording sounds lively, detailed, and though a little lean, I cannot say it sounds edgy.

As for soundstaging, my feeling is that of someone sitting in the tenth row. While the breadth of the soundstage is not enormous (think first row), it is more than adequate. The soundstage also has adequate depth, which becomes more apparent when the timpani comes into play. However, what might be missing is soundstage height, which is why I feel like I am listening to the orchestra more edge-on than at a high angle.

One thing that puzzles me is that the cover says that these were recorded live; however, I didn't hear a bit of audience noise. Maybe it was done in the hall in one take, but without the audience there? I don't know. I didn't hear one sneeze or cough.

In all, excellent sound quality combined with a refreshing (though not outlandish) interpretation. If you find the other Beethoven Symphony cycles boring, look into this one.

When being courted as Artistic Director of the Birmingham Symphony Orchestra a decade or so ago, Sir Simon Rattle responded by saying something to the effect of, "OK, but don't expect me to play any Beethoven symphonies." At the time, Sir Simon apparently had no desire to travel down the well-worn, highly commercialized path of Beethoven symphonic interpretation. In defense of his position, it must be said that every major (and minor) conductor who has ever stepped upon the rostrum has tried his hand at the Great Nine; moreover, the recording catalogues are littered with various recorded interpretations. What could a twenty-first century English conductor possibly have to add to the wealth of interpretations already before the public?

It comes as a bit of a surprise, then, that one of Rattle's first major recording enterprises as newly minted conductor of the Berlin Philharmonic is a complete set of the Nine performed with that other great European orchestra, the Vienna Philharmonic - a move made all the more interesting when one considers that Rattle's immediate predecessor, Claudio Abbado, recorded a complete set with the Berliners themselves a scant two years earlier. However, after hearing this set, I believe that Rattle's trepidation at (or disdain of) recording the Nine was ill founded, to say the least. Although similarities can be found between Rattle's and other recent sets (e.g., Abbado with Berlin, Harnoncourt with the COE), as well as legendary older ones (Toscanini with NBC or Karajan with Berlin in '62), Rattle's set stands on its own merits. And based on those merits, I feel it is among the most exciting and compelling sets of the Beethoven symphonies that I have yet heard.

Rattle's success lies in a fundamental formula that combines urgent tempi, pointed rhythms, and dramatic dynamics with an insightful, original interpretive flair, all underscored by playing and recording quality of the highest caliber. (Unlike the rounded, at times almost dull sound on Abbado's Berlin set, this set's sound has plenty of bite and point, just what is needed for Beethoven.) Like Zinman and Harnoncourt before him, Rattle uses a "period" approach on modern instruments. The Vienna forces are reduced, and the strings often use a playing technique virtually devoid of vibrato, making them sound more period than modern. Winds and brass stand out in marked contrast. Indeed, I have not before heard interpretations of Beethoven symphonies where the brass is so prominent. However, always his own man, Rattle refuses to be bound by period convention. While seldom wayward, the interpretations bring out personal, dramatic nuances at every turn. Veteran listeners of Beethoven will find themselves surprised at how many new things Rattle brings out of the scores. (Some credit, no doubt, must go to the Urtext editions.) Listen, for instance, to the tragic depths plumbed in the funeral march of the Eroica, or the jubilation of the finale of the Fifth. Of note, too, is his account of the Eighth, in which the work is made to sound every bit as persuasive as the Seventh. (Beethoven always preferred the Eighth to the Seventh, and, hearing this Viennese version, one can easily understand why.) Rarely has depth of expression gone so well with textual fidelity.

Lest I sound like PR rep for EMI, I should make note of some reservations I have. At times, the orchestral sound can be a little too spare. While I have always felt that Karajan's ravishing approach to Beethoven's sound world was overrated, feeling that the beauty of it somewhat diminished the dramatic impact of Beethoven's darker side, I nevertheless could have done with a little more vibrato on the strings of Rattle's set, and a bit more fullness in general. Rattle's Pastoral, for instance, lacks something of the lush ripeness that Walter brought to it. Conversely, while the "period" approach to tempi is abundantly evident throughout the first eight, the tables are somewhat turned in the Ninth. The first movement is surprisingly broad. Although it stops short of being sluggish, I nevertheless would have prefered a faster clip in this music. In the finale, Rattle's insights that proved eye-opening elsewhere, here border on being perverse. For instance, the coda rushes in at breakneck speed, but then leaves at a clop rather than a gallop, just the opposite of what we normally would expect. Prior to that, though, the great choral outburst leaves one in awe: this may be an unusual interpretation of the Ninth, but an impressive one nonetheless.

While no complete set can equal one that you yourself could assemble from all your favorite individual interpretations of the symphonies, Rattle's set is certainly worthy of issue in an already crowded field. For newcomers to Beethoven who are interested in hearing something in the way of a definitive interpretive vision of the symphonies, if such a thing is even possible, his set is on a short list of ones I would recommend. For those jaded people who have heard it all, or think they have, Rattle's set may just get the juices flowing again.

A discovery new and old

This new set has been long and highly awaited. When news came through Gramophone that a new cycle was being recorded, I was filled with excitement. Furtwangler, Karajan (1963 and 1977), Klemperer and Toscanini to name the justly great cycles of Beethoven came back to mind. Being recorded live, it is bound to be a set filled with high charge energy. The above would have been recorded in the old school of performance whereas it was expected that Rattle would try out a combination of the VPO's rich and lustrous tone and tradition with new performance practice, not to mention the new text edition by Jonathan del Mar. And in this he does. In certain parts of the symphonies, you will hear the rich tones associated with the VPO but in certain areas, you will be surprised! Abbado's new DG set and DVD cycle uses the new del Mar edition as well.

With Sir Simon Rattle, one would expect an energetic and interpretations full of delight and surprises. Which is exactly what one would get listening to the first 2 symphonies. Full of verve and wit and swift tempos, they are a sheer delight. Being a live recording the audience was clearly there with them - no intrusions from the audience throughout.

The 1st movement of the Eroica comes through with energy and power. Klemperer and Giulini come to mind in this and although the speeds are distinctly different, the merits in these recordings are clear. What I missed in this Eroica was the intensity which the Gramophone reviewer Richard Osborne mentioned in his review of one of the actual concerts. If I had not known of that performance, I would be inclined to think that this was a good Eroica performance and as such, it should be.

The 4th symphony is swift in tempos and freshly projected but lacking in the rich sound and articulation in Karajan's 1963 set and Abbado's recent DG set.

The ideas and interpretation in the 5th Symphony in this new set sounds more connected than the earlier release (also under EMI). In that earlier release which was coupled with a Brahms Violin Concerto with Kyung Wha Chung, the mix of old and new was too much and too many. It was clear that one would not be getting a reading with the momentum to carry you through.

The Pastoral in this new set is a wonder. The Awakening of cheerful
feelings on arriving in the country and Scene by the Brook is as delightful as it can get. It was sheer delight and the build up to the Storm section was superbly done culminating with a real feeling of peace and serenity in the finale. The cellos are wonderfully nursed in the finale and being Giulini's assistant back in the Los Angeles Philhamonic, I would have expected no less. Listen to Giulini's wonder Pastoral issued in 1994 with the La Scala Philharmonic under Sony Classical. I would have loved to be in the audience at the Vienna performance.

The 7th symphony is only occasionally satisfying. The antiphonal lay out of the violins do pay dividends in the 1st movement but somehow I found it lacking in power (listen to Carlos Kleiber's VPO recording(DG Originals) or Karajan in 1963(DG), Toscanini's with the New York issued by Naxos and Sir Colin Davis (EMI)). The 2nd movement is not as moving and memorable as it should but this does not take away the force and momentum in the Allegro con brio finale.

The 8th symphony comes across with thrilling projection and excitement. Only in the Allegretto Scherzando did I find the reading subdued but no problems with the Allegro Vivace.

The 9th symphony is packed with drama and tension and the first 2 movements was wonderfully played. But certain parts of the symphony I missed some details which are clearly audible in the slow movements - listen to Abbado's wonderful BPO performance (recently issued by TDK DVD) at the 10th European Concert and issued as part of Abbado's DVD Beethoven cycle. The finale is memorable for a fine performance not only from the soloists but also from the City of Birmingham chorus under Simon Halsey.

It is clear that this is a set to keep worthy for the Pastoral, Eroica, Choral and the first 2 symphonies. I await eagerly when Rattle would get a chance to record with his new orchestra and when his ideas and style would be grafted into the playing of the BPO in the years to come. Rattle does indeed take you on a journey of discovery and along the way, surprises, delight, excitement and disappointment comes to mind and for the price, it is a journey worth undertaking every few years once! Bon voyage!

Given all the carping in the previous reviews I am amazed at how good this set really is. In fact, had I not read all that negative commentary I still would have been impressed by Sir Simon's approach and the Vienna Philharmonic's execution. I think this is an outstanding rendering of Beethoven's symphonies.

My general sense is one of enthusiasn, exuberance, and joy in the music making--these people are happy conducting and playing this music--and playing it so well. I detect no boredom and no conductor-orchestra dissociation. There is a strong sense of architecture and structure overall, and fine attention to phrase structures, "pause power", and tension-and-release.

The orchestral sound and the recording quality are excellent. No apologies need be made for defects accruing from "live recording." Given the lessons of period playing and performance practice of the past several decades, it is perfectly justifiable that Sir Simon has his strings play with relatively less vibrato and a thinner sound than that of which they are capable. The same orchestra should not produce the same quality of sound in Beethoven circa 1815 as they would for Tschaikowsky or Mahler nearly a century later, any more than a pianist would play Scarlatti the same as Brahms the same as Rachmaninoff on the same modern Steinway grand.

A few of the many highlights: The very first chords of the First Symphony are pointed and strong, boldly looking forward to the future that Beethoven is confident in defining. The cuckoos in the slow movement of the Sixth Symphony actually sound like cuckoos (they never did to me in other recordings and performances). The general level of detail brought out is phenomenal; inner voices and cross-rhythms are crystal clear. The sounds of the winds and brass are glorious and varied, especially in contrast to the somewhat period-practice sound of the strings. The chorus (which is the City of Birmingham Symphony Chorus) displays unusually clear diction. The singing quartet is outstanding. The power of the Eroica is breathtaking, from the agitation of the first movement through the agony of the funeral march and its decomposing thematic elements, to the triumph of the finale. (By singling out the Eroica I don't want to imply that the other symphonies are less effective; the set is strong across the board.) The dynamic range throughout is extremely wide.

"Dangerous Beethoven!" by A Music Fan (a prior review) hit the nail squarely on the head. If you require that your Beethoven be played in a certain way because your preconceived notion is all that guides you, then by all means enjoy the recording that fits your mental model or that defined it. But don't beat on Sir Simon for not reading your mind and for not doing it your way (or Haitink's way, or Barenboim's way, or whoever's way).

A note that may or may not be relevant: One can argue that Rattle and Nicholas Harnoncourt are two of the major Beethoven interpreters of our time. Harnoncourt essentially invented the early music movement and comes to Beethoven chronologically through history. Rattle has emphasized new and unusual music in his discography (and performance career) and has worked his way to the Beethovenian pinnacle more or less backwards in time. Both produce great Beethoven. I think the source of Sir Simon's strength as an interpreter lies in part in appreciating the Beethovenian roots of so much of his repertory, just as Harnoncourt appreciates how the nusic evolved.

This is a stunning conception of Beethoven by a conductor who has given serious thought to every measure, who has integrated period performance practice and style into the standard repertory, and who is not afraid to rethink some basic aspects of approach. In my opinion, it is extremely successful and the result is deeply satisfying. Thank you, Sir Simon, and keep up the good work!

This new set of the Beethoven Symphonies has a cumulative power which results from the discs deriving from a series of live performances . All 9 Symphonies were performed in a little over a month with the VPO . This consistancy of approach from Symphony to Symphony coupled with the fact that they were recorded live (there is no applause by the way) lend these performances the kind of blazing intensity which Beethoven's music surely demands and deserves .
What impressed me most about this set , aside from the stunning playing of the VPO , is the way in which Rattle has employed the latest scholarship on these scores in the form of the Barenreiter Edition but has not apllied it as rigorously as a Zinman or a Gardiner . As interpretations this gives us the best of both worlds - the music retains its phenomenal energy and vigour but when it is needed Rattle is able to relax and even to employ rubato in the manner of Furtwangler . Rattle is an admirer of Furtwangler's art , something which I would not have suspected before I heard these performances . Indeed the first movement of the 9th is almost a carbon copy of Furtwangler in this music .
The performance of the 9th , a truly great performance , perhaps best illustrates the virtue of this set . The first and third movements have the necessary weight and grandeur , employing considerable Rubati (Zinman and Gardiner skate over the surface of the music here) but come the Finale we are reminded that this music derives from the world of the Enlightenment - The Magic Flute and not the Late Romanticism of Wagner.How refreshing too to hear the words sung with such clarity and meaning .
This Cycle does not contain a single weak link , and of how few Beethoven Cycles can that be said? I was disappointed that the Da Capo in the Scherzo of the Fifth Symphony was not played .As Robert Simpson (one of the most perceptive writers on Beethoven) demonstrates the inclusion of this repeat is needed to make sense of the one which follows in the Finale . But a tiny caveat this .
The first two Symphonies go splendidly ; witty , alive , cheeky and stunningly well played . Rattle has said he imagines the young Beethoven to be the kind of person who would enjoy sneaking up behind someone and shouting BOO !! that sums up these performances brilliantly .
The Eroica is a superb performance the first movement is taken quickly but I've never heard this music so gloriously liberated from the barline - the Marcia Funebre then has weight and dignity at a tempo not so slow that is throws the two concluding movements out of balance - and most importantly it is always a march .
The 4th 7th and 8th symphonies share the virtues of the other performances , superbly played , alive to Beethoven's every mood.
Violins are divided antiphonally in all these performances - absolutely essential in Beethoven (Composers knew about Stereo before we did !!)
You realize the incredible energy of this music .The power it retains nearly 200 years after it was written to move and re-invigorate us.
Rattle says he regards the Pastoral Symphony as possibly the most spiritual work Beethoven ever wrote and listening to his performance you will find it hard not to agree . This is another highlight of the set with a storm so vivid you can almost feel the rain on your face . This Pastoral too illustrates very well how , within the consistant approach and playing style of this Cycle , Rattle is still able to create variety and a sound which is apposite for each work - just compare the 5th with the 6th for example .
The sound in general is excellent , considering it derives from live concerts and considering also that EMI have far less experience recording the VPO (not an easy Orchestra to record well) than DG or Decca .There are a few grunts and stomps which betray Rattle's total involvement , surely easily forgiven.
I came to this Cycle with very high expectations and I was not disappointed . It's consistancy of approach is perhaps it's greatest virtue - as I said at the beginning of this piece . This must come from the intensity of the live event coupled with the very short peroid of time over which the works were rehearsed and performed . But perhaps it is "the best of both worlds" approach interpretively which will commend it to most collectors.
Why only 4 stars ?? Well the best and ultimately most frustrating thing about Beethoven is that his greatest music is better than it can ever be performed .
As for EMI's packaging you'll either love it or hate it .

The Gramophone reviewer was less than enthusiastic about this release. Granted, there are occasional ensemble problems and unusual balances. But this is the most exciting Beethoven I've heard in years. The recordings are clean, the sound is nothing like what we've come to expect in Vienna: lean, edgy, almost, but not quite like the period instruments in Norrington's and Gardiner's recent sets. But Rattle's radical re-imagining of the sound world of the early 19th century and the particular choices he makes make these renditions stand apart. Thrilling playing, convincing tempi, glorious sound. Get it.

Reviewers who don't take to this set are most likely those who obsessively file their Norrington and Goodman on one side of their CD storage apparatuses and their Karajan and Klemperer on the other. As to a place in their neat (albeit limited) musical paradigms for something as bold and original as this offering from Rattle, there just isn't one. Simply put, Rattle's conducting does not fit the tight, heuristically convenient categorizations that lend to reviewers the semblance that that they can write intelligently about classical music. Sure, Abbado's, Harnancourt's and Zinman's sets safely stand a middle ground between authentic performance practice and modern instruments, and the typical,anal-retentive hacks can thus cope with them. But Rattle doesn't just take the artistically sterile position of a little bit of this and a little bit of that. He dares to embrace the dangerous implications of his overall interpetive decision-making and should receive far more praise for his artistic bravery and its musical yield.

I recall reading awhile ago that Alfred Brendel used to discourage Sir Simon (before he was Sir) from concentrating so much on his bold exploration of lesser known, but good works' entry into the classical canon that he neglect his responsibilty to the established masterpieces. Heartfelt gratitude to Brendel. Yes, Rattle spent a long time and took unconventional routes in his getting to Beethoven symphonies on record. But what a boon he has finally given us. Artistic grit, rhythmic incisiveness and unique sonorities combine to produce astounding effects. And that's just the basics!
Don't let all the stuffy talk about this sets purported "oddities" and "inconsistencies" dissuade you. Rush out, buy this set and simply experience it--free from all the preconceptions that Gramophone reviewers and the like may have instilled in you. (You know, there is a remarkable tendency for these writers to even change their minds. Don't gasp at this sseming blasphemy. Just compare blurbs in the Holy Grails of classical music, the successive editions of Penguin Guide and Good Guide, with each other and with original Gramophone and BBC reviews). What's the risk? Just skip your gourmet espressos and lattes for a couple of weeks, or delay your purchase of six or so Naxos' discs. You'll be amazed.

I have awaited this release with great anticipation, having collected most modern Beethoven Symphony Cycles since the advent of stereophonic recording. I must concur with the reviewers in Gramphone. This is a 'work in progress,' not a valedictory statement, which I had hoped for.

The recordings with the VPO are live, in an superior venue, but the recordings have a peculiar, nasal acoustic which is neither appealing nor effective in displaying the scores. The soundstage has little or no depth. Further complicating the matter is Rattle's odd choice of dynamics and instrumental shading, which causes the orchesta to recede and jump forth upon the listener in an unappealing, almost ridiculous manner. The effect is irritating, in the least, and downright offensive in others. Sometimes tempi are peculiar; for example, in the finale of the Eroica Symphony, the movement begins at a brisk and impressive clip, only to be ground to a halt by a ponderous coda which, while literate, and well played, is out of character with the remainder of the movement. The entire cycle, from an aural perspective, lacks adequate bass; the bandwidth of the cycle is disappointingly narrow.

Listeners wishing to collect an exciting account of the entire cycle are encouraged to look at the 40 year old Karajan 1961 recordings for DG, and more recently, Zinman's superb recitation of the same Barenreiter scores with the Tonhalle Orchestra, Zurich. While neither have the best of modern day technological recorded sound, both are far preferred for effectivity of communication of the Beethovenian spirit. For an original instrument version, I'd encourage consideration of Gardiner's excellent set for Archiv Produktion.

Listeners wishing individual stereo recordings of merit, regardless of age, should consider Marriner for #1, Szell for #2, Dohnanyi for #3, Kubelik or Kleiber for #4, Kleiber for #5, Bohm or Reiner for #6, Kleiber for #7, Kubelik or Hogwood for #8 and for #9, either the 1961 Karajan recording, the earlier of two Solti recordings. For an original instrument 9th, Gardiner's recording is an excellent choice.

I regret this disappointment, but it is genuine and I had hoped for so much more from this absolutely magical of conductors. Unfortunately, not every recording can have the incandescence that Rattle routinely brings to almost everything he touches. The high point of this cycle is Symphony #6 for its magical characteristics, despite suboptimal sound. Listeners wishing to hear Rattle at his most exciting in Beethoven are advised to find the EMI recording of the Beethoven 5th Symphony compiled with Chung's recording of the Brahms Violin Concerto, as it appears to be a different performance than that in the Cycle.