Beethoven: Symphonies Nos. 3 & 5 ~ Erich Kleiber, Concertgebouw

Ludwig van Beethoven (Composer), Erich Kleiber (Conductor), Royal Concertgebouw Orchestra (Orchestra) | Format: Audio CD

Product Details

• Orchestra: Royal Concertgebouw Orchestra
• Conductor: Erich Kleiber
• Composer: Ludwig van Beethoven
• Audio CD (November 14, 2000)
• SPARS Code: ADD
• Number of Discs: 1
• Label: Decca
• ASIN: B00004XQ8M
• In-Print Editions: MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (9 customer reviews)
• Amazon Best Sellers Rank: #169,231 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

This is one of those Decca Legends releases that's truly legendary. Erich Kleiber's recordings of these Beethoven symphonies were considered the best available in the LP era. They've held their own even through the stereo and digital eras and doubtless will still be at the top of the heap during the 21st century's new formats. The Eroica was a longtime Kleiber specialty, and this 1950 recording is the tightest, most penetrating and powerful version of the work you're likely to hear, with a Funeral March movement remarkable for its intensity. Similar superlatives apply to the Fifth Symphony, recorded in 1953 in sound even more transparent and a wide dynamic range. Challenged by son Carlo's famous stereo record of the work, Erich's Fifth retains its capacity to engulf us in Beethoven's vision. This is a must-have, even for those leery of pre-stereo recordings. --Dan Davis

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Erich Kleiber's sudden death in January 1956 curtailed what would undoubtedly have been a complete Beethoven symphony cycle. Decca Legends herewith reissue his celebrated 1953 version of the Fifth, along with the conductor's earlier version of the Eroica (he later re-recorded it with the VPO). The Vienna Eroica, particularly in its latest remastering, has superior sound (it tended towards stridency in its earlier incarnations), and some will applaud its observance of the first movement's exposition repeat – I have never particularly cared about this one way or the other. But the Amsterdam performance also has its points of interest. At 1'02" into the first variation of the finale, Kleiber iconoclastically espouses a literalist view of the fermata over the first violins' E flat, holding that note and the subsequent D as part of the next phrase. Toscanini evidently picked up this curious detail from Kleiber after hearing the latter's 1948 broadcast with the NBC Symphony, and reproduced it in his own November 26th, 1949 NBC broadcast. Both Kleiber and Toscanini eventually came to feel they were mistaken, as I think they were: a fermata placed over an appoggiatura traditionally applies to both the first note and its resolution. In any case, the contentious fermata is interpreted in the usual way in Kleiber's VPO version and Toscanini's 1953 NBC recording.

Beyond this, both Kleiber and Toscanini had much in common in espousing stringent discipline and kinetic, hard-driving momentum in this mighty work. But there were differences too, of course: Kleiber tends to hold the symphony on an even tighter rein than the Italian maestro did – indeed, I find his first movement a bit too severe at times. Toscanini (particularly in 1953) permitted a few fleeting moments of songful expansiveness and did not eschew rubato. The 1950 Decca sound, though carefully restored, is a shade coarse and congested (the timpani seem a mite enfeebled in the first-movement development and the climactic fugal build-up in the Marcia funebre, a moment Toscanini realized with extraordinary power); but for all its minor disappointments, this is certainly a distinguished Eroica.

The Fifth is even more impressive. For one thing, three years made a big difference in those days, and Decca's state-of-the-art mono sound, benefiting from the Concertgebouw's ambient acoustic, captures the superbly drilled orchestra with luminous clarity. The contrasting strings, winds and brass are so sharply defined that stereo separation is never missed. Kleiber brings a militantly alert manner to the first movement (even the fermatas in the opening bars are rigorously compressed, but do not detract from the powerful impact of the whole). And so it goes: the Andante con moto combines urgency with a requisite repose, and the last two movements are magnificently controlled. I used to think that the finale was disappointingly over-controlled, but on rehearing it I've changed my mind. I now feel that this interpretation surpasses even Toscanini, Karajan and the slightly more mannered Carlos Kleiber.Apart from the aforementioned treatment of the fermata in the finale of the Eroica, a few more details in both symphonies are worth mentioning: Kleiber's refusal to introduce a crescendo at 7'47" into the Eroica's finale, for instance; or his refusal to replace the original bassoon with a horn at 4'46" in the first-movement recapitulation of the Fifth. On the other hand, he pragmatically (and intelligently) allows the trumpet to continue playing in the Eroica's first-movement coda (from 13'15"), and eschews the repeat in the finale of the Fifth. Very highly recommended. Harris Goldsmith

Customer Reviews

Most Helpful Customer Reviews

11 of 12 people found the following review helpful:

5.0 out of 5 stars Another titan in Beethoven, Erich Kleiber, July 1, 2001

By 

Ralph J. Steinberg "Lover of German Music" (New York, NY United States) - See all my reviews
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This review is from: Beethoven: Symphonies Nos. 3 & 5 ~ Erich Kleiber, Concertgebouw (Audio CD)

If we limits ourselves to narrow classifications, I suppose we would call Kleiber a "classical" conductor, in the same we would label Furtwaengler and Mengelberg as "romantic." But as I grow older, I realize the uselessness of such pidgeonholing. Kleiber's "Eroica" is marked by great rhythmic control and consistency, intensity, and a clarity of textures that is rare, even amongst the more technically-minded of conductors. I normally prefer a broad Funeral March, but Kleiber brings it off at a more marchlike tempo, because of the great intensity he brings to the music. As for the Fifth, no one has ever matched the ferocious onslaught of the First Movement or the majesty of the Finale in this performance. And the recorded sound, particularly in the Fifth, is awesome. As for the orchestra, only Mengelberg elicted such potent playing from the Concertgebouw as heard here. Now, more Kleiber from Decca, please!

5 of 6 people found the following review helpful:

5.0 out of 5 stars superb performances from a great master, July 9, 2005

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G Pelloni "gpelloni" (Cottingham, East Yorkshire United Kingdom) - See all my reviews
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This review is from: Beethoven: Symphonies Nos. 3 & 5 ~ Erich Kleiber, Concertgebouw (Audio CD)

This cd provides Beethoven's interpretations for all seasons. Both admirers of the "old school" and of the "contemporary school" would find them spellbinding. They have a classic status and belongs to the Olympus of great interpretations of these works (alongside Furtwangler's and Klemperer's 3rd and 5th,Horenstein's and van Kempen's 3rd, Carlos Kleiber's 5th).
Decca has recently republished also the 3rd with E. Kleiber and the VPO, a performance even more entrancing than that on the present cd.

1 of 2 people found the following review helpful:

4.0 out of 5 stars Outstanding Fifth...Less-Good Third, January 26, 2002

By 

John Grabowski (USA) - See all my reviews

This review is from: Beethoven: Symphonies Nos. 3 & 5 ~ Erich Kleiber, Concertgebouw (Audio CD)

The Fifth Symphony on this disc is the real treat. Kleiber and company are lean and quick, with none of the Romantic affectations that often bring down performances of this work, even in the hands of such greats as Furtwangler and Mengelberg. The orchestra responds to his baton with crisp playing. The first movement will leave you breathless (even more so than will that of his son's performance in his famous DG recording), the Andante is serviceable (never heard a truly GREAT reading of this rather mediocre movement anyway) and the build from scherzo the finale is delightfully creepy without being heavy handed about it. And the finale, which I feel is a difficult piece to pull off being it can deteriorate into bombastic emptiness very easily, is totally convincing here, despite a relatively restrained tempo.

The Eroica fares less well, and Kleiber has made other recordings that are better. The performance is a bit brittle, with little expansiveness or "epic" quality. I have no problem with brisk tempi--I prefer them, actually--but this is also harsh, with no let-up. The slow movement is intense, however, and worth the price of admission. The other movements never quite strike the magic, or find the uniqueness, of this symphony. The heroism isn't there.

Transfers are fine. Sound is good early 50s mono. Recommended, mostly for the superb Fifth.