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Editorial Reviews
Amazon.com
Long regarded as the quintessential interpretation of the most popular and best-loved symphony ever written, this performance of the Fifth has everything: passion, precision, drama, lyric beauty, and a coiled fury in the first movement that sets your pulse racing from the very first note. Carlos Kleiber has made very few recordings in his distinguished career, but almost all are special. If you own no other copy of this symphony, this is the one to get. It comes with an exceptional performance of the Seventh--not quite as gripping as the Fifth, but definitely one of the great ones. There is classical music, and there are classic recordings of classical music. This one's a classic. -- David Hurwitz
Product Description
Long regarded as the quintessential interpretation of the most popular and best-loved symphony ever written, this performance of the Fifth has everything: passion, precision, drama, lyric beauty, and a coiled fury in the first movement that sets your pulse racing from the very first note. Carlos Kleiber has made very few recordings in his distinguished career, but almost all are special. If you own no other copy of this symphony, this is the one to get. It comes with an exceptional performance of the Seventh--not quite as gripping as the Fifth, but definitely one of the great ones. There is classical music, and there are classic recordings of classical music. This one's a classic.
Customer Reviews
Most Helpful Customer Reviews
108 of 118 people found the following review helpful
By Stan Vernooy
Format:Audio CD
The Fifth is almost certainly the best ever recorded. I haven't heard every single recording, of course, but I've heard just about all of the most famous and frequently recommended ones, and this one is head and shoulders above the competition in my opinion. Kleiber is often thought of as a fast conductor, but he doesn't race the finale as many people do - he allows the triumphant theme to shine in all its majesty. The ending of the first movement had an electric effect on me when I first heard it - he takes no ritard whatsoever. I don't know whether the score calls for one, but I don't care - the unrelenting feeling he imparts to the music at that point is indescribably powerful. Be aware, however, that some people find this performance too angry or grim. Kleiber does not always savor the sheer beauty of the music, but if he had done so it might have slackened the spectacular urgency and exccitement of the performance.
In the Seventh, Kleiber is still terrific, but perhaps not so clearly ahead of his competitors. My main quibble is that he has the violins play the last phrase of the second movement pizzicato - and to my ears, the effect is jarring. Walter, Solti, and Muti deliver performances which can compete with Kleiber's here - but this is incontestably a distinguished recording. Having both of these performances on one CD for such a small price makes it a no-brainer. Buy it!
99 of 108 people found the following review helpful
Format:Audio CD
Carlos Kleiber has gone on record (sorry about the pun) as intensely disliking recordings, especially loathing the studio recording process, which he thinks, with justification in this poor writer's opinion, distorts and perverts the art of music making. This is the principal reason why the work of this notoriously mercurial and eccentric, but clearly genius-level world-class conductor is so regrettably underdocumented on recorded media, and why most all the recordings that do exist are of his live performances.
Kleiber shares one characteristic with the late Leonard Bersnstein - he makes all music interesting. How many times has the average musician in the Vienna Philharmonic performed these two most popular of Beethoven's symphonies? As a symphonic musician myself, I would venture that most of them have long ago lost count. Each player has performed these symphonies scores, if not hundreds of times in his career - under the batons of conductors ranging from the memorable to the pedestrian to the ...
It is said that this venerable and legendary orchestra is incapable of a poor performance, no matter what overdressed ... may be standing upon the podium, spastically flailing away. But the curse and greatest fear of every seasoned orchestral musician is not that his or her playing skills may fail him. His greatest fear is BOREDOM! How many times can you perform Beethoven's 5th and 7th symphonies until you have nothing left to say? Until there is nothing left to discover? Until you step on your ya-ya and miss a repeat in the third movement because you were thinking about your tanking marriage, your disintegrating old jalopy, your pregnant and ...15-year-old daughter - anything except where you were supposed to be, intensely focused on your music?
The Vienna Philharmonic, from this reviewer's experience, IS incapable of a bad performance. But unfortunately it isn't incapable of a boring one. Except, that is, when Carlos Kleiber is the maestro. There is a discipline and attention to minute detail, and a white-hot intensity to these performances that is extremely rare and extremely precious.
These same performances were also video taped for television presentation. One could see that these musicians were on a mission, delivering their absolute all with such commitment as to belie the fact that these same players could (and under lesser conductors probably have) sleepwalk through these warhorses. The audience, to a person, was absolutely rapt - thoroughly transported to that sublime space that on this earth only the greatest art can accomplish. And on CD, without that added visual input, these qualities still come through - an even rarer thing indeed. This is NOT a recording one puts on in the background while "multi-tasking" one's way through household chores. It deserves, COMMANDS, one's undivided attention.
So PLEASE! Buy this recording, no matter how many other recordings you may already have of these symphonies.
BUT...
Be aware that these recordings were made in the late 1970's, in Vienna's famous Musikvereinsaal. While the live acoustics of this venue are wonderful, it is a difficult hall in which to satisfactorily record. Recordings from there often sound dry and shrill. Deutsche Grammophon "tonmeisters" earned notoriety, especially during this period, for producing glassy, harsh, over-miked, over-mixed horrors. At least this recording is partially redeemed by having been mastered on analog tape. DG's digital efforts have typically been unlistenably awful, which is why to this reviewer, unless the performance is truly remarkable in some way, that bright yellow DG label may as well be a "Bio-Hazard" warning.
On the other hand, other critics have said they like "that" sound. So all I can say is, "De gustibus non est disputandum." - "On matters of taste there is no argument." So, "Caveat emptor!" - "Buyer beware!" But even if, like with Yours Truly, the audio quality causes one's fillings to ache, this recording is a "must have."
98 of 108 people found the following review helpful
Format:Audio CD
When Carlos Kleiber released his classic Beethoven Fifth in 1975 with the Vienna Phil., it made his reputation overnight, and the recording was greeted as a revelation. At the time I wondered if this was really true, since two older Fifths from the early Sixties, Karajan with the Berlin Phil. and Bernstein with the NY Phil., seemed quite wonderful already. Now I have the latest remastering of each, so I decided to sit down and compare them.
Sonics: The Kleiber recording was never one of DG's best--edgy, a bit thin, lacking in warmth. In its "Originals" reissue things are improved but not drastically so. However, neither Karajan nor Bernstein sounds appreciably better, the main difference being that these conductors asked for heavier weight in the lower part of te orchestra and were given wider stereo by the engineers. There is still some shrillness in the strings at loud volume on all three CDs. I would say that Karajan's latest SACD remastering gives him the edge. The trumpets at the beginning of the finale, for example, sound more exciting and easier on the ear.
Tempos: It's remarkable that all three ocnductors hear the Beethoven Fifth at the same tempo in every movement, within a few seconds of each other. (Karajan times out faster in the finale because he skips the exposition repeat, which Kleiber and Bernstien both take). The main exception is Bernstein's first mvoement, which at 8:30 takes a full minute longer than the other two and sounds stodgy by comparison (heard in isolation it comes off as measured and grand, a traditional approach in this movement, except for the ever-fleet Toscanini).
Interpretation: Here is where Kleiber's reputation stands or falls. I think if I played these three recordings blind, the finales would be identical to any listener. Karajan's first movement is more propulsive than Kleiber's--a surprise since Kleiber was praised for finding new energy in this worn-out music. In the second movement, where Kleiber always seemed light and expressive, the other two are, also. The scherzos are more or less identical. Only Bernstein's measured first movement gives away his performance, yet with careful listening it emerges that Karajan's phrasing is a bit on the stiff side, while Kleiber's orchestra seems a shade more alert and expressive.
In all, these are all performances to live with a long time. To me, it was surprising that Kleiber wasn't as revolutionary as I'd thought three decades ago. If it makes a difference, I once put five versions of the first movement on a CD to see which was preferred by some friends in a blind listening test. The Kleiber easily won, so maybe there is something special here after all. Second place went to Reiner's great recording from the Fifties on RCA.
Sonics: The Kleiber recording was never one of DG's best--edgy, a bit thin, lacking in warmth. In its "Originals" reissue things are improved but not drastically so. However, neither Karajan nor Bernstein sounds appreciably better, the main difference being that these conductors asked for heavier weight in the lower part of te orchestra and were given wider stereo by the engineers. There is still some shrillness in the strings at loud volume on all three CDs. I would say that Karajan's latest SACD remastering gives him the edge. The trumpets at the beginning of the finale, for example, sound more exciting and easier on the ear.
Tempos: It's remarkable that all three ocnductors hear the Beethoven Fifth at the same tempo in every movement, within a few seconds of each other. (Karajan times out faster in the finale because he skips the exposition repeat, which Kleiber and Bernstien both take). The main exception is Bernstein's first mvoement, which at 8:30 takes a full minute longer than the other two and sounds stodgy by comparison (heard in isolation it comes off as measured and grand, a traditional approach in this movement, except for the ever-fleet Toscanini).
Interpretation: Here is where Kleiber's reputation stands or falls. I think if I played these three recordings blind, the finales would be identical to any listener. Karajan's first movement is more propulsive than Kleiber's--a surprise since Kleiber was praised for finding new energy in this worn-out music. In the second movement, where Kleiber always seemed light and expressive, the other two are, also. The scherzos are more or less identical. Only Bernstein's measured first movement gives away his performance, yet with careful listening it emerges that Karajan's phrasing is a bit on the stiff side, while Kleiber's orchestra seems a shade more alert and expressive.
In all, these are all performances to live with a long time. To me, it was surprising that Kleiber wasn't as revolutionary as I'd thought three decades ago. If it makes a difference, I once put five versions of the first movement on a CD to see which was preferred by some friends in a blind listening test. The Kleiber easily won, so maybe there is something special here after all. Second place went to Reiner's great recording from the Fifties on RCA.
Most Recent Customer Reviews
3.0 out of 5 stars
One Among Many
I guess I'm one of those dissenters: this is not the be-all-and-end-all Beethoven Fifth. In fact, Kleiber's Beethoven Seventh is much better for me. Read more
Published 27 days ago by Star of the Sea
5.0 out of 5 stars
Superb performance
Under the guiding hand of a great conductor, the Beethoven came alive. This is a "must have" album to enhance your colklection.
Published 29 days ago by Charles Burns
5.0 out of 5 stars
Certainly Resonates!
These Beethoven Symphony pieces are excellent for relaxation and healing. I listen to this music in the background and it is always soothing. Read more
Published 1 month ago by aosbo001
4.0 out of 5 stars
Both Solid, One More So
These are certainly solid performances of the Beethoven Fifth and Seventh Symphonies, particularly the former. Read more
Published 2 months ago by J. R. Trtek
5.0 out of 5 stars
Not the typical interpretation
It's difficult to bring a valid fresh perspective to such well known works but Kleiber succeeds. This is now one of my favorite 5ths.
Published 3 months ago by Murray Brockman
4.0 out of 5 stars
Why is this the best?
I read in several places that this was the best recording ever of B's #5. I'm no expert but since this was a "live" recording you can hear coughing and music sheet shuffling. Read more
Published 4 months ago by Saul Nathanson
5.0 out of 5 stars
Mmmmmmm this is like chocolate for the ears
This is the one you want in your collection if you like Beethoven. Even if you don't like Beethoven. You won't be sorry.
Published 5 months ago by steve
1.0 out of 5 stars
Censored Beethoven's 5th
This conductor must have been trying to hide the truth about Beethoven's 5th - after all, it is true that Beethoven wrote parts for Gong, Wagner Tuba, and Sousaphone for this... Read more
Published 9 months ago by Harry Ballzak
5.0 out of 5 stars
One of the Best Classical Recordings of All Time
Carlos Kleiber and the Vienna Philharmonic are both in top form on this recording. Kleiber leads a taut reading of the 5th, not unlike Karajan's 1963 recording. Read more
Published 14 months ago by Wai Kit Leung
1.0 out of 5 stars
Not for use in a vehicle
Although well performed, the dynamic range is too great. The quiet parts are too quiet and too far out of balance with the louder parts. I listen to my music while driving. Read more
Published 15 months ago by Harry Hitchcock
Listmania!
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