Customer Reviews

Beethoven: Symphonies Nos. 1, 2, 4, 5

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

 

 

I have been collecting Karl Bohm's stereo recordings in earnest since 1993, and find his Beethoven among the best there is. This 2 disc set of Beethoven's Symphonies 1,2,4,and 5 should not disappoint anyone, unless they're really into the period instrument mentality of Hogwood, Gardiner, Norrington, Goodman, Weil, et al. The Vienna Philharmonic plays beautifully, and as you would expect, produce a burnished string and wind sound, wonderfully blended, but with clarity of lines where called for. Bohm is no speed demon, but he doesn't drag either: IV of Symphony 2 is slower than many I've heard, but it never drags.

I'm going to stick my neck out here and say that I believe Karl Bohm's Beethoven Symphony recordings from 1969-72 are better than Herbert von Karajan's 3 cycles with the Berlin Philharmonic, although there is no doubt Karajan is more marketed and celebrated by the public even 16 years after his death. Bohm is better interpretively, and has better sound in almost all movements of this symphony cycle. But he doesn't rely on dramatics to make his points: Bohm is solid as granite or the Rock of Gibralter, and you either like his approach or you don't. I do. About Karajan, his weakest cycle is the 1982-85 one, on DG. I would say the 1961-2 cycle is better, and the 1975-77 cycle best of Karajan's work, (both of these are DG also), but put them behind Bohm's cycle.

In addition to Bohm, I would recommend Bruno Walter/Columbia Symphony(Sony Classical,for Symphonies 1 through 8, but not 9); Szell/Cleveland for 1,2,3,4,9 (Sony Classical), Bernstein/Vienna (DG).

In this particular release, I enjoyed all 4 symphonies, and found Symphony 5 to be among the best I've heard, along with Furtwangler (the Vienna Philharmonic recording, released in January 2005 by EMI), and Ormandy (Sony Classical, 2 CD set, with 6,7,and 8.)

While some criticism of Bohm's Beethoven Symphonies relate to his tempi being too slow, I nevertheless discovered that one of my biggest considerations in choosing a Beethoven conductor, (I do own others like Reiner, Hogwood, Toscanini), turned out to be over the timpani, not the tempo. I don't know about your ears, but I can't stand listening to Beethoven Symphonies by the supposed great conductors with out-of-tune musicians and timpani that sound like dead pots! Funny thing about this underrated conductor, Karl Bohm, his musicans are always in-tune and the timpani always resonate as an integral and balanced part of the orchestra and the score. Also important to me in choosing a conductor, Bohm consistently manages to bring a presence and sense of drama to these works that the so-called great conductors often fail to achieve. I'm not an expert, but maybe, that's the best part of his operatic skill coming through. P.S. Deutsche Gramophon no longer lists these Bohm recordings of the Beethoven cycle, as available.

So now I,ve heard them all. Nine symphonies on three DG doubles and I'm very happy. Below I wrote about the fifth and it's unfortunate. Now the good points. The playing is great. I have some recordings by George Szell and the Cleveland Orchestra that feature playing so "tight" that it's scary. Sometimes it works(third symphony: thumbs-up), sometimes it doesn't(No. 5). I have Solti's 80's version of Beethoven's seventh and eighth whichs features very accurate playing put a real sense that the musicians are afraid to make a mistake, and it sounds just empty. Other disks I have are just sloppy. But this Bohm cycle sounds like relaxed perfection. It's wonderful: even when the playing is very fast, they are just purring along. I love it! The sound of the recording is another plus. Clear, warm, lively and almost no analog hiss. The Solti above sounds like a concrete gymnasium, Szell like a recording studio, the Muti cycle too crowded, '62 Karajan too old, Walter noisy and like a warehouse, Kleiber dramatic but too dark. But the Bohm sounds like a first-rate concert hall. The music? I could go on and on about the excellence of the interpretations. I get the impression that Bohm has a mind for "the whole piece" that is superior to just about everybody. If I hear a No. 8 that surpasses his, or a more beautiful second movement of the sixth, or a seventh that NAILS the climax better, or a more gleeful 4, or a more complete ninth, my head will explode.

I bought all of Beethoven symphonies' CDs (Symphony #1 to #9) which Bohm was the conductor. Overall, the music is great. Unlike Karajan, you can feel the emotion of each symphony.

The only complaint I have is Symphony #5. The tempo a bit too slow, so you don't feel the power of the symphony's beginning. In this case, I would get Karajan's Symphony #5, because his is much better. Other than that, buy the whole set of symphonies by Bohm. You will not be disappointed.

NOTE: I would give 5 stars if Symphony #5 is not the problem. To be accurate, I should give the whole set 4 and 3/4 stars, but Amazon's rating system does not give me that choice.

This two CD set contains some of Bohm's finest performances in his Vienna Philharmonic Beethoven Symphony Cycle. One of the foremost interpreters of Mozart, he treats the first two symphonies as though they were composed by Mozart, and the Vienna Philharmonic responds with brilliance and warmth, especially in its string and horn sections. Bohm's version of the 4th Symphony is another splendid performance, ranking alongside his version of the 6th symphony, as the two finest from this cycle. The only minor disappointment is his version of the 5th Symphony which doesn't seem as thrilling a performance as those with Carlos Kleiber and Leonard Bernstein conducting the Vienna Philharmonic. This was one of Deutsche Grammophon's best late analogue sound recordings, and the transfer to CD sounds quite fine, even without the latest in image bit processing sound quality. Those looking for a cheap set of Beethoven's 1st, 2nd, 4th and 5th symphonies won't be disappointed.

I love the No. 5. And Bohm's other Beethoven recordings are some of my most valued..anythings. But what the heck happened here? This fifth symphony is not good, and the tempo ain't the half of it. Slower tempos are fine. The problem is something else, like affinity for the music or something. As long as I have my Giulini/LA Phil No. 5(definately buy it!), I'll be fine. On a much happier note, the 4 is great! I've heard a few others and this one far surpasses them.

I played Symphony No. 1 on the way home from work today, and it was as if I were being transported to a higher plane. No music has ever done that to me.

I haven't listened to much classical music for a long time, but recently I found myself drawn to Beethoven as I had 20 years ago. Upon the first listening, these symphonies drew me in and carried me away. I love Beethoven's complexity, drama and sublety. This music so clearly demonstrates why people for generations have considered Beethoven one of the greatest composers.

In the hands of Karl Bohm and the Vienna Philharmonic, these symphonies express themselves like a flower awakening to the sun.

The sound quality of this recording is exceptional. It is like being in the symphony hall, but more personal.

Mr. Hurwitz was right---Bohm does make Symphony No.4 sound like major Beethoven. Bohm tends to prefer slower tempi on all of his performances. And surprisingly, his choice of tempo works magnificently with No.4 because with that, Bohm gives the work so much more grandeur. And, with the slower tempo, he summons up supreme clarity and a wide range of dynamic colors. All of the above also apply to Symphonies No.1 and 2. Under Bohm's hands, these symphonies sound serious, weighty, and powerful.

Symphony No.5 is the only reason this set didn't get 5 stars, and tempo isn't really the problem. Although by no means a poor performance, the weighty feeling found in other symphonies seems to be dragging down the momentum rather than enhancing the robustness of this work; that is especially evident in the third and some parts of the fourth movements. However, the work is still played with great discipline, and Bohm takes his time to meticulously build up each climax (e.g. the restrain at the end of the 3rd mvmt. leading to the fanfare beginning of the 4th is spectacular).

There are plenty of people (e.g. myself) who prefer faster tempi for Beethoven. But I can honestly say that I thoroughly enjoyed Bohm's visions. This set is totally worth the money, especially when you consider that Bohm gives the lesser known Symphonies Nos.1, 2 and (especially) 4 so much long-due glory; he will help you rediscover these wonderful works. And don't worry too much about the 5th---approach it with an open mind and you might even start to agree with him. Even if you don't, just remember that it IS the most popular symphony in history and there's no shortage of other faster, great performances of it (e.g. Karajan, Barenboim, Kleiber, Toscanini).

We're past the stage where any knowledgeable buyer would follow David Hurwitz's advice, but his rave for Karl Bohm's Beethoven cycle -- an implicit jab at Karajan and Bernstein, who lead DG's Beethoven lineup -- needs a reply. In circles where Bohm is admired, these recordings, first released in 1972 as a cycle, received a warm welcome, but DG has mostly sidelined them in the digital era -- one reads recommendations of the Pastorale and very occasionally the Ninth. Bohm was a conservative traditionalist, making music at the upper reaches of the German establishment with a lifelong dedication to toeing the line. Of imagination, originality, and spontaneity he knew little. Undeniably he could make an orchestra play, but temperamentally Bohm was critical and authoritarian, the very model of an old-fashioned podium autocrat. It's no wonder that his performances could be impressive while almost never inspiring.

This bargain two-fer represents the first half of the complete cycle, minus the Eroica. In thumbnail, here are my reactions.

Sym. #1 is handled with a light hand. Rhythms are buoyant, the pacing never drags. The Scherzo could be a lot more "molto vivace," but if I don't hold that against Furtwangler, it would be unfair to criticize Bohm, who hardly plods. The finale breezes along but lacks wit and vivacity -- the mood is poised throughout.

Sym. #2 is elegantly played, as was Sym. #1, but with a suitably Beethovenian weight o distinguish it from Haydn. There's considerable urgency in the Adagio opening. It merges seamlessly into a lively, expertly handled Allegro. The lovely Larghetto second movement brings out the tenderest playing from the Vienna Phil. But the Scherzo is played by rote, its off-kilter rhythms not taken advantage of. The finale is much the same story -- a shame, since the first two movements are so splendid.

Sym. #4 indicates very well the variability in Bohm's Beethoven, since the opening Adagio is as dull as the previous one, to the Second Sym., was alert and dramatic. The Allegro that follows is more robust, but it has lapses of energy. The Adagio is beautifully voiced by the Viennese strings -- you really feel that this is their music -- but bohm walks through without smelling the roses. The Scherzo is conventionally handled, as is the finale.Where Carlos Kleiber adds an extra measure of manic vitality, Bohm adds an extra measure of sober restraint. But both movements are elegant, if that's your measure of excellence.

Sym. #5 is the great challenge of this set, demanding comparison with many other powerful readings. For some reason the mikes are place farther back than before, which reduces the work's impact, but that really matters very little, because Bohm's reading isn't about tension and drama (why not?) but about poise and steadiness. I don't think that's quite enough in the Beethoven Fifth. Robbing the first movement of contrast and thrust, and the Scherzo of mystery makes no sense to me. But Bohm does find exultant joy in the finale, which is glorioiusly played. It's the best thing here, along with the first two movements of Sym. #2.

From my experience with DG's Beethoven cycles, I'd put Bohm ahead of Jochum, another traditionalist, on the basis of sound and orchestral execution. But various fans of the other cycles on the yellow label, from Gardiner, Bernstein, Abbado, and above all Karajan, don't need to rush to try this one.

Deutsche Grammophon's star conductor has always been Herbert von Karajan, so it is his recordings that get the heaviest promotion and the best presentation. As a result, other conductors from the DG roster usually get sidelined onto "budget" releases such as this Beethoven symphony collection by Karl Bohm. Yet despite its rather plain packaging and lack of latter-day remastering, this is still a very successful cycle that is worth owning.

Bohm's approach was always classical, and he had little use for either the showy theatrics of Bernstein or the exaggerated orchestral polish of Karajan. He favored slower tempos, and his absolute control of an orchestra was really quite remarkable. His DG recordings were always solid and dependable, perhaps lacking sometimes in drama but revealing a true mastery of orchestral balance.

Of special note in this set are the Pastorale, full of bucolic sweetness, and the 9th, quite epic and profound.

For those seeking a good, traditional interpretation of the Beethoven symphonies, this set is definitely a good choice. It comes in three 2-CD sets (each listed separately on Amazon), with brief liner notes.