Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD] [Box Set] [Box set, Hybrid SACD - DSD, Import]

Ludwig van Beethoven (Composer), Bernard Haitink (Conductor), Karen Cargill (Performer), London Symphony Orchestra (Orchestra), Lars Vogt (Performer), Twyla Robinson (Performer), John MacMaster (Performer) | Format: Audio CD

Product Details

• Performer: Karen Cargill, Lars Vogt, Twyla Robinson, John MacMaster
• Orchestra: London Symphony Orchestra
• Conductor: Bernard Haitink
• Composer: Ludwig van Beethoven
• Audio CD (September 12, 2006)
• Number of Discs: 6
• Format: Box set, Hybrid SACD - DSD, Import
• Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
• Label: Lso Live UK
• ASIN: B000GUJYRE
• In-Print Editions: Audio CD  |  MP3 Download
• Average Customer Review: 4.0 out of 5 stars  See all reviews (21 customer reviews)
• Amazon Best Sellers Rank: #62,919 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

Haitink's integral set of Beethoven Symphonies with the London Symphony has none of the stodginess that sometimes afflicted his earlier recordings with the Concertgebouw. His restudy of the works, and the presence of concert audiences translate into faster tempos, sharper accents, wider dynamic range and an overall sense of energy that imbue these nine masterpieces. Here, the Classic style is wed to Romantic expressivity but not to Romantic excess, Competition is abundant, ranging from Toscanini, Furtwängler, and the 1963 von Karajan to recent sets from the sometimes hyperkinetic Vanska, the more traditional Abbado, and the insightful Barenboim. But this new Haitink set, available in hybrid SACD/CD, is a solid contender.

The early First and Second symphonies benefit from Haitink's leaner, more vivacious approach. The Eroica also sounds fresher. Its slow movement is still a funeral march, but moves a hair faster this time, just enough to be the difference between a pace that drags and a pace that flows and retains interest. In the outer movements, there’s a new spring to the rhythms and clarity in orchestral balances, and this Eroica has the cumulative intensity to make its full effect. Haitink's Fourth is in a grander mold than we usually hear. While never overblown, it has some of the wider scope and heroism of the odd-numbered symphonies. Like the Eroica, it is rhythmically vigorous and the prominent tympani and brass make an impact that sweeps the listener along. The Fifth can suffer from over-exposure but here it has a variety of tonal colors, tempos, and dynamics that make it seem newly minted while no less grand. The propulsive finale, with its pounding tympani and expertly played journey to transcendence, is especially memorable.

The Sixth, the Pastorale, has that same feeling, its flowing tempos and skillful interpretive choices make this one of the best Sixths since Böhm's, with plenty of excitement in the Storm and warmth in the final movement. The Seventh gets a buoyant reading, predominately lyrical without neglecting its powerful rhythms. The driven final movement is exhilarating without being hectic. The Eighth is often considered the slightest of the Nine but Haitink’s brisk tempos make it dance and swagger; the lyrical sections played with engaging warmth. As for the Ninth, it is miles ahead of Haitink's earlier versions. The harmonic mist that opens the work is well delineated, the contrasts within movements carefully marked, the Scherzo bursting with energy, the incomparable Adagio sings at a more fluid tempo, the choral final movement as good as any in the catalogue, its structure crystal clear under Haitink's baton. The major filler in the set is the often scorned Triple Concerto, which gets a performance of warm lyricism that can only elevate its status.

The playing of the London Symphony is phenomenal, especially since these are live recordings. The violins’ tone glows with radiance, their precise articulation helps make the rhythms energetic, the winds are uniformly excellent, the brass sleekly powerful, the potent percussion authoritative in climaxes. If a criticism can be made it would be that bass lines are sometimes weaker than desirable, perhaps a function of engineering that varies in clarity from disc to disc but is never less than good. In sum, a major addition to the Beethoven Symphony discography. --Dan Davis

Product Description

The release of Bernard Haitink's new cycle of the Beethoven symphonies has been one of the most talked about classical events of 2006. Over recent years many people had questioned whether another complete set of Beethoven's symphonies would ever be recorded. But Haitink's revelatory recordings have demonstrated why fresh new interpretations of the Beethoven's music are so important and why the composer's music is still so relevent today.

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Customer Reviews

Most Helpful Customer Reviews

48 of 49 people found the following review helpful:

5.0 out of 5 stars When the old is new again., November 15, 2006

By 

M. Sosebee (Oakland, CA USA) - See all my reviews
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This review is from: Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD] [Box Set] (Audio CD)

I was just given this set of Beethoven's symphonies as a birthday present and I have to say it has taken me back to my high school days when I first discovered how exciting classical music can be. This is an outstanding recording on many levels. Bernard Haitink's interpretation is refreshing, insightful and authoritative. That interpretation combined with the excellent musicianship of the LSO and the stellar sound quality (even though it's live) captured by the engineers makes this recording a revelation. I say a revelation even though these 9 symphonies are the best known of symphonic works. I keep hearing nuances that I've always known were there, but that were never quiet captured by previous recordings and I keep catching myself thinking "Yes! That's the way to do it", or "Wow, brilliant!". The only qualm I've had has been the rapid speed Haitink takes on the first movement of the 5th.

I've never had an opinion on the LSO, either positive of negative, but that changed after hearing this. Every section, from strings, to horns to percussion, has astounded me at some point during these recordings. But more impressive, and important to me, is the unity with which Haitink pulls that musicianship together throughout. This "over-the-top" review is out of character for me since I frequently find myself tied to past memories of recordings from the 40s to 60s, however, this recording deserves that praise and I hope it's a huge success for Haitink and the LSO. If you do buy this, you'll find yourself air-conducting like never before, or, like me, entering your second classical childhood.

47 of 49 people found the following review helpful:

5.0 out of 5 stars Splendid Beethoven Symphony Cycle from Haitink, London Symphony Orchestra With Exceptional Sound Quality, December 30, 2006

By 

John Kwok (New York, NY USA) - See all my reviews
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This review is from: Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD] [Box Set] (Audio CD)

My review of this 6 CD set is based primarily on the individual CDs I've heard, but having heard some snippets of the SACD version, then I must say that this is the version to purchase of Haitink's critically acclaimed Beethoven symphony cycle; the September 2006 performance of the entire cycle with Haitink conducting the London Symphony Orchestra at Lincoln Center's Avery Fisher Hall earned ample praise from New York City-based music critics, merely emphasizing just how wonderful this new recorded cycle is, ranking alongside those from Abbado, Zinman and Rattle as among the best recent Beethoven symphony cycles. However, unlike these earlier, though relatively recent, recordings, this one has the best sonic qualities via the Hybrid SACD format. And it is also important to note that distinguished conductor Bernard Haitink has cleverly rethought his approach to Beethoven, offering fresher, lighter textures that sound more reminiscent of Haydn's and Mozart's symphonies, than more melodramatic, almost Wagnerian, versions which audiences have been accustomed to, due to the likes of Furtwangler, Karajan and Solti. Moreover, the London Symphony Orchestra has rarely sounded better, playing with ample conviction and sterling musicianship, eagerly adhering to Haitink's swift tempi and his emphasis on lighter textures within these scores. Among the highlights of this set are those performances recorded on disks One, Four, Five and Six.

Bernard Haitink's latest Beethoven symphony cycle may lack the passion and excitement found in other recently recorded cycles using the Jonathan Del Mar-edited Barenreiter Edition of these symphonies, but I don't think that these are apt criticisms of this recording (Disk One) of a fine account of the Beethoven Third Symphony and a superb performance too of the second Leonore Overture (The most passionate, exciting version I have heard yet remains Claudio Abbado's revelatory, quite dazzling interpretation, among the highlights in his latest Beethoven symphony cycle with the Berliner Philharmoniker. And yet, I might add that Abbado doesn't observe the repeats in the first movement, while I believe Haitink does in this recording.). However, I suspect that not only will it not be dismissed by most classical music critics and fans, but instead, it will find ample praise in some circles. Haitink offers a fine, often fascinating, account of Beethoven's 3rd Symphony which pays ample homage to period instrument practice and is blessed with exemplary playing from the London Symphony Orchestra (Indeed, I find this version far more interesting than his critically acclaimed Philips recording from the 1970s - or is it 1980s - with him conducting the Royal Concertgebouw Orchestra.). Haitink's latest traversal favors rather brisk tempi, with the only disappointment being the second movement's "Funeral March", which doesn't seem as appropriately dour as others I've heard lately, most notably Abbado's. However, unlike a previous reviewer, I don't regard this as a fundamentally flawed aspect of this performance, but rather, a unique interpretation offered by this venerable conductor; moreover, I think the London Symphony Orchestra offers inspired performances from its winds, horns and strings from the opening notes of the riveting first movement to the very end of the last.

Of the two symphonies on Disk Four, I have a slight preference for Haitink's account of the 6th Symphony, since he excels in emphasizing the light textures and period instrument influences of this score, in some respects more so than either Abbado or Zinman in their critically acclaimed accounts. For example, I don't find the "swiftly flowing brook" noted muscially in the second movement to be as brisk as another customer reviewer has complained. Nor do I shed tears for a less melodramatic "storm" 4th movement, or the beautiful elegy to nature which is the symphony's fifth movement; instead I am thrilled with the superlative playing by London Symphony Orchestra musicians within the wind, horn and string sections, and Haitink's consistently brisk tempi (But I will concede that he does slow his tempo a bit in the fifth movement, rendering it as if it was a hymn in praise of nature's beauty and innate goodness.). Of course I also enjoy the London Symphony Orchestra's fine playing of the 2nd Symphony, but there is nothing here which truly distinguishes this version as being markedly different from those I've heard with Abbado, Zinman or Rattle conducting. Without question, I am confident that this fine CD will earn ample praise and interest from long-time fans of Beethoven's symphonies, conductor Bernard Haitink and the London Symphony Orchestra.

I was literally speechless when I finished listening to this splendid LSO Live recording (Disk Five), amazed by these brilliant recordings made from live performances of both works back in late November, 2005 at the London Symphony Orchestra's Barbican concert hall home. Not only has Bernard Haitink led the London Symphony Orchestra in a brisk, quite exciting, account of Beethoven's Symphony Number 7 in A Major, but his latest recording ranks alongside those by Claudio Abbado and the Berliner Philharmoniker and Carlos Kleiber and the Wiener Philharmoniker as among my favorite recordings of this symphony (Like Abbado, Haitink has used the relatively new Jonathan Del Mar-edited Barenreiter Edition of the 7th Symphony.). Moreover, this may be the best balanced recording I have heard of this symphony, since the sound quality was such that I thought I was listening somewhere in the midst of the orchestra, even while listening from a pair of cheap headphones attached to my compact Sony CD player.

Haitink's latest recorded account of the Beethoven 7th Symphony is quite literally light years removed from his critically acclaimed Philips recording with the Royal Concertgebouw Orchestra. The opening movement (Poco sostenuto - vivace) is as brisk as Abbado's latest account, with superlative playing from the winds, horns and strings. The second movement (Allegretto) sounds like a brisk funeral march (This leads me to wonder why Haitink chose not to emphasize the funeral atmosphere of the 3rd Symphony's second movement in his LSO Live recording, since he does such a fine job here.). Haitink's conducting and the London Symphony Orchestra's performance of the third (Presto) and fourth (Allegro con brio) movements may be the best I have heard for this symphony; with regards to the fourth movement, Haitink's version doesn't sound nearly as rushed as Abbado's, even though Haitink's account seems to be nearly as swift.

This LSO Live recording of the Beethoven Triple Concerto is one of the best I have heard, with exceptional playing from former LSO concertmaster Gordan Nikolitch, former LSO principal cellist Tim Hugh, and pianist Lars Vogt. Theirs is a riveting, exciting performance that is amply supported by the London Symphony Orchestra under Haitink's baton; moreover, the chemistry amongst the three soloists is quite superb as if they had played together for years (which is true for Nikolitch and Hugh), and nor do I hear any rushed entrances by any of these soloists (This is in stark contrast to a live performance I had heard a few years ago at Avery Fisher Hall with Mutter, Harrell and Previn as the respective soloists, failing to keep in time with the New York Philharmonic under Kurt Masur's baton.). Instead, there is much virtuoso "give and take" amongst violinist Nikolitch, cellist Hugh and pianist Vogt, as they exchange melodies and variations in each of the concerto's three movements (A very long Allegro followed by a brief Largo and concluding in a spirited Rondo alla Polacca, which is one of the first major instances of Polish music being used as a source of inspiration in a work composed by a major composer like Beethoven.).

I have yet to hear, but am most confident - based on reviews I have read elsewhere, including here at Amazon.com (EDITORIAL NOTE: Please look at my customer review of this symphony which is posted elsewhere.) - that the crowning achievement in Haitink's latest Beethoven symphony cycle is a truly magnificient account of the 9th Symphony (Disk Six). Haitink has offered a vivid, dramatically intense interpretation that couples successfully the light orchestral textures of period instrument practice which we've become accustomed to from the likes of Norrington, Harnoncourt and others with the sonice forces of both the London Symohony Orchestra and the London Symphony Chorus. In this truly revelatory account, Haitink has steered well clear of ponderous, almost brooding, tempi and orchestral textures favored by, for example, Karajan, relying instead on a quite literal reading of Jonathan Del Mar's edited score for a brisker, livelier performance.

Distinguished conductor Bernard Haitink and the London Symphony Orchestra's splendid LSO Live traversal of Beethoven's symphonies was recorded by LSO Live from live concert performances at London's Barbican concert hall in November, 2005 (2nd, 3rd, 6th & 7th symphonies) and April 2006 (1st, 4th, 5th, 8th & 9th symphonies). Those who prefer brooding, melodramatic Beethoven will be disappointed with these performances, since they adhere closely to the period instrument techniques espoused by the likes of Nikolaus Harnoncourt and Sir Roger Norrington, which means that they sound stylistically closer to recent recordings with Sir Simon Rattle, Claudio Abbado, and David Zinman conducting respectively, the Wiener Philharmoniker, Berliner Philharmoniker and Tonhalle orchestras. If you happen to be a Beethoven traditionalist, then I'm certain you'll find more pleasure in distinguished recordings by Walter, Karajan, Bohm and Bernstein which are still available. Otherwise, I think you might agree with me that Haitink has successfully reconceived his interpretation of Beethoven's... Read more ›

18 of 18 people found the following review helpful:

5.0 out of 5 stars Exciting Beethoven, January 3, 2007

By 

J. Buxton "cantabile" (Waltham, MA United States) - See all my reviews
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This review is from: Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD] [Box Set] (Audio CD)

Over the years I've generally enjoyed live Boston Symphony performances conducted by Haitink more than I've enjoyed his recordings. However, with this excellent LSO set of the Beethoven syphonies that has changed. While I don't believe this is the "perfect" set of Beethoven symphonies, it comes as close as any set I've heard recently. I am very fond of Mackerras' set with Liverpool with period informed performances. However, I enjoy these LSO performances just as much with the more modern interpretations. The highlights of this set for me are really exceptional versions of symphonies 4,7, and 9. The seventh here is particularly memorable and exciting, with brisk tempi and crisp articulation and sound. The soloists on the ninth are also wonderful. The fifth here has received much critical acclaim, although I find it driven a little too fast at times which for me detracts from the overall impact. Just my opinion. The third is very good also, although I'm not sure what exactly would recommend it when compared to other fine versions out there. I still enjoy Harnoncourt's third with the Chamber Orchestra of Europe quite a bit. The others here, nos. 1, 2, 6, and 8 are all given really quite good performances with very good sound. This set beats Haitink's earlier Concertgebouw set by a fair margin and I think will compete well with just about any modern set on the market. The SACD is certainly a benefit. It's a pretty good bargain too.