Customer Reviews

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

5 star:		(10)
4 star:		(5)
3 star:		(3)
2 star:		(2)
1 star:		(1)

 

 

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.

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 scores, based now on the scores edited by the late Jonathan Del Mar in the recently published Barenreiter Edition. In other words, this splendid Beethoven symphony cycle will be one that will be prized by both fans and critics alike for years to come (EDITORIAL NOTE: This splendid Beethoven symphony cycle deserves its 2006 Grammy nomination for best classical album of the year.).

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.

Distinguished Dutch conductor Bernard Haitink's latest, truly relevatory, traversal of the Beethoven symphonies ends with this triumphant, enthralling interpretation of the 9th "Choral" Symphony in D minor. His magnificient interpretation is unquestionably one of the finest accounts of this symphony ever recorded, and definitely the best I have heard since Claudio Abbado's two distinguished recordings on Sony and Deutsche Grammophon with the Berliner Philharmoniker, using the same Jonathan Del Mar-edited Barenreiter Edition. Although strongly influenced by period instrument practice, Haitink strikes a fine balance between that and more traditional accounts of this symphony, without ignoring the swift tempi required of it from the relatively new Barenreiter Edition, and yet, yielding an awe inspiring, truly magisteral performance (Personally, I've fallen in love with Haitink's interpretation, finding it somewhat more engrossing than either of Abbado's.). Indeed, this latest recording of the Beethoven 9th Symphony may be the most dramatic, most exciting account that I've heard, and one that's worthy of all the critical and popular acclaim it has earned so far. Moreover, the sound quality is exemplary thanks to the superb job in recording this performance live during two concerts in late April 2006 by producer James Mallinson and his team of engineers on behalf of the LSO Live label.

Haitink's interpretation is a no-nonsense, technically brilliant, yet still most mesmerizing, account of this symphony. He opens with a vividly intense first movement (Allegro ma non troppo, un poco maestoso) dominated by exquisite playing from the winds and strings. His treatment of the second movement (Scherzo; molto vivace) is neither as ponderous as any I've heard from the likes of Giulini and Karajan, nor is it as swift as Zinman's or Abbado's, but instead, sounds just right, showcasing once more the exemplary playing from the London Symphony Orchestra's winds and strings. Haitink's interpretation of the third (Adagio molto e cantible) and fourth (Presto - Allego ma non troppo - Vivace - Adagio cantible) movements are the most electrifying accounts I have heard, replete with excellent performances too from both the soloists and the London Symphony Orchestra Chorus in the memorable "Ode to Joy" which encompasses virtually the entire fourth movement (I haven't heard of the soloists before, but their singing is comparable to the finest I have heard in Abbado's and Karajan's recordings.).

While it's true that Beethoven's symphonies are among the most recorded and played classical pieces, it is takes a great conductor and orchestra to bring out their brilliance. Many a time I have come away dissappointed after a live performance of one of my favorite symphonies of his. But not here. With these nine (and a few other well known pieces by Beethoven thrown in to fill out the discs) Bernard Haitink and the LSO establish themselves as brilliant interpreters of some of the greatest music ever composed. If you own Karajan's Beethoven's symphony or another great collection then there may be no need to own these too, but if you don't then this is an outstanding selection to own. The packaging is also quite creative although it's the music that counts.(The New Yorker also reviewed this work very favorably a month ago. A search on their website for LSO will bring it up.)

Haitink stars as well as Beethoven. A beautifully recorded disc. And a performance worthy of the recording. Strong, surely tempoed, emotionally powerful and richly played by all.

I love this set! I am new to classical music, but knew I wanted to purchase a Beethoven symphonies set. I am a bit particular about the orchestra -some seemed rather lack-luster. The London Symphony is one of the best I have heard - there seems to be a depth other orchestras lack. The price for this set was great as well. I should add that there are many sets out there, but (for some reason) you are not given clips to listen to with many. Spending this much prompted me not to take a chance, so I purchased the best I could hear, and I am pleased with my choice.

I finally listened to every symphony after 2 weeks. I have to say, every performance sounded quite prestine. I especially enjoyed the 6th and the 9th.
I agree with one reviewer in that the first movement of the 5th seemed a tad fast. Honestly thats the only complaint I have of this collection. If you enjoy classical music and appreciate high fidelity music, this is a must have !

==CD1==

Symphony 3

For me haitink's rendition of Beethoven's 3rd does not work. The Haitink Lean style is perfect for the 5th. The compression or lean approach of Haitink works to concentrate the content into sharp thin areas and makes the music more focused. The 3rd symphony in terms of musical content is more suited to a broader and expansive interpretation rather than compressed and leaner interpretation (at least for me). Haitink conducts this symphony with an overall slower tempo. The 2nd movement just crawls. The highpoint is the 3rd movement of the 3rd where some light shines. I consider this average in an otherwise interesting and exciting Beethoven cycle.

Symphony 4,8

This is a beautiful rendition of the Beethoven's 4th & Beethoven's 8th.The orchestra in this 4th feels more wholesome and less leaner than in the other Haitink symphonies in this cycle. Haitink captures the lilting melodies spot on. There is power zest and cheerful force in the first movement of the 4th. There is distinct clarity and crispness even in the pianissimo string passages. The last movement of the 4th is played with great virtuosity by the orchestra. The 8th symphony is played with exuberance and zest. This is probably the best CD in Haitink's Beethoven cycle. Haitink's lean, zippy and clean style suits the the 4th and 8th perfectly.

Symphony 5,1

Haitink's reading of the 5th is sprightly, at a fast clip and is a very different take from all the other 5th's I have. Clean, sparse. tonally simple and clear timpani. String phrases are quick, clear cut, and straightforward. Woodwinds are tonally simple. I get a very period instruments feel. The orchestra feels more stripped than the modern orchestra; the dense modern orchestra sound is replaced by a lean & focused sound. The orchestral sound is clear, sparse, articulate, harmonically contained & sharp; clear and short notes. This is a fresh interpretation, full of zest and youthful spirit; does not linger on each note. Haitink's reading is such that the note is played quick and fast. In my Mind's eye - these are Quick fast straight and curved lines. Zippy, lean & focused. The acoustic spectrum on this recording is like a thin acoustic brush rather than a broad swath of sound. The reading of symphony 1 is also a class act. It is conducted with the right touch of juvenile naughtiness and frivilousness. After rummaging through my 7 cycles of Beethoven symphonies (Solti, Karajan, Cluytens, Szell, Bohm, Haitink, Muti) & Non full cycle compilations (Furtwangler, Giulini, Kleiber), I felt comfortable putting down the below as my top choices for the 5th that I keep returning to. Each of the below share the number one spot for me. I cannot pick a winner between them, they are all winners.

Bruno Walter/Columbia Symphony Orchestra/Sony
George Szell/Cleveland Orchestra/1963/Sony
Haitink/London Symphony Orchestra/2006
Kleiber/Vienna Philharmonic/1975-DG
Karl Bohm/Vienna Philharmonic/1975-DG

===CD2===

Symphony 6,2

Haitink's lean and quick style has been a revelation to me - Beethoven's 5th, 7th and 9th. The lean style does help focus and simplify the music, but in the 2nd movement of the 6th the quick phrase style does not capture the emotional content of the 2nd movement but works in the first movement. Basically this style suits movements like the relatively faster movements and scherzo. This recording is sonically brilliant but the style of the reading does not overall evoke the 6th. The rustic power and swag of the third movement is missing; replaced by a feeble density where we require wholesome force; The storm section of the 6th is well done I must say; As much I tried to like this recording, I would say this one is great in patches but as a whole there is Something just off. The reading of the 2nd is also just about average.

Symphony 7, Triple concerto

This lean and mean orchestra has the right orchestral density to make this rendition of Beethoven's 7th spectacular. Clean, sparse, tonally simple and clear timpani. String phrases are quick, clear cut, and straightforward. The orchestra feels more stripped than the modern orchestra; the dense modern orchestral sound is replaced by a lean & focused sound. The orchestral sound is clear, sparse, articulate, harmonically contained & sharp; clear and short notes. Haitink's reading is such that the note is played quick and fast. Coming to the Triple concerto, you can actually dance along to the first movement. This is a light hearted and focused reading. I like this take. May not seem, as serious and introverted a reading as you might be accustomed to if you listen to some of the other well-known recordings. This style and tempo really makes the 2nd movement of the triple concerto feel very different from what I am used to hearing. The quick speed surprised me at first but as I listened to it, I found it charming and cute. This isn't your normal imposing and brooding triple concerto. To some it might feel like Haitink does not bring about the depth or emotion to this concerto because of the quick and lean style, but it is certainly very interesting. I cannot call this the definitive 7th and Triple concerto

Symphony 9

Quick tempo, clean orchestral sound, clarity and conciseness in tone characterize this recording. This reading by Haitink provides a feeling of gliding on a smooth surface with the least amount of friction. The reading could be considered relatively simplistic and not trying to negotiate the rough edges or deep dramatic emotional content; But I think Haintink's account seeks to clarify and simplify the harmonics; it sounds very pleasing and moves along at a brisk pace. This leaner sound approach allows the music to flow in a focused manner like sharp beams of light. The timpani sounds clear as discrete pulses of sound but with a hollow jangling 'period' sound because of which one of the reviewer here has referred to it as the conductor's version of the symphony for orchestra and timpani. I disagree on this. This is a beautiful rendition. You can discern the finiteness of the sound, and the crisp edges. I think this is an alternative and different way of viewing Bethoven's 9th. The instruments sound smooth. The technique and approach sound very 'period'; the orchestral weight and size seem a touch smaller than the more bombastic mordern orchestra versions of the 9th, yet the harmonic density, symphonic drive, and orchestral cohesion is just magically maintained from start to finish which makes this reading one of the best 9ths that I own. This is definitely one for the Beethoven collector and is a work of art in its own right regardless of what others might say about this reading. It is a very interesting, & exciting reading. This one figures in my list of 'top of the line 9ths'. Even if you are a seasoned Giulini, Bohm or Szell fan, check this one out. You might be pleasantly surprised.

Overall this is a great set to have in your collection. I would suggest you listen to the samples of few key movements of these symphonies (on the amazon product page) - 4th, 5th, 7th, 8th, and 9th and you should be able to tell if you like Haitink's style.

After hearing lots of good things about this CD, I could not resist buying it. And I have not been the least bit disappointed. I had already been impressed with Haitink's stunning recording with the RCO and Perahia (Beethoven: The Five Piano Concertos). Haitink's conducting here is vibrant and full of vitality. The LSO's sound is marvelously well balanced. While these are live recordings, the recording quality is astounding. Haitink seems to have taken a more personal, intimate approach than most. This has upset some reviewers. I do not see how this could possibly be a setback. While there are certainly other recordings that give a more powerful "full orchestra" effect, few, if any, can match the miniscule detail that is pulled from the orchestra by Haitink. The strings have all of the LSO's usual lush, darker tone. The woodwinds are fabulous; they give us beautiful, clear playing. While the brass may be a tad weak, they still deliver powerful excitement. The timpani is unbelievable good; it's strong and clear without being too loud. The LSO gives performances that will put you on-the-edge-of-your-seat in the fast movements and soothing, sublime readings of the slow movements.

This certainly is one of the best recordings of the fantastic symphonies. One may also want to get the Rattle/Vienna (Beethoven: Complete Symphonies; Sir Simon Rattle/Vienna Philharmonic), the Abbado/Berlin (Beethoven - Die Symphonien (Symphonies 1-9) / Abbado, Berlin Philharmonic) among others. But this may possibly remain your favorite recording of the masterpieces. I do not hesitate to give it my highest recommendation.