Customer Reviews

Beethoven: Symphonies Nos. 3 & 9; Overtures

5 star:		(8)
4 star:		(8)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

I really adore Bohm as a great conductor of Mozart, but I was somewhat suspect of his Beethoven. In my opinion, Beethoven works best at fast tempos, and Bohm is notorious for his rather moderate to slow tempos. I picked up this CD from amazon just a few months ago based on the reviews that it had gotten. Other Bohm/Beethoven CDs that I owned were somewhat of a debacle, with some outrageously slow tempos during moments that should have been played quickly. Still, I bought this 2-CD set, and when it arrived I put on the ninth first. I was rather surprised at the marvelous job Bohm did with this symphony. His moderate tempo and expressive performance is somewhat reminiscent of Furtwangler's great performance. It turned out that it was one of the better ninths in my collection(I still prefer Karajan's recording from his first Beethoven cycle). Next I put on the Third and the overtures, and found that these were even better. Bohm brings out many of the great romantic aspects of this revolutionary and heroic symphony. He also does a great job with the overtures. However, there are some flaws which prevent me from giving this CD 5 stars. First of all, I've heard better singers in the final movement of the Ninth. Second, despite the fact that the more moderate tempos work very well, I still believe the faster tempos work the best, and though this performance is thoroughly enjoyable, I must still choose Karajan's versions as my personal references for beethoven's ninth and third. Lastly, the sound quality isn't too great. I've heard older recordings than this one with clearer and louder sound. Deutsche Grammophon could have done a better job with remastering these discs to improve the sound quality. Overall though, the performances are solid and very enjoyable. This 2-cd set should be a welcome addition to anybody's classical collection.

I don't know why everyone is fussing about this performance of the Third. It's the equal of most I've heard, and a darn sight better than many.

The Ninth, however, seems to be the performance everyone is buying this 2-CD set for, and there is no doubt it's a special one. The singing does seem a bit too forwardly balanced in the finale, but that's just nitpicking. It is a highly emotional reading without any artificial "whipping up" of sentiment. This music was food, drink, and air to Bohm, and it's in the orchestra's very blood. And my god, what an orchestra!

While listening to Gardiner and his hell-bent-for-leather "authentic" kinsmen is like a shove into a bracingly cold pool, Bohm is like taking a measured stroll through a spectacular cathedral. Both approaches are enjoyable to me, and having heard both, I wouldn't want one without the other. Beethoven's music is too big to insist on any one "right" way to perform it.

Buy this CD for not just one, but TWO outstanding performances --and at budget price.

I guess it is just a matter of taste. While there is nothing wrong with this performance I disagree with those showering it with such praise. It is a straightforward reading with little imagination. What is more the recorded sound is a bit muddy and the climaxes I often look forward to when I listen to this symphony are more difficult to hear. I much prefer Bohm's later digital version with the same orchestra with Jessye Norman and Placido Domingo also on the DG label. Even though the later version is inordinately slower, I think it holds the dramatic tension of the whole work together a little better. The digital sound is undoubtedly better. Overall I would not rate this as an "essential" recording. If you want to hear an essential recording of this work (in my opinion) try to obtain the Ferenc Fricsay version with the Berlin Radio Symphony Orchestra on the DG label from the 1950's(it is available through import). It is superb, and the recording quality is excellent.

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.

A great performance. I've gone through a number of recordings of Beethoven's ninth - on vinyl and CD. This one is my favorite; although recorded in 1972, the sound is clear. Bohm's tempos are right on; the orchestra is tight; the soloists sound pumped and the choir soars. The finale makes you jump! They really nailed it! You never feel like you're a passenger on a top-heavy ship in roiling seas - which is the feeling I've experienced listening to some other emotionally unbridled performances. I will never tire of listening to this CD.

I know it's Bohm thing and I usually like it but the Ninth shouldn't be that slow... Beethoven wants it Presto but Bohm gives Andante... it just takes the 'joy' out of the music. "O Freunde, nicht diese Tone" shouldn't make you fall asleep, instead, it should make you 'move' and perhaps sing along.

This is one of the most dissapointing Ninths I have ever heard. Bohm conducts Beethoven as Mozart, controlled and at moderate/slow/incredibly slow tempi. To begin with, these tempi are far off from Beethoven's specifications, regardless of whether or not Beethoven's metronome was off or if he set the tempi too high for whatever reason. Karajan's tempi versus Gardiner's "correct" tempi are convincing, but to slow it down as much as Bohm does is clearly not in Beethoven's intention--Bohm is not within the ballpark. And if Bohm wishes to slow down the tempi so much, he should at least add more emotional intensity. The truth is, Beethoven's symphonies are more emotionally intense at quick tempi and good dynamics. Though the first movement of Furtwangler's 42 or 54 performances are also slow, Furtwangler's first movement plays with terror whereas Bohm's plays with grace. Grace was not the intention of the first movement--that's for sure. The second movement is also too slow, though it does for a second add more mystery to it, but just for a second, then I get bored. I think Furtwangler got it right when he detected both mystery and ferocity in this movement, thus his scherzo starts slow but has rapid changes in dynamics. Bohm's is just boring. Now, Bohm's slow movement isn't bad, as I do believe it is best when played slowly. Slow tempi should be used when they accurately convey the emotion that Beethoven probably was trying to communicate, so the slow movement isn't bad. The fourth movement: in the strings interlude after the turkish march/tenor solo-- how weak is this! Many have interpreted this as being a "war" of some sort (preceded by a call to war by the tenor and followed by victory), but this surely is a weak war! Furtwangler, once more, in his fast mind-blowing tempo choice, conveys the struggle accurately. But Bohm seems to want clarity above anything. The fourth movement, because of the chorus and soloists, however, is not bad. It does play warmly, and that is perhaps why so many love this recording: they only care about one movement! That, or, they are too used to listening to Bohm's recordings of Mozart and need to experience the mind of Beethoven--a possibly bipolar, anything but controlled, madman of fury!

Transcendance is here composed in the grandeur of two powerful symphonies of Beethoven. In the Eroica he provides hero sounds centered and played off E flat, with pulls and tugs away from this major key. This results in breathtaking forms, powerful mood shifts and dramatic overtones of optimism and triumph, from other pathos and terror. The scherzo is truly delightful, with its erupting fortissimo, and horn trio sounding the hunt is on.

What can one say about the Ninth that hasn't already been penned. Having just recently heard it live, it is majestic and achieves its transcendance goal. Tied together are the four movements with its harmonic beginnings. Celebrating joy and freedom, it climaxes as the choir resounds home Schiller's To Joy.

Bohm and the Vienna Philharmonic provide us with passionate and sensible rendering of such two powerful inventive symphonies of this master. The balance and nuances given in this treatment are satisfying, and the overall effort is one of the best.

Bohm picks a moderate tempo for the 3rd Symphony, and this is typical Bohm performance: calculated, firm, and unsentimental. This 'Eroica' shares much of the grandeur found in Klemperer's version. However, ultimately Klemperer, with his marginally slower tempi but grittier execution, produces a more granitic and "heroic" sound that is more to my liking. While not the greatest, it is a very wonderful reading, and a fine example of 'Eroica' going (moderately) slow.

The features that make this Ninth classic are balance, poise, and intensity. I believe Bohm, here, has found the perfect balance between Classical grandeur and Romantic emotional sensitivity. The first mvmt. is slower than most versions, but the formidable sonority produced by Vienna Phil more than makes up for the lack of speed, and this is in fact the most intense 1st mvmt. I've heard. Incidentally, as Mr. Hurwitz has pointed out, the monstrous recapitulation in major key is superbly executed, with the trumpets resounding aggressively--almost terrifyingly so.

And I absolutely love how Bohm ignites the orchestra and chorus into white-hot intensity in the final Presto section and brings the whole piece to its highest emotional plateau. Again, allow me to compare Bohm to Klemperer. Similar to Bohm, Klemperer takes his time to brew up some impressive tension, but in the Presto he uses too much restrain, and as a result the joyous feeling doesn't soar quite like Bohm's.

Overall these are very emotionally complete versions of the 'Eroica' and Ninth, and prime examples of the "old-school", traditional Germanic approach to Beethoven.

This reading of the 9th has Slower tempi in each movement than I am normally used to hearing leading to more spatial clarity - instrument intonation and differentiation is outstanding; though the slower tempi creates a slight drag. The first movement of Bethoven's 9 normally feels like a ride in a rocket to me taking off and going higher and higher. This is such positive, confident & dramatic music. In my mind's eye I can see myself succeeding at everything when I hear this movement. It does not feel that way with Bohm's reading. It has more of slow, solemn and majestic feel rather than a-ride-in-a-fast-rocket feel for me. The Choral section, where all the soloists have a passage between the 'ode to joy' sections did not seem perfect as with the Fricsay/Berlin Philharmonic - 1958 recording. The slower pace of each movement robs away that dramatic drive of movement 1, 2 and 4. Bohm's slow pace is perfectly suited to bring out the beauty of the 3rd movement. TO each his own, so for me the quintessential and untouchable Beethoven 9 is the Fricsay/Berlin-1958. Nothing touches Fricsay's precise reading, his burst-impulses at just the right time suitable for Beethoven & the timing of his attacks are legendary. Don't get me wrong, I love Karl Bohm - in fact I rate the other 2 CD sets at 5 stars (Symphonies 1,2,4 & 5 -DG- 1970/172 recording & Symphonies 6,7,8 -DG- 1970/72 recording) which together with this set make up Bohm's Beethoven symphony cycle with Vienna Philarmonic. Also to add Bohm has recorded the best EVER 6th EVER committed to disc in the 2nd compilation I refer to above (both in terms of conducting art and recording quality - see my reviews of both these sets). However there are far greater renditions of the 9th than this one - case in point - Fricsay's 9th.

On the other hand the 3rd is a gem by Karl Bohm. Clarity, intonation and delivery can be found in this reading as well as great synchronous playing by the Vienna Philharmonic. If you can afford it, I highly recommend this set just for the 3rd alone. But I guess for 15 dollars, you are basically getting 2 discs of which 1 disc - the 3rd is great and the 2nd disc - the 9th is just about average.