Customer Reviews

Beethoven: Symphony No. 9 "Choral"; Fidelio Overture

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After buying & sampling many discs looking for a "perfect Ninth", & realizing there may not actually be one, I may have come as close on this earth with this gem. And consider the price! (But don't let the bargain price fool you - because this recording it is a real World-Class contender)

Perhaps comparing a few of the most highly regarded versions is a good place to start...

Solti's 9th from 1972 is just about perfect. It is fabulously remastered & the CSO sounds magnificent. However, at times the pacing sounds more like a Wagner/Mahler performance & he seems to do what so many conductors do - drag out tempos for a dramatic/Romantic effect. Solti's 4th movement may be the finest ever recorded, but very slooowwwww pacing flaws the 3rd movement badly, in my opinion. Karl Bohm's masterful readings, especially the 1960s version with the Vienna Symphony is like a polished diamond, purely "Classical" in approach, but when it comes to the 4th movement, it ALSO becomes painfully slow, without the tension & drama you'd expect when the soloists begin. Karajan's acclaimed 9th (from about the same time as this one by Szell) is marvelous, but it does suffer from some recording weaknesses. For example, there it has poorly "miked" timpani that seem almost tinny and artificially sounding. Bernstein's w/Vienna from the late eighties is powerful, well-recorded & passionate, with fairly good vocalists, but at times I want to just slap that CD player to speed him up. Enjoy original-instruments? Roger Norrington takes well-reasoned, approach, with quick tempos & gorgeous playing. However, not all listeners will be able to catch their breath during his leading of the fourth movement. (There isn't even a millisecond pause when the hymn/fugue begins after the timpani on that version)

In contrast, this gem of a CD by Szell & Cleveland would be as perfect a 9th that a first-time buyer could get. To put it more simply, "IF IT WAS YOUR ONLY 9th", you could be very satisfied for years. This is one of the few recordings that seems to be balanced enough to hear woodwinds & string bass in the first movement, and with realistic timpani that do NOT dominate, nor do they drop too far into the background. The scherzo is quick, as many feel Beethoven indicated on the original score, and it is tense & exciting, just like the 1st movement. The 3rd movement is incredibly poignant & moving, and it never drags. And though I wonder if any performance of the 4th movement will ever reach the pinnacle that Solti & Margaret Hillis achieved, Szell (with Robert Shaw leading chorus here), Solti & the CSO deliver a truly World-Class masterpiece here. The only way this one could get any better, is if somehow there had been today's digital technology available then, as the signal-to-noise ratio can never get as high as some of today's offerings. Still, this remains an outstanding performance, and Sony's respectable job of Remastering does seem well-done.

the beethoven cycle recorded by george szell and the cleveland orchestra in the early 1960's is a miraculous and distinctive account of the symphonies and major orchestral overtures. it manages at the same time to be true to the spirit of beethoven yet immediately fresh and new when compared with almost any other performance available on disc.

szell raised the ensemble and technical control of the cleveland orchestra to an astonishing level, which allowed him many hair raising plunges through the music, for example in the last movements of the 5th and 7th symphonies. the orchestra could render the full dynamic range, and the strings -- for example in the first chords of the egmont overture -- were capable of the powerful, rich sonority we expect from a brass choir.

the real beauty in szell's interpretations is the orchestra's almost balletic sensitivity to rhythm and musical accent. these musicians don't just play the music as a dance, they express dancing as they play. it's a treat to be surprised by this irresistible, springing dance energy in movements that are so often played as academic forms -- the disc of the 1st and 6th symphonies provides many happy moments, as does the scherzo of the 9th. one regrets that there's no szell recording of beethoven's "creatures of prometheus" available.

i love these recordings. at a time when our culture relies on noise, speed, excess, vulgarity and lack of control to get our attention, it's a treat to hear beethoven that is sonorous, sprightly, forceful, lyrical and eloquent. and at a bargain price!

I don't think I can add anything to this discussion that the other reviewers haven't already captured. All I know is, I've heard at least three high-profile recordings of the Ninth (von Karajan's 1963 recording, Dohnányi's with the Cleveland Orchestra and Lenny's Berlin Wall performance), and each of them gave me different reasons to nod when they were over and say, "Yeah, that was really good." When I finished with this recording, on the other hand, I slumped back in my chair, wide-eyed, and breathed "Holy s---." After all the conductors who figured bigger orchestra and bigger musical gestures meant better Beethoven, the effect created by this performance's straight-ahead, driving momentum is electrifying. Szell's exact rhythms and complete control over his orchestra drive you propulsively through the first two movements, slow down for some tender repose in the third, and just blast the final movement out of your speakers to the far wall. There are so many special touches on this recording, particularly the precise balance between all the instrumental groups (listen to the punctuation from the brass!) as well as between the orchestra and the choir. Yeah, I've heard better individual soloists on other recordings; yeah, the choir's enunciation suffers a little at points (particularly in the fiery race to the end of the symphony), and yeah, the recording quality, while good, still isn't up to the sonic capability of today. But the power! The intensity! There may be no such thing as a "perfect Ninth," and maybe there never can be, but that doesn't change the fact that I don't feel the need to buy another Ninth for a long, long time, if ever. When I consider the fact that this marvelous performance is offered at a budget price, all I can say is what Schiller (and Beethoven) already told us: "Brüder, über'm Sternenzelt/Muß ein lieber Vater wohnen."

This is an underestimated version of Beethoven's Symphony No. 9. This recording, made in Severance Hall in 1961, has some audible tape hiss in the background at a high volume, but it is not enough to detract from the orchestra playing. This particular Beethoven's Ninth, recorded only two years before the famous 1963 recording with Karajan conducting the Berlin Philharmonic, has everything that you could want. The chorus and soloists are all superb in the finale and the Cleveland Orchestra, of course, plays with virtuosi percision.

This was my first Symphony No. 9 recording, so I may be partial to it, but it does have some elements that other recordings do not. For example, in the second movement, the Molto Vivace, this recording has the best timpani you will hear anywhere. The main downfall of the otherwise flawless performance that Karajan gave was that the timpani was miked horribly and came out empty-sounding. Szell really brought out the all-important timpani in this movement with a deep, rich sound. The tempo could stand to be a bit faster, but I'd prefer to have a slower recording with excellent timpani than a faster performance with dull thudding in the background. Some might find it to be too fast as it is at 11'23, but I found the energy to be even higher in Karajan's performance at a very fast 11 minutes even.

In further comparison of these two recordings, the overall playing times of the tracks are mere seconds apart in most cases, but not the third movement. This is the one place that Szell really took the tempo too quickly, clocking at 15'20, whereas Karajan came in at a preferable 16'25. The opening sounds especially jarring, though it smoothes out after you get used to the too-brisk pace. Quick tempi seem to be a trademark of this conductor, but that's not a good thing in this case. Otherwise, this is a very good performance.

The finale is excellently played like the rest of the symphony, though it lacks the warmth of other performances, not unlike many of Szell's other recordings. Still, the sound is clear and the orchestra and chorus play and sing their hearts out. Robert Shaw was the director of the Cleveland Orchestra Chorus at this point, so it explains why they have the really top-notch sound.

The Fidelio Overture is just as vibrant as the Ninth Symphony and works wonderfully as a final track to this CD. This is definitely one of the great recordings to have of Beethoven's Symphony No. 9 and should not be passed up. It may not be the absolute best, but it is certainly one that should be added to anyone's collection, as your first recording of this symphony or to be added to an already hefty pile. This was my first, and I've purchased three more since (including the newer cycle of the Beethoven symphonies with this orchestra under Dohnanyi), but it is still one of my favorites. Szell has recorded something that will live on in the decades to come.

Ludwig van Beethoven was more than a musical genius. He was the tie between the classical and romantic age, being the classical period's first true romantic. Hence, this is why I've always referred to him as classical music's Jean-Jacques Rousseau. If you listen to all of his symphonies in chronological order, you can hear the progression, from the formalism and traditional sound of the First, to the revolution of the Ninth.

The first two movements are a nice buildup for the remaining two, and they are (unlike other versions, as noted) not too slowly paced (a real source of annoyance when you listen to some of the other versions of this symphony). Even more remarkable, there is a balance of sound between the woodwins and strings, a minor achievement that has been missed in most other renditions of this symphony. The third movement is the romantic, natural progression from the first two to the last, the movement we've all come to know and love. It is that beautiful. The chorus itself is set to Friedrich von Schiller's poem (and title of the Choral) Ode to Joy (a rather non-denominational celebration of humanity), which explains the movement's religious feel, corresponding with Schiller's universalistic appeal to a common ethos and belief in a higher good and being ("Ihr stuerzt nieder, Millionen?/Ahnest du den Schoepfer, Welt?/Such' ihn ueber'm Sternenzelt!/Ueber Sternen muss er wohnen."---- "Do you bow down, millions?/Do you sense the Creator, world?/Seek him beyond the starry firmament!/He must dwell beyond the stars.").

Thus far, I've listened to over two dozen versions of this symphony, live or recorded, and this one is by far the best (and yes, I've even had the great honor of listening to a live version of this symphony from the same Cleveland Orchestra that recorded this CD). The simplicity of the symphony is immediately detectable in the sparse and crisp direction, and it has the effect of creating a sound that is amplified in its ability to overwhelm you with its power (I've listened to the same Cleveland Orchestra deliver a stylistically sparse version of Beethoven's Fifth, with the same enthralling affect). If you're looking for a great version of Beethoven's Ninth, this CD is a must have.

That, of course, can also be said of this, the most central of musical works in the Western canon. But I was thinking of this Szell recording itself. When I was younger, I was underwhelmed by it-- I thought that Szell, whose powerhouse recordings of Richard Strauss were among my most prized experiences in life, had failed to do justice to the Ninth, particularly in the first movement, whose incredible storminess, for me, overshadows the entire work. But while I would hardly dare propose this as the definitive recording, I have found a greater affection for it over the years. The quick rendering of the underappreciated third movement is intriguing, and the finale is robustly rendered. The inclusion of one of the more modest Fidelio overtures at the end acts like an afterdinner mint; considering the Ninth's mammoth effort to be the ultimate life-affirming statement, this is one time when it isn't necessarily a guilty pleasure to finish listening straight through a CD that tacks a little orchestral piece on after an epic symphony.

THIS IS ONE OF THE GREATEST BEETHOVEN NINTHS EVER PUT TO TAPE AND IT'S A FITTING MEMENTO TO THE LATE GREAT GEORGE SZELL. SZELL OPENS THE FIRST MOVEMENT WITH A PALPABLE SUSPENSE THAT EXPLODES INTO A RAGING FURY. BEETHOVEN HAS ENTERED THE ROOM AND HIS ALMIGHTY PRESSENCE IS ALL AROUND YOU. A SHATTERING INTENSITY AND A SENSE OF THE UNKNOWN CONTINUE UNTIL THE FINAL MOMENT OF THE MOVEMENT WHERE GEORGE SZELL SLOWLY BUILDS UP THE SUSPENSE WHICH LEADS INTO THE JUDGEMENT DAY CLIMAX. THE COMPLEX RHYTHMS OF THE SECOND MOVEMENT SLICE WITH A KEEN PRECISION AND THE SENSE OF A DANCE OF JOVIAL VIOLENCE IS INTACT. THE THIRD MOVEMENT FINDS OUR EARS LOCKED INTO A REALM OF PEACE AND CONTENTMENT WHERE NO EVIL CAN PENETRATE. HEAVEN HAS BEEN FOUND AND THE CLEVELAND STRINGS ARE THE ELOQUENT SINGING VOICE TO THIS NEW WORLD. THE FINAL MOVEMENT BEGINS WITH FLASHBACKS FROM THE PREVIOUS MOVEMENTS ONLY TO BREAK INTO THE MAIN "ODE TO JOY" THEME. SOLOISTS AND CHOIR THEN JOIN FORCES WITH THE ORCHESTRA AND CELEBRATE THE JOYOUS FESTIVITIES. THE MOVEMENT CONCLUDES WITH THE CHOIR BOILED UP INTO A FRENZY AND THE ORCHESTRA SMASHING THE FINAL NOTES INTO OBLIVION. GEORGE SZELL GETS HIS CLEVELANDERS TO PLAY WITH CLARITY,PRECISION,IMAGINATION,DEPTH,AND BOMBAST TO MAKE THIS FINAL MOVEMENT A TRIUMPH. THE SOLOISTS PERFORM WITH STRIKING INTONATION AND PANACHE AND THE ROBERT SHAW CHOIR SOUND LIKE A GLORIOUS FIGHTING ARMY OF WONDER. GEORGE SZELL WAS ONE OF THE GREATEST CONDUCTORS AND THIS IS A FINE WAY TO GET IN TUNE WITH HIS ETERNAL MAGNIFICENCE. ESSENTIAL. CIAO. O.F.

I grew up with this version of the 9th and I have to discount my love for it a bit because I probably suffer from a bit of an imprinting effect. This is the notion that the first version of a piece you here becomes the "true" version. However, listening to this again after several years away from it, I have to admit it is superb and wonderful. If you don't have this version, treat yourself.

The first movement has real majesty and power to go with the mystery. Szell tells Beethoven's drama with great awareness of its importance in not only the first movement, but the foundation it sets for all the others and its brief recall in the fourth movement. I remember how mystified I was when I heard this movement the first time. It sounded like nothing else I had heard. Very convincing and beautiful, to be sure, but unlike anything else I had known up to that time.

I was aware enough of how symphonies typically worked to notice that having the scherzo as a second movement is unusual. And this is a very very strange piece. Szell gets the humor and, well, insanity just right. I have heard many performances of this work and few are as fun and amazing as this recording. I remember that this movement absolutely convinced me that Beethoven was absolutely nuts, in a transcendently wonderful way, to think us music like this. Who else could have done this?

The third movement is beautiful beyond compare. Listening to this movement closely, I always feel reconciliation with all the pains and struggles of life. They recede and the glories of God and eternity draw close. It is a kind of sweetness that grows because of and from pain rather than trying to overcome it with saccharine.

Everyone knows the "melody" of the fourth movement. However, it is so much bigger than that. There is the remembrance of the first four movements. A meditation of them with a rejection that leads to the statement of the theme that grows in glory and then breaks out in the wonderful set of choral variations that set Schiller's poem.

By the way, I think the notion that the Freude (Joy) of the poem was probably at one point was Freiheit (Freedom) is correct. The notion is that Schiller (and others) used Freude instead of Freiheit because their work would have been sensored if they were too direct in talking about Freedom and seen as anti-Aristocracy. The poem makes so much more sense if that is true. Try it for yourself and see what you think. This performance uses the traditional Freude, and that is what Beethoven wrote. However, it is Freedom that transforms man not just a vague sense of Joy.

What a glorious work! What a tremendous recording!

Of all the versions of Beethoven's Ninth that I've listened to, only George Szell's version has my full approval. He gives one of the best performances of this work, and I think that it's great that people can still buy this recording. When you see this CD, don't hesitate. Give it a try.

http://www.amazon.com/gp/product/B0000027AF/ref=cm_cr_rev_prod_title

Beethoven: Symphony No. 9 "Choral"; Fidelio Overture performed by the Cleveland Orchestra with George Szell conducting and Robert Shaw conducting the chorus

Beethoven: Symphony No. 9 "Choral"; Fidelio Overture

I liked this recording so much that I re-ordered it for my daughter! I had recently heard this symphony performed by the Cleveland Orchestra at Blossom Center (Ohio) in September and wanted a copy of it performed by the Cleveland Orchestra. I was thrilled to find this one available from Amazon (even though it was recorded back in 1961)! My daughter has also enjoyed this version of it.