Beethoven: Symphony No. 6, Schubert: Symphony No. 5 / Böhm, Vienna Philharmonic Orch.

Ludwig van Beethoven (Composer), Franz [Vienna] Schubert (Composer), Karl Böhm (Conductor), Vienna Philharmonic Orchestra (Orchestra) | Format: Audio CD

Product Details

• Orchestra: Vienna Philharmonic Orchestra
• Conductor: Karl Böhm
• Composer: Ludwig van Beethoven, Franz [Vienna] Schubert
• Audio CD (May 14, 1996)
• Number of Discs: 1
• Label: Deutsche Grammophon
• ASIN: B000001GQL
• In-Print Editions: MP3 Download
• Average Customer Review: 4.6 out of 5 stars  See all reviews (29 customer reviews)
• Amazon Best Sellers Rank: #30,162 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

For many music lovers, this is the most purely beautiful performance of Beethoven's most purely beautiful symphony ever recorded. The playing of the Vienna Philharmonic is the last word in gorgeousness--the woodwind chords chime with such purity that they practically glow with an inner light. But it's not a self-indulgent interpretation at all: the storm rages as violently as anyone has a right to expect, and Karl Böhm keeps the music moving along impulsively, always highlighting the symphonic strength of Beethoven's musical argument. What makes the recording even more special is a Schubert Fifth with exactly the same qualities. Someone at DG clearly knows where the treasures are buried. A great disc. --David Hurwitz

Customer Reviews

Most Helpful Customer Reviews

38 of 41 people found the following review helpful:

5.0 out of 5 stars A magical performance and a transcendent experience, March 21, 2002

By 

[e-mail] (Cambridge, MA USA) - See all my reviews

This review is from: Beethoven: Symphony No. 6, Schubert: Symphony No. 5 / Böhm, Vienna Philharmonic Orch. (Audio CD)

This is one of my favorite recordings ever. Karl Böhm, one of the most sadly underrated conductors of the twentieth century, turns in an absolutely magical interpretation of Beethoven's gorgeous Sixth. It is difficult to describe what makes this such a miraculous performance. The main reason is that Böhm doesn't feel the need to give us "Karl Böhm's version of Beethoven's Sixth Symphony." He simply allows Beethoven to speak directly to us, with his conducting merely enhancing and intensifying what is already in the music. He paints the symphony vividly and with an enormous range of astonishingly beautiful colors - he draws the most intoxicating orchestral playing I have ever heard, on any set, out of the Vienna Philharmonic Orchestra. The sound is unbelievably gorgeous, but it's always meaningful, and is always a true Beethoven sound. The strings' translucent radiance and refined beauty are truly stunning, the brass is enormously rich and sonorous, the timpani are clear and incisive, but the most amazing section of the orchestra is the woodwind. The flute, oboe, clarinet and bassoon all produce the most glorious sound, phrasing ardently and radiating an almost otherworldly light. The tender beauty of the flute and oboe solos in the central section of the Scene by the Brook is almost overwhelming. That movement is perhaps the most exceptional part of an exceptional recording. Böhm takes fourteen minutes over this movement, but he has the extremely rare gift of superbly sustaining slow tempi, with the result that this performance flows more smoothly than many much quicker performances, while the actual spaciousness of the tempo aids the conveying of the movement's stillness and serenity. A slower tempo also means the movement is longer, a cause for rejoicing when given the level of the performance! Böhm's orchestral sound and texture in this movement is also exceptional, with woodwinds and violins soaring over a rustling, gloriously warm and transparent bass including two gorgeous solo cellos. But it's wrong to single out one movement of this exceptionally cohesive, unified recording. The first movement is twelve minutes of pure delight. Böhm takes a very sensible tempo, one which allows the music time to breath and unfold without ever impeding the flow of the music. His performance is wonderfully feeling and emotional without ever becoming sentimental: indeed, he is one of the very few conductors who don't kill the very first phrase by indulging in a big ritardando at its close. He takes the exposition repeat, which enhances the structure of the movement and balances the symphony as a whole. The Scene by the Brook, as I have mentioned, is glorious. The Scherzo is just as fabulous. Böhm takes what I suppose is a somewhat slower tempo than usual, but it's hard to tell because it has such a strong rhythmic pulse and drive that it's impossible to say the tempo is slow. Rather, he gives every note time to be articulated clearly, something many swifter performances miss. It is the vivid country atmosphere to the performance that is most compelling, though. He also takes the repeat. The storm is absolutely terrifying, probably the most vivid performance of this movement on disc, firmly refuting any notion that Böhm was an uninvolving or boring conductor. The rainbow-like transition to the finale is handled with superb skill, and the glorious finale itself flows serenely from the opening horn-call to the miraculously beautiful, almost religiously fervent sotto voce string chorale in the coda nine minutes later. This performance is remarkable for its ability to evoke an emotion or scene vividly. The emotions this performance produces in the listener, both during and after listening, are better experienced than described. All I'm going to say is that this is one of the most magical, overwhelming recordings ever made. The coupling is a delightful performance of the Schubert Fifth, made a few years later. It is characterized by the same radiant orchestral playing the Pastoral enjoys, and a delightful feeling of playfulness and joy. This disc is one of the greatest achievements in the history of recorded music, and is an unbeatable bargain at mid-price. The Pastoral is one of the most emotional, magical, and miraculous experiences recordings can convey. I have listened to this recording at least fifty times, and I have never found the smallest flaw in it. This is one of those very few great recordings I just can't say enough about. Seventy-four minutes of sheer bliss. Enjoy!

18 of 18 people found the following review helpful:

5.0 out of 5 stars Exceptionally lovely, April 24, 2000

By 

M. Packo (Stratford, CT United States) - See all my reviews
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This review is from: Beethoven: Symphony No. 6, Schubert: Symphony No. 5 / Böhm, Vienna Philharmonic Orch. (Audio CD)

Obviously a labor of love for conductor and orchestra. Every nuance of the Maestro's most sensitive and heart-felt symphony is offered with exquisite concern for balance and depth.I never thought I would find the flowing Andanteperformed in so dreamlike afashion -- have been frustrated by it being too rushed before. But here it almost a bit too langorous!Picayune complaints: the allegro is also a tad lacking in brio. But overall, and far, far more importantly, this is one of the very best, most rapturous versions of the Pastorale you will EVER hear! Side by side with Bruno Walter's. And the sound quality (remastered from '71) is exceptional also! Accept no substitutes.

13 of 13 people found the following review helpful:

4.0 out of 5 stars Lots to admire here, but not a first or only choice!, May 12, 2006

By 

SwissDave (Switzerland) - See all my reviews

This review is from: Beethoven: Symphony No. 6, Schubert: Symphony No. 5 / Böhm, Vienna Philharmonic Orch. (Audio CD)

This is one of those "legendary" recordings that makes me wonder if it's only me who's unable to fully grasp its virtues. Which is why I read through all the reviews here, and I must say, they all make sense to me, one way or the other.
The stubbornly slow and rigid tempos are something to admire and allow for plenty of detail that otherwise might go unnoticed, and yet, is a Pastorale that makes it possible for one to read a book or check upon one's e-mails ideally paced?
I also agree with other reviewers here that the 2nd movement is made to sound or rather "feel" similar to the 1st, which I find, to say the least, surprising - is so little contrast among the first two if not three movements really what Beethoven had in mind? On the other hand, I am sure many listeners will find the leisurely "walking pace" of the 2nd movement "Scene by the Brook" to be of singular serenity.
Orchestral precision is truly fine, especially in terms of details, and the Viennese lean-texturedness is just at the opposite side of the spectrum than Karajan and his Berliners (at his later worst, not his earlier best). Winds and strings, although the former do not necessarily have more "glow" (as David Hurwitz seems to be claiming) than in other top recommendations (see further below), are certainly worthy of praise.
The recording has always been somewhat bass-shy, so much so that the concentration on Bohm's "plastic (pliant?) middle voices" (as one German critic said in 1972) becomes, well, inevitable. It's still well-balanced enough and nicely transparent, but a more physical bottom end might even have improved one's view of the interpretation, hard to tell. The "Storm" of the 4th mouvement nonetheless sounds very believable. The last movement, however, would definitely have profited from bass making itself heard as well as felt.
Having said that, I fully agree with everyone saying the Pastoral should not sound impressionistic, but that its purpose is to express "Empfinden", i.e. the feelings or joy connected to being in the countryside. What I get in Bohm's is primarily peace of mind, per se admirable enough, but is that all there is to this? There is no shortage of other top recordings such as those by Walter (both, the Columbia boasting fine stereo sound), Cluytens/BPO (1955 mono, but don't make the silly mistake to overlook it as a result!), Leibowitz/RPO (awesome stereo sound by the legendary Kenneth E. Wilkinson is a definite plus, especially in the Chesky remastering!), Szell/Cleveland, even Karajan's 1963 BPO version (admittedly just the first version I got to know as a child) all seem to prove the contrary. And yet, naivity and simplicity does equal beauty in places. Bohm may not be for everyone, but I won't disagree with anyone who loves this. To refer to it as THE first choice or an only one, well, that I simply can't.
Certainly this is the finest remastering of these recordings (I like Bohm's Schubert, to which similar comments would apply as to the Pastoral, i.e. again, I like it yet better livelier, with greater contrast, more flexible tempos - and Beecham's or Maag's elegance maybe?) to date.
Having said all this, these interpretations are worth knowing and the coupling would make it a nice present to a classical music newbie.

Greetings from Switzerland, David.