Customer Reviews

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

5 star:		(22)
4 star:		(3)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

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!

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.

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.

This is simply the best recording of this Beethoven's masterpiece ! You will find no other to stand with it. The sound quality is very good, with DG Image-Bit Processing technology. For sure one of the best titles of the "originals" series.

When buying Beethoven symphonies, it is very easy to end up with a dry and unmemorable recording from a lesser known orchestra, or one of billions made by Karajan over the decades. Thankfully, this CD is readily available, and changes all that.

This is the definitive 'Pastoral'. I own three versions and have heard several others and none even come close. It feels like a perfect balance between tempo, dynamics and recorded sound. The VPO play from the heart, under one of Vienna's greatest conductors with tremendous energy and accuracy. The sound is what I have come to expect from DG's Originals: a superb analogue tape recording transparently transferred to CD. It hails from an era that brought together old-school conductors, mature technology and attention to detail, in an environment with lighter commercial pressures. The result is simply delightful.

Boehm's style is not suited to all music - but this is a perfect match. He also deteriorated with age; his 1981 9th Symphony recording is very weak, but that he managed it at all is incredible. The double set consisting of the Eroica and Ninth is well worth having, as are most of his Mozart performances.

On top of everything else, this CD is an absolute steal. It is without doubt 'required listenning' even for those who have a passing interest in Beethoven.

There were three classic accounts of Beethoven's Pastoral Symphony from the LP era: Cluytens' mono Berlin recording from 1955, Klemperer's 1957 stereo version with the Philharmonia Orchestra on EMI, and Karl Boehm's 1972 Vienna Philharmonic recording on DG, also in stereo.

All three have now been released on CD, Klemperer's and Boehm's at midprice. Cluytens' version (not be confused with his stereo remake which was part of a cycle) is a full price CD on the fine Testament label.

Boehm's Vienna PO `Pastoral' (coupled with a pleasing Schubert's Fifth Symphony) is a `straighter' interpretation than Klemperer's, glowingly played and recorded. This would perhaps be my first choice, ahead of Klemperer, with Cluytens third.

Cluytens' 1955 performance is wonderfully played by the Berlin Philharmonic and well recorded (excellent balancing between wind and strings), which almost sounds like stereo. His interpretation is uncontroversial, but sounds `right', and also makes this work sound more unified rather than just a series of episodes. The excellent coupling (in fine 1960 stereo) is a dark, brooding Schubert `Unfinished' Symphony.

Klemperer's version (which is very well recorded for its age) remains controversial as a result of the rather slow tempo he adopted for the `Peasants' merrymaking' 3rd movement, but his interpretation does grow on you. Apart from that caveat his is a great performance, superbly played by the Philharmonia at its peak. The coupling is Klemperer's large-scale view of Beethoven's First Symphony.

I'm a little puzzled by all the praise heaped on this performance of Beethoven's Pastorale Symphony. It's very fine, certainly, but it has many equals to my ears: Cluytens, Haitink, Walter, Blomstedt. For me, Bohm rates in the middle of these performances, with a finely-paced first movement that doesn't quite radiate enough joy in the grand passage where the strings swell up just before the coda (wish I had my score handy to quote the barlines) and an awkward tape splice shortly before that in the coda. The second movement, to me, could flow a little better, but that may be a matter of taste. The bird calls near the end sound too musical and not "birdlike" enough to me with all that vibrato. The rustic peasant dance is neither rustic nor dance-like enough, and the stirring that precedes the storm isn't stirring enough for me. The thunderstorm itself, however, is very impressive, with the Vienna brass at full cry in a way you rarely hear them. Too bad DG's engineers didn't do a better job capturing the ominous bottom end. The finale is appropriately sunny and joyous, though the transition from storm to dance is a little glib to my ears.

I'm puzzled by Hurwitz's comments* that the woodwinds glow or whatever he said. I don't think the winds are particularly outstanding in this recording, and are often hard to hear with the loud strings and especially French horns. For better sound and better performance (and *really* gorgeous winds) my first choice might be Cluytens/BPO. The Schubert on the present disc is fine, but would not displace Harnoncourt, Sawallisch or Erich Kleiber. In short, I feel this is a good disc, but it's not one of my desert island picks.

*Okay, I admit it: I'm always puzzled by Hurwitz's comments.

Bohm had his ups and downs as an interpeter. At his worst, he could be fussy and literal-minded. At his best, he bought tremendous integrity and power to his music-making.
The Pastoral here is beyond his best. It ranks with his Bayreuth Tristan as the best recording he ever made and one of the best ever made of the piece.
Bohm got transfigured playing from the VPO and paced and voiced the piece so that it glowed like an old master painting. Perhaps even more so, since there is a deeper shine to the music-making that suggests the pantheism of the great Klemperer Philharmonia recordings for EMI and Music & Arts. What Bohm got was a remarkable balance between earthiness and transcendence. His playing was golden in tone and acute in spirit. You will never hear a more spellbinding unraveling of Beethoven's hymn to Nature and the countryside as a a renewing and ultimately divine force.
The recorded sound is lovely and the slightly dour Schubert is a nice makeweight.

How many times have I listened to this recording over the years, in various editions? It has a warm, wonderfully relaxed quality which suits the music very well -- within the first two minutes, you feel like you're on vacation in the country -- yet Bohm doesn't loosen the reins so much as to lose Beethoven's rhythmic vigor or intellectual toughness. Keeping the big picture firmly in view but with a painter's eye for the details, he brings out every nuance of Beethoven's wonderfully atmospheric score.

In this remastered edition, nothing has been lost and the recording, if possible, seems to have gained slightly more warmth. A work and a performance which play to all of Bohm's considerable strengths.

The Schubert I'm not quite as fond of -- I have enjoyed faster versions of the first movement in more recent period instrument performances, which make this one seem a tad lumbering and old fashioned -- but it's still a lovely rendention of, for my money at least, Schubert's most charming symphony.

When I was in eleventh grade, I asked my favorite high school English teacher what his favorite music was. Classical. Which? Beethoven. Which symphony? 6th. Then he paused and said, "I really like the Karl Bohm version." So off I went to Sam's record store, and got the DG vinyl of this performance. He was right. It's hard to match this for sheer musicality.

I've since heard a few dozen Pastorales, and while most have something to recommend them, I still feel that this is the most lovely and indeed pastoral of all the versions I've encountered. For power I like the 1977 Von Karajan, but for the lush, natural passages and the epic feeling in general, this Bohm version is about as lovely as any music I've ever heard, classical or otherwise.

The Vienna Phil were clearly no slouches. I used to enjoy the Berlin Phil when I lived in that glorious town, and I never saw them achieve this level of airiness and ethereal glow while still pumping out the power. My visits to Vienna always featured music running through my head as I strolled around; other than Paris and maybe Prague, it's one of the most naturally classical cities I've encountered. Music just seems to flow from the cornices and sculptures and endless fachwerk at every turn. That feeling is evident in this recording.

I haven't heard this cd version; I hope they retained the warmth and breadth of the analog original. DG is a true mark of quality, however, so I'm guessing they did a good job.

I learned a valuable lesson that day in high school; find someone whose opinion you respect, and then find out what their favorite works of art are. It's a great way to save time and get straight to the good stuff.
Thanks, Mr. Webb.

And thanks to Wiggy B; just think of how many lives he's filled with moments of perfection. Life is short, but great art lives on.