Customer Reviews

Mozart: Symphonies Nos.35 "Haffner", 36 "Linzer", 38 "Prager", 39, 40, 41 "Jupiter"

5 star:		(38)
4 star:		(9)
3 star:		(4)
2 star:		(0)
1 star:		(1)

 

 

I was surprised to see these recordings praised as long and loud as they are at this site. Truth be told Bohm's Mozart symphonies are widely considered to be very good, but are rarely touted as the very best recordings of these works. After listening to them I would have to agree with the general consensus in the music world--very good, but not necessarily the best.

They are indeed beautifully played and recorded (who would guess the recordings date back to the 50s and 60s!), but tempi are sometimes too slow, particularly in the opening allegro of number 39 and throughout number 40, making the music sound too objective and studied. The orchestral textures are also somewhat weighty, which at times makes the music sound at lot like Beethoven (although not as much as Karajan with the same orchestra makes them sound), and repeats are seldom observed.

My opinion (and certainly not everyone will agree) is that Mozart sounds best with a slightly smaller orchestra and at brisker tempi. Under such circumstances the genius of Mozart is more infectious and elegant, and it is easier to let the music carry you along. Marriner with the Academy of St. Martin in the Fields (on EMI, Phillips, and Decca) and Wordsworth on Naxos are two fine examples of this approach to the symphonies. They both use modern instruments, so the strings sound fuller than recordings using period instruments, but the leaner orchestral textures sound more appropriate for Mozart. Tempi are somewhat brisk but never too fast. Wordsworth's recordings of 36, 38, and 39 are especially nice, while Marriner's versions of 25, 29, 40, and 41 are standouts.

When choosing among the best recordings of the best in classical music, there are usually many fine options from which to choose, and the Mozart symphonies are certainly no exception. Choosing one's favorite recording(s) will essentially be a subjective and personal decision. Bohm is certainly a fine choice, and so are Walter, Abbado, and Bernstein for a slower, weightier approach, while Marriner, Wordsworth, and Britten are excellent from a different perspective. Szell would probably fall somewhere in the middle, but only 35, 40, and 41 are available from him. And if that isn't enough, recordings using period instruments are now all the rage. So don't take the Bohm recordings as the be all and end all of the Mozart symphonies. Sample other great recordings to see which suit you best.

Having owned Bohm's complete traversal of Mozart's forty-one symphonies (in two separate boxed sets released by DG--- DGG, back then--- over thirty years ago), and having relinquished them during my LP-to-CD changeover, I was delighted by this surprise, mid-price reissue. Frankly, I had forgotten just how Mozartian Bohm is, how clean and clear--- like a breath of spring air--- and as downright refreshing; yet, too, how sensitive he is to the myriad nuances of these works. His is a pure energy, a pure depth that comes from wisdom, not show. Bohm conducts focused, dedicated, immersed--- and these symphonies appear to us miraculously renewed, classically shining. No doubt about it: these are performances borne out of love. So simpatico is Bohm's approach to Mozart, I hesitate to even call them "performances." More likely, each is a devotional.

[Running time--- CD 1: 67:57 CD 2: 78:55]

After hearing fine interpretations from the likes of Bernstein, Karajan, and Kubelik, Bohm's readings of Mozart's last symphonies remain imposing, worthy of recognition as the best in a crowded field of recordings. No late 20th Century conductor has been as successful as Bohm in conveying the drama as well as lyricism present in Mozart's greatest symphonies. I doubt I have heard the Berlin Philharmonic play these symphonies with such elegance, warmth and technical precision. These recordings are among the highlights in a complete Mozart symphony cycle which Bohm and the Berlin Philharmonic recorded during the 1960's. If I'm not mistaken, this was the first Mozart symphony cycle recorded in stereo. The sound quality is impressive with the latest image bit digital remastering.

This was part of my first order from Amazon.com---it came quickly and didn't disappoint. I was hesitant to order these symphonies because they were recorded in the late 50s and early 60s, but I decided based on the review and customer comments to go ahead and give them a shot. Truly Maestro Bohm knew Mozart and brought him to life. The clarity, brilliance, and interpretations are incredible. It is so refreshing to hear Mozart played Bohm's way versus the common chamber size orchestra recordings that are coming in abundance these days. This is the Mozart you want, not a period performance. Go with Bohm--you won't be disappointed!!!

Given that these performance were originaly recorded in the 1960s, as part of the first ever complete survey in stereo of the Mozart symphonies, and the proliferation of alternate choices on both period and modern instruments, it would be easy indeed to pass this issue over as being outdated or even irrelevant. I think that would be a poor decision. The digital remastering has produced a considerable improvement over the original LPs and the performances have lost none of their vitality, rhythmic pointing, or precision in the playing of the Berlin Philharmonic. Although Bohm was a veteran conductor the tempi do not convey any loss of energy or enthusiasm. The Haffner, Linz and Jupiter symphonies are particularly successful. In comparison to Karajan's survey with the same orchestra and recording company, these performances do not have quite the same "big band" sound and are perhaps more classical in feeling - which is hardly a disadvantage. The Mackerras, Marriner and Levine sets are excellent too and choosing a winner among them is a judgment call. Nonetheless, anyone who enjoys this music on modern instruments will not be dissapointed with Bohm. The documentation is excellent too. Recommended.

Bohm's interpretations of Mozart's great symphonies, to quote the Penquin Guide "have the air of inevitability." Bohm may be the most perfect metronome that ever led an orchestra, but when it comes to Mozart a little flexiblity of tempo (rubato) can reveal more subtleties in the music. There is no question of the existence of power in Mozart's last symphonies and Bohm is no slacker here. There are however lighter moments throughout these works, and this is where Karajan, Britten, and even Szell surpass Bohm. A dedicated Mozart devotee will find kernels of delight and many revelations in all of these great conductor's recordings of these brilliant works, and will eventually come to own sets from several conductors. A person seeking to just fill out his collection of the basic repertoire may be better served (and even save a few dollars) with the Karajan set, but that is not to say this wouldn't be a good representative collection. If perfect tempo and full sound fill your cup of tea, this set will do you fine. If the lightness of the Mozart line, and the sweet humor of his genius are more to your taste I would recommend the Karajan set. If you like your hair to stand up on the back of your neck, Szell is then the engine to drive the orchestra to frenzied perfection. If you like a gentler Mozartian spring breeze, Britten's set will mist your eyes with delight. If you love Mozart with all your heart and soul, buy them all. I did.

I agree with virtually all of the reviewers below. All six symphonies are conducted and played with the kind of gusto and fervor they demand, and the fact that they're old recordings(but successfully re-mastered)and "traditional" interpretations doesn't matter one iota. For me the greatest successes are 35 through to 39. If anyone ever doubted that 39 belongs with Mozart's final two symphonies in terms of greatness, then let Bohm's interpretation of it carry you away. Marvellous stuff. The 40th is done perfectly, but I actually prefer MacKerras's version of the 41st, since he really grabs the opening bars by the throat, whereas Bohm is a little more restrained. That's a very minor reservation on my part though, and the MacKerras recordings are still full price and no doubt will be for some time.

Most importantly, I think this is the only recording of consequence where you can listen to the last three symphonies--miraculous masterpieces all--on one CD, in their entirety, without any interruption. This recording has also made me appreciate the "Haffner," "Prague," and "Linz" symphonies more than I ever did before, mostly because they're usually portioned off and coupled with one of the last three and they suffer by comparison. Here though, they're all together chronologically, and so you can really see Mozart's development clearly and with a great deal of pleasure and appreciation. It'd be nice if DG did one more of these Bohm compilations of Mozart symphonies, taking in the high points of his earlier symphonies, like 25, 28 and 29. In the meantime though, this will do just fine.

I noticed something odd when I listened to this version and the John Eliot Gardiner version of Mozart's last (41st) symphony. Gardiner plays at a FASTER tempo...yet the Bohm recording is shorter!!?!

After a head to head comparison, it became obvious: DG, Bohm, and the BPO decided to chop a full ten minutes right out of the symphony. The finale is only half its proper length, and the first two movements suffer similar fates. THIS IS NOT A COMPLETE RECORDING.

In addition, I take exception to the 40th, which seems to also have been altered in places. Also, the opening movement to the 40th is, as another reviewer pointed out, agonizingly slow even though Mozart marked it "very fast".

But other than that, the CDs are fine. The four other symphonies are pristine and beautiful and, as far as I know, mostly or completely intact. They are well recorded and well played. No wrong notes or odd tempi here, folks.

But if you're going to buy this, do yourself a favor and buy a separate recording of the last two Symphonies (Gardiner's is my favorite). This set isn't even giving you the full symphonies. In fact, if you are really feeling generous towards yourself, go buy the Naxos box set "Mozart: 15 Famous Symphonies," which gives you two-and-a-half times the music for just $10 more, in brilliant (and occasionally benchmark) performances with DDD sound.

Hate to spoil the party, but the truth is: the stuff they play here is excellent...but the stuff they don't play is sorely missed.

(This review has been edited on discovery of some factual errors...should be OK now. Importantly, I've learned that it's common practice to omit repeats in Mozart's slow movements, but NOT in the other movements...Bohm chops them out everywhere, most notably in the finale of the 41st as mentioned.)

With the exception of Bruno Walter, Karl Bohm was the most universally admired Mozart conductor of the 20th century. Bohm trained under Walter, and from the older maestro he learned to conduct Mozart as a serious composer, not an effeminate minor talent. Bohm's deep identification with Mozart's music, both symphonic and operatic, is virtually palpable on these magnificent recordings. With the exception of (surprise) Walter's interpretations, I can't think of another set that so completely captures the spirit and vivacity of Mozart's symphonic genius than this one.

Bohm approaches Mozart with a strict precision, careful pacing and closely observed dynamics. These symphonies were near and dear to Bohm's heart, and he had performed them countless times before making these recordings--yet he manages to make them sound as if they are being performed for the first time. There is a sparkling vitality and the sheer joy of music-making throughout these recordings. Bohm's reputation as a master Mozart conductor was well deserved. Treat yourself to some of the greatest orchestral music ever written, in masterly performances. Buy these discs.

For Mozart's late symphonies, Böhm is the one who does it best. There really need be no argument about it, because the only people who prefer, say, Marriner, do so because of the greater tempo and the lightness. THAT style (faster, lighter, springier, from a small ensemble, like the ASMF) is more suited for the early symphonies, and I think many people will agree with me about this.

For symphonies like the master 40th, it is not springiness we want: we want the depth, and the joy-in-tears, which only Böhm brings out. Mozart had advanced from the 25th to the 40th - the recommended tempo and style is simply not the same. This happens because he wrote so many symphonies, something which you will not find in, say, Brahms. There was a word used by the Amazon reviewer which sticks: "love". He said Böhm conducts Mozart with true love and feeling. Yes, that is definitely it - you can see the conductor's love for the composer and the composition. And the resulting feeling - is from out of this world. The ASMF-Marriner simply does not achieve this. We can have raging debates about whether Mozart "intended" it this way or that, but I think the concensus is that Böhm's style is IT.

This is a deeply felt, personal recommendation from me. If you want to listen to the late Mozart symphonies, listen to Böhm. You will find nothing better.

I have one major beef though. The fourth movement of the 40th is the shortened version (no repeat of the first theme). Can anyone tell me of a recording in which Böhm did the full version?

All said and done, this set is IT. Look no firther. Take it from a listener with a lifetime of experience with different conductors/composers/orchestra combinations.