Beethoven

"These great works he did as no one ever did, and probably no one ever will.... Music will advance in richness, scope, and difficulty; but such music as Beethoven's great instrumental works, in which thought, emotion, melody, and romance combine with extraordinary judgment and common sense, and a truly wonderful industry, to make a perfect whole, can hardly any more be written. The time for such an event, such a concurrence of the man and the circumstances, will not again arrive. There can never be a second Beethoven or a second Shakespeare. However much orchestras may improve and execution increase, Beethoven's Symphonies will always remain at the head of music as Shakespeare's plays are at the head of the literature of the modern world."

-- Sir George Grove, from his book "Beethoven and His Symphonies (1896).

Beethoven links:

http://www.lvbeethoven.com/Liens/LinksBeethoven.html

https://www.beethoven.de/en/


Beethoven's piano in Vienna's Pasqualatihaus

Useful Guides to Beethoven's Nine Symphonies:

http://www.gramophone.co.uk/feature/beethovens-symphonies-the-complete-guide

http://www.classicfm.com/composers/beethoven/guides/beethovens-symphonies-where-start/

A List of Beethoven Cycles is here:

http://www.lvbeethoven.com/Cedes/TheCds_SymphoniesComplete.html

My Favorite Symphony Cycles: (Alphabetical by conductor)

Bernstein/VPO; Blomstedt/Dresden; Chailly/Leipzig; Karajan/BPO '62; Solti/Chicago; Szell/Cleveland

About Bernstein's #3 with the VPO:

A year after this recording was made (Beethoven's 3rd symph), the principal violist of the Vienna Philharmonic – a distinguished, silver-haired gentleman from Burgenland named Streng – confided to a music critic that “When we play Beethoven with Lenny we do it Lenny’s way, but when we play Beethoven with Böhm, we do it Beethoven’s way.” Perhaps, but then Viennese string players have been saying that about every conductor since Otto Nicolai. In any case, the VPO strings give their all in this performance; their playing, and that of their colleagues in the wind and brass, is pure guts and glory. Bernstein’s affinity for the music is beyond challenge, and the vivid recording brings it all home.

– Ted Libbey, author of The NPR Guide to Building a Classical CD Collection

Beethoven, Symphonies. Truly pinnacles of classical music. Beethoven is rightly regarded universally as the greatest symphonist of them all. Here are some sets (alphabetical by conductor), with fav symphs indicated.

      • Claudio Abbado (1933-2014), Berlin Philharmonic (DG). Rec. 1999-2000. Very well-recorded, with the famous Berliner brass sound and full strings. #5-8 are well worth repeated listening. Tempi are not too rushed, although #6 could be a bit more relaxed in the outer movements.

    • Claudio Abbado, Berlin Philharmonic (DG). Recorded 2001 in Rome (except for #9, in Berlin). #1-4, 7-8.This set contains "revised" performances of #1-8, after Abbado had spent time considering Beethoven's tempi markings in J. Del Mar's editions of Beethoven's scores. Tempi are a bit brisker than the Berlin recordings issued in 2000. This 2001 set sounds fuller to my ears, without going overboard on detailing. A marvelous set to listen to repeatedly. See a review here:

      • Daniel Barenboim, Staatskapelle Berlin (Warner). Rec. 1999. The first Beeth. symphony cycle for the 21st century. These symphonies received their local premieres in Berlin during Beethoven's lifetime, by the Royal Prussian Court Orchestra (aka. Staatskapelle Berlin). Sumptuous sonics, with warmer sound than the BPO. These performances have Beethovenian power and sweet melodic variety with auditory panache. Woodwinds are delightfully clear and present; soundstage is startlingly 3D. A must-have. #2, 4-5, 7, 8. 4th movement of #9 is superb for its climactic vocals.

      • Leonard Bernstein (1918-90), Vienna Philharmonic (DG). Rec. 1977-81. Stupendous #5. #7,8,9 are also gems. Nothing quite like hearing the VPO and Lenny play these live in Vienna. Warm, rich sound, with the VPO's lush strings ever-present. A somewhat romantic Beethoven in some of the movements, like the 3rd from #5. Not bad, though, despite Lenny's emotions coloring the interpretations.

      • Leonard Bernstein, New York Philharmonic (rec. 1960s, Sony). Energetic Beethoven, with a NY Phil that is playing like their lives depended on it. Strings are robust, brass is crisp. Sony's recordings (remastered?) are full-bodied, forward and a touch edgy. Some of the interpretations may not agree with some listeners. This is free-spirited Beethoven, Bronx-style, scrapping good orchestral playing. #2,4-8.

      • Herbert Blomstedt, Staatskapelle Dresden (Brilliant Classics). Rec. 1975-80. An excellent set, high on musicality, nicely paced without bombast. Sound is full, rich, and transparent. The Dresdeners play these to the manner born, as they are the top German orchestra extant, even better than the BPO. Rhythmic consistency, textural clarity, power, and delicacy in appropriate measures. No piece is played to showcase the conductor; only the musical purpose shines through. This set is a gem. #2,3,5,6,7,8.

      • Karl Bohm (1894-1981), Vienna Philharmonic (DG). Rec. 1971, these have rhythmic vitality and an undefinable "rightness" in some of the symphonies. #3-6 are gems, with 6th a reference. Bohm is disciplined as always, but the VPO isn't always in top form in some of these symphs. Sound is transparent, and a treble lift in the strings makes some movements sound a bit fatiguing. Set is showing its age, but it's still capable of standing alongside other sets. Just not sonic cashmere like more recent recordings.

      • Riccardo Chailly, Gewandhausorchester Leipzig (Decca). Rec. 2007-09. A truly remarkable set, performed at Beethoven's metronome markings. This orch was the first to perform a complete cycle of Beethoven's symphonies, in 1825 and 1826 – when Beethoven was still alive. Instrumental passages are startling in some instances, such as in #5 and 6. Faster tempi, but very little rubato within a piece. These recordings are revelatory. Sound is astoundingly clear, with textured, glorious strings. Woodwinds and flutes are enthralling. #1-4, 7,8 are superb. A reference cycle.

      • Colin Davis (1927-2013), Staatskapelle Dresden (Philips). Recorded 1991-93. Symphonies 3, 5, 6, and 9 are excellent, with rhythmic drive and intensity in the fast movements. Clarity and soundstage are exemplary. No interpretative surprises, classical Beethoven. Nothing wrong with that. Davis is a Mozartian, but his Beethoven deserves more attention.

      • Wilhelm Furtwangler (1886-1954), Berlin and Vienna Philharmonics (Music & Arts). Recorded many of Beethoven's symphonies in Berlin during WW2. These are memorable for the sheer fiery intensities. The Ninth, recorded in 1942, has an intensity that some find unpleasant. His #5 with the VPO recorded 1954 (EMI "References" disc) is superb, especially the transition between the 3rd/4th movements.

    • Bernard Haitink, Royal Concertgebouw Orchestra (Philips). Rec. 1985-87. #2,4,5,7,8. Gorgeous soundscape from the Amsterdamers. Textures and clarity are very good. Tempi are engaging and never sluggish. Next to Mahler, I think Beethoven suits this orchestra like a glove. Highly recommended "traditional" Beethoven set.

      • Nikolaus Harnoncourt (1929-2016), Chamber Orchestra of Europe (Teldec). Rec. 1990-91. Performances with modern instruments and a slightly reduced orchestra, with leaner sound than Bernstein and Karajan. A "historically-informed" set, with some startling instrumental passages that may not please listeners tuned to "traditional" Beethoven. But the novelty grips my attention. Broad, deep soundstage. Brass is stupendous in #5. Clarity and detailing are outstanding. A very satisfying set. Scholarly booklet. #2,3,5,7,8.

      • Christopher Hogwood, Academy of Ancient Music. My colleague, Tim, generously gave me the FLAC files. Never imagined I would like a period instrument performance (still skeptical for Beethoven's symphs). Leaner orchestra. Sound is well-recorded. Fascinating (Spock). #2,4,6,8.

      • Paavo Jarvi, Deutsches Kammerphil Bremen (RCA). #2,4,7,8. Tempi are fairly even, and sound is detailed. Jarvi's approach is terse, clear, and rhythmic. Leaner, chamber-sized orchestra with modern instruments. A bit monotonous after a few listenings.

      • Herbert von Karajan (1908-89), Berlin Philharmonic (DG). Recorded 1961-62. His second cycle (he did 4). This is a pioneering cycle, the bestselling classical recording of all time. Well balanced, except #6 -- too rushed. Clarity and dynamics are very good. A go-to for pure pleasure - #2-5,7,8. His #9 is better in the 1977 cycle.

      • Herbert von Karajan, Berlin Philharmonic (DG). Recorded 1977. His 1962 cycle gets the raves, but this later one is marvelous. Sublime performances by a BPO that has firmly bonded, and matured, with its maestro. Full-blooded classical Beethoven. The sound has been honed to near perfection here. Don't miss this set. #2,4,6-9.

      • Otto Klemperer (1885-1973), Philharmonia Orchestra (EMI). Recorded in the 1950s/60s. Klemperer groups his first and second violins opposite one another, not amassed on one side. He also puts his cellos on stage right, and basses stage left. The result is a sonic treat.

      • Charles Mackerras (1925-2010), Scottish Chamber (Hyperion). Rec. 2006 at Edinburgh Festival, for BBC radio. This set is performed with modern instruments, using the Del Mar editions of the symphonies. #2,4-6,8. These are brisk; all seem to follow Beethoven's metronome markings. Strings are textured and brass is crisp.

      • Charles Mackerras, Royal Liverpool Philharmonic (Classics for Pleasure). Rec. 1991-94. Using the Del Mar editions, this has better sound than the Scottish set, with a fuller soundstage and more warmth in the strings. #2,4,5,7-8 are given fine performances here. #9 has Bryn Terfel singing, and is worth a listen (or a few!). Still, for a British band doing Beethoven (not ideal), this set ain't bad.

    • Simon Rattle, Vienna Philharmonic (rec live 2002). Excellent performances of #2.3,5,8,9. #5 is one of the best in the catalog. #7 is a disappointment, as the strings sounded too thin and harsh. Must be the miking. Leaner orchestra here, with a bit of a period-style polish, not like Bernstein's traversal with the Vienna. Sound is top-notch. This set has received mixed reviews. Different tastes, I guess. The VPO may not be in its best form here (as in past cycles), but they're still worth hearing under Rattle's direction.

      • Georg Solti (1912-97), Chicago Symph Orch (Decca) Recorded 1972-74. I'm not a big fan of Solti, but here's an exception. Superb recordings, no brightness whatsoever. The CSO is probably at its peak, with astounding strings. It destroys the thinned-out, wimpy Period Instrument Taliban. The 7th is probably on par with Kleiber's famous VPO account, with a touch less frenetic energy. #4 and 8 are pure fun. #5 is a bit less frantic in the 1st movement, but it has majesty. Brass is spectacular in #3, the best "Eroica". #2,3,4,7,8.

      • George Szell (1897-1970), Cleveland Orchestra (Sony CD). Rec. 1955-64, this set has long been a benchmark. Musical, refined, a magisterial pleasure. Miking seems a bit distant and SQ shows its age in some pieces, like the 4th movement of #7. #2,5,7-9.

      • David Zinman, Tonhalle Zurich. #2,4,7,8. Semi-HIP here. Faster tempi, leaner modern orchestra. Zinman observes Beethoven's metronome markings. Perfs are textured, clearly articulated, athletic. Imaging is excellent. Uses the Del Mar/Barenreiter editions. A refreshing treat for the ears, I'm surprised at the lukewarm reviews this set has received. I have no problem with repeated listenings, even at these brisker tempi. And at $12CAD for the set, no harm done!

My favorite individual symphonies:

BPO=Berlin Phil Orch; VPO=Vienna Phil Orch; NDR=North German Radio

  • #2, Wand/NDR

  • #3, Solti/Chicago

  • #5, Kleiber/VPO

  • #6, Bohm/VPO

  • #7, Karajan/BPO '62

  • #8, Wand/NDR

  • #9, Abbado/BPO (Salzburg Fest '96)

Carlos Kleiber's Beethoven 5th is still tops.

More on Kleiber:

https://www.ft.com/content/c17c9472-e0ab-11e1-8d0f-00144feab49a

^Franz Klein's bust of LvB, 1812

Useful Guide to Beethoven's Piano Concertos:

http://www.classicfm.com/composers/beethoven/guides/beethovens-music-piano-concertos/#i2Z6GjQloFd4Ul2p.97

Piano Concertos. Next to Mozart, Beethoven revolutionized the piano concerto. My favorite sets:

    • Claudio Arrau, Colin Davis, Dresden ('84-87).

    • Alfred Brendel, James Levine, Chicago Sym ('83).

    • Murray Perahia, Bernard Haitink, Concertgebouw ('86)

    • Maurizio Pollini, Bohm/Jochum, Vienna Phil

    • Maurizio Pollini, Abbado, Berlin Phil. ('92-93)

    • Krystian Zimerman, Bernstein/Zimerman, Vienna Phil (1989,'91).

    • Andras Schiff (all Beethoven's cadenzas), Haitink, Dresden ('96)

My favorite individual concertos are:

  • #1: Argerich, Sinopoli/Phil.; Pollini, Jochum/VPO; Brendel, Levine/Chicago.

  • #2: Schiff, Haitink/Dresden.

  • #3: Arrau, Davis/Dresden; Perahia, Haitink/Concgbw.

  • #4: Gilels, Ludwig/Philharmonia; Arrau, Davis/Dres.

  • #5: Serkin, Bernst./NYP; Pollini, Bohm/VPO; Brendel/Chicago; Grimaud/Dres.

  • Choral Fantasy, op.80: Serkin, Bernst/NYP

LvB was the first rocker of the classical age -- look at that hairdo!

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    • Piano Sonatas. Wow. The Pinnacles of LvB's Art. The ones I value are --

Complete: Arrau; Barenboim (1966-69); Brendel (1970s); A. Fischer; Goode; Kempff (1960s).

Partial: Gilels, Pollini, Solomon, Brendel ('60s); Kempff ('50s); Levit; Uchida; Richter, Nat

My absolute favorite pianists for these sonatas? Kempff. Annie Fischer. Brendel. Gilels. Goode. Then Perahia, Arrau, Solomon, Richter. All provide a lifetime of listening enjoyment.

Wilhelm Kempff plays the Moonlight sonata:

https://youtu.be/uNtm3O4bfz4

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A Guide to the String Quartets: http://www.classicfm.com/composers/beethoven/guides/beethovens-music-string-quartets/#BeVPtrDQgWuyRi8I.97

    • Beethoven's String Quartets. Spoiled for choices here. His string quartets, like his piano sonatas, are magisterial pieces that superbly trace the evolution of Beethoven's creative powers. They also are windows that provide a glimpse into Beethoven's innermost psyche. The following are highly recommended.

    • Complete Quartets:

      • Quartetto Italiano (Decca).

    • Berg Quartet (1978-83)

      • Prazak Quartet (Praga SACD)

    • Takacs Quartet

    • Individual Quartets:

    • Alban Berg Quartet, Late Quartets op. 127,130-135 (1989 live, EMI)

    • Amadeus Quartet, op 18, adagios of late quartets op 127-135

    • Busch Quartet. op. 18(1), 59(1,3), 95, 127, 130-132, 135.

      • Cleveland Quartet, op. 18 4/5, op. 127, 131, 132, 135 (Telarc).

    • Hagen Quartet, adagios of op 127, 130, 131, 132.

      • Lindsay Quartet, op. 127, 130-135 (ASV).

    • Tokyo Quartet (2007) op. 18(1-6), 59(1-3).

      • Vegh Quartet, op. 18(6), 59(1), 95, 131.

The Late Quartets:

For more on string quartets/quintets in general:

http://davidrounds.wordpress.com/on-art-and-music/listenersguide/

Other excellent CDs of Beethoven's works:

    • Violin Concerto. Wolfgang Schneiderhan. Jochum, Berlin Phil (1962; DG).

    • Violin Concerto. Itzhak Perlman. Giulini, Philharmonia.

    • Violin Concerto. Anne-Sophie Mutter. Masur, NY Phil (2002; DG).

    • Violin Concerto. Hilary Hahn. Zinman, Balt. Symph.

    • Violin Concerto. Vera Beths (Stradivarius 1727 violin!), Tafelmusik.

    • Triple Concerto. Oistrakh, Rostropovich, Richter. Karajan, Berlin Phil.

    • The Violin Sonatas. Perlman, Ashkenazy (Decca).

    • The Late Quartets. Tokyo String Quartet (1990-91; Sony).

    • Compl. Music for Cello and Piano. Rostropovich, Richter, Gendron, Francaix.

    • Compl. Music for Cello and Piano. Fournier, Kempff (DG).

    • Missa Solemnis. O. Klemperer, New Philharmonia Orch (1965; EMI).

    • Missa Solemnis. P. Herreweghe, La Chapelle Royale (1995; Mundi).