Ludwig van Beethoven (1770-1827)

[Mark]

My question is now : Do I need the Haitink (I suppose you are talking about the live set vith LSO), what are the virues of this set comparared to e.g. Zinman?

Yes, I mean the recent(ish) LSO Live cycle. Its strengths lie in its solid conception (Zinman can get a little 'flaky' and 'tricksy' in places), its excellent sound (even on plain old CD, and despite the Barbican's notoriously dry acoustic), and its tempi choices that mirror those of the old Mackerras set on EMI. Its only weakness, IMO, is the Sixth, which sounds uninvolving and slightly hurried.

[prémont]

Yes, I mean the recent(ish) LSO Live cycle. Its strengths lie in its solid conception (Zinman can get a little 'flaky' and 'tricksy' in places), its excellent sound (even on plain old CD, and despite the Barbican's notoriously dry acoustic), and its tempi choices that mirror those of the old Mackerras set on EMI.

Thanks, I shall consider the purchase of it.

Its only weakness, IMO, is the Sixth, which sounds uninvolving and slightly hurried.

I think this is a common problem - but I grew up with Klemperers Philharmonia and Vienna Symphony Orchester Pastorales.

[BachQ]

We might in all probability easily be able to overcome the problems of life without Pletnev´s LvB set. But I think Mackerras set will turn out to be one of the most rewarding sets for years, and I am certainly eager to acquire it.

Hurwitz had mostly very high praise for the 2007 Mackerras LvB set, giving it a 9/8.

[BachQ]

Gurn,

Is this the new Mackerras set on Hyperion you're referring to? Is it radically different than his earlier EMI set?

Per Hurwitz, although the Hyperion set is not "radically" better, it is "audibly superior to Mackerras' previous (and very good) effort on EMI, with the Royal Liverpool Philharmonic."

[Gurn Blanston]

Gurn,

Is this the new Mackerras set on Hyperion you're referring to? Is it radically different than his earlier EMI set?

No, I was talking about the Royal Liverpool set (Classics for Pleasure). I haven't heard the new one yet...



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Now playing: Kalliwoda Orchestral Works - Hamburger Symphoniker/Hamburger Symphoniker - Op 145 Overture #12 in D - 01

[Gurn Blanston]

Perhaps I should give my set another listen, but I find Mackerras too "light." 

Nothing personal, but I have always hated that adjective. "Light" as opposed to what? Beethoven isn't Mahler, after all. Every piece is in place and played as it should be. Since Beethoven wrote for an orchestra of 50-60 players, and they weren't even using modern instruments with their fullness of sound, then "lightness" would have been the order of the day. That "heaviness" is exactly what turns me off to post-Romantic "historical" recordings.



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Now playing: Kalliwoda Orchestral Works - Hamburger Symphoniker/Hamburger Symphoniker - Op 145 Overture #12 in D - 01

[Novi]

The new Mackerras cycle is (perhaps unsurprisingly for some) highly praised by BBC Music magazine. The only reservation voiced by reviewer, Michael Tanner, was that there is a marked difference between the sound of the first eight symphonies and the ninth. To quote him: 'No doubt the contrast between the sometimes rasping austerity of the previous symphonies and the glow of the Ninth was intentional, but I could have done with more of the latter in, say, the acrid first movement of the Eroica.'

It was also a different orchestra. The first eight were with the Scottish Chamber Orchestra, the 9th with the Philharmonia. Perhaps the 'austerity' had something to do with ensemble size .

[Mark]

It was also a different orchestra. The first eight were with the Scottish Chamber Orchestra, the 9th with the Philharmonia. Perhaps the 'austerity' had something to do with ensemble size .

I think that's suggested elsewhere in the review.

[George]

Nothing personal, but I have always hated that adjective. "Light" as opposed to what?

Thick, I guess. I was mostly referring to the orchestral texture. 

Beethoven isn't Mahler, after all. Every piece is in place and played as it should be. Since Beethoven wrote for an orchestra of 50-60 players, and they weren't even using modern instruments with their fullness of sound, then "lightness" would have been the order of the day.

I don't disagree with this point, though I must say that I am very happy to be living the 21st century and have so many interpretations at my fingertips. 

[Gurn Blanston]

Thick, I guess. I was mostly referring to the orchestral texture. 

I don't disagree with this point, though I must say that I am very happy to be living the 21st century and have so many interpretations at my fingertips. 

Thought you might be referring to texture. It's a hard reconciliation between thick and transparent...   For me, though, modern interpretations that have the clarity of a large chamber orchestra, with the result that I can actually hear the individual parts are the way to go. If he wrote for "2 flutes", then 4 isn't necessarily better, or necessary at all if all other parts are kept to appropriate sizes.

I agree with the second part of your post, just pointing out the irony that in the 21st century the style you are championing has been largely left behind...


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Now playing: Kalliwoda Orchestral Works - Hamburger Symphoniker - Op 032 Symphony #3 in d 1st mvmt - Adagio molto - Allegro non troppo, con energia

[George]

Thought you might be referring to texture. It's a hard reconciliation between thick and transparent...   For me, though, modern interpretations that have the clarity of a large chamber orchestra, with the result that I can actually hear the individual parts are the way to go. If he wrote for "2 flutes", then 4 isn't necessarily better, or necessary at all if all other parts are kept to appropriate sizes.

In theory, I agree. But after hearing the small sound of the recent Weil recording *ducks punches from Que*, I went running back to Szell. 

[Gurn Blanston]

In theory, I agree. But after hearing the small sound of the recent Weil recording *ducks punches from Que*, I went running back to Szell. 

And that's fine for you. I certainly don't care to convert you. But for me, Weil et al are exactly what I want. As you say, lots of choices. But Big Band Beethoven, despite my liking for exceptionally well-played performances, just can't nudge aside smaller ensembles, period instrument of not.



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Now playing:
Kalliwoda Orchestral Works - Hamburger Symphoniker - Op 032 Symphony #3 in d 4th mvmt - Rondo: Allegro agitato

[BachQ]

Two (2) recordings of LvB's VC released today.

Release no. 1


LvB / Proko Violin Concerti



Release Date: 09/25/2007
Label:  Cembal D'amour   Catalog #: 126   
Composer:  Ludwig van Beethoven,  Sergei Prokofiev
Performer:  Berl Senofsky
Conductor:  Pierre Monteux,  Leopold Stokowski
Orchestra/Ensemble:  Boston Symphony Orchestra,  American Symphony Orchestra

[BachQ]

Release no. 2

Beethoven: Violin Concerto, "kreutzer" Sonata / Repin / Muti / Argerich / VPO

[BachQ]

Released Today:

Beethoven: The Piano Sonatas Vol 5 / András Schiff

[BachQ]

DVD releases today (previously only on CD    ):




PROMETHEUS - MUSICAL VARIATIONS ON A MYTH
A film by Christopher Swann
Ludwig van BEETHOVEN: The Creatures Of Prometheus: Excerpts from the Ballet Music
Franz LISZT: Prometheus - Symphonic Poem
Alexander SCRIABIN: Prométhée - Le Poème Du Feu
Luigi NONO: Hölderlin from Prometeo
Martha Argerich (piano)
Berliner Philharmonic Orchestra, Claudio Abbado

Swann's film based on a 1993 televised concert from Berlin's Philharmonic Hall appears this month on Arthaus. Until now available only as an audio CD on Sony Classical, this concert includes footage of the legendary pianist Martha Argerich performing Scriabin's Prometheus - The Poem of Fire: an indispensable addition to any collection.

The program features music by Beethoven, Liszt, Scriabin and Nono based on the Greek legend of Prometheus: "Ingenious ... A hugely stimulating, thoughtfully planned production." (Gramophone on the CD release). The four works could not be more diverse in style and conception, representing highly different approaches: from Prometheus as bringer of plague and destruction to the punished Prometheus chained to a rock. In this film, Christopher Swann stresses a visual approach to this variety of ideas, using a number of modern film techniques to underscore and illustrate the musical presentation.
Performances by the Berlin Philharmonic Orchestra under Claudio Abbado are first-rate, although it is the presence of Argerich that will make this DVD an obligatory purchase.


"The disc's real tour de force - both sonically and musically - is Scriabin's Promethean effusion, his Poem of Fire. The very opening chord tells all, a tensely held pensive and frightening augury and a fitting prelude to everything that follows. ... Abbado serves as master of ceremonies, Argerich as a crazed high priestess, her delirious, delicate and unpredictable solo weaving through the orchestra like a bubbling stream of consciousness. That is how it should sound - over-wrought, overpowering, utterly unhinged and yet calculated even to the smallest detail." -- Gramophone

[BachQ]

Amoyal & Weissenberg Beethoven Violin Sonata No 7 C Minor Op 30 2nd Mvt

http://www.youtube.com/v/xm-Kc_hdwBs

[BachQ]

Daniel Barenboim plays an excerpt from Beethoven's Appassionata Sonata. Taken from the DVD programme "Barenboim on Beethoven"


http://www.youtube.com/v/gRiy1RJq64o

[uffeviking]

I think I posted this in the wrong topic column, so instead of 'merging' and messing it all up I used the unauthorised method of copy-paste here:

Living dangerously! I hesitated to voice my opinion of just one of the Mikhail Pletnev recordings from his last set of all of Beethoven's symphonies, the 9th, but somebody has to be brave and go against Mr. Hurwitz and courageously step foreward with praise, yes, PRAISE, of this performance.

After reacting hohum to all the 9th I have heard, there is one actually expressing the Freude the sparks from the gods, bright glowing sparks, sparks strong enough to light fires. Pletnev brushed away all the cobwebs that had dulled and darkened this joyous composition by uncounted conductors, from the greatest to the dullest. This Pletnev interpretation - and his interpretation it is, his conviction of how the 9th should be played and heard - will not please the conservative old guard of Beethoven apostles, but it just might bring new, young and open-minded listeners into the ranks of classical music fans.

The soloists are impeccable! Matthias Goerne, the star of Henze's L'Upupa, Angela Denoke, the star of Korngold's Die Tote Stadt, and Endrik Wottrich, the star of numerous Wagner operas, and last but not least Marianna Tarasova, who I heard here for the first time, together with the Moscow State Chamber Choir, provide the most exhilerating finish to this 9th.

Quoting part of the remarks on the back of the box: "His interpretations seek to generate a new image of Beethoven as our contemporary, bringing his works into the here and now, continuing with Pletnev's words: "with every phrase, scream, and moment of joy lived through as intensely as in our real lives. The music must have an immediate emotional effect."

It does! Spasiba, Maestro Pletnev!

[BachQ]

Thanks for the excellent review ....... of a very controversial performance.  I am now very interested in listening to Pletnev's take on LvB 9 .......