Beethoven Symphonies Cycle: Which is your #1 pick?

[Peter Power Pop]

Any love for Cluytens/Berlin?

Yep:

https://www.good-music-guide.com/community/index.php/topic,21417.msg832031.html#msg832031

and

https://www.good-music-guide.com/community/index.php/topic,21417.msg831988.html#msg831988

[Holden]

Any love for Cluytens/Berlin?

Yes, my seminal set most of which still holds up well today. The Pastoral is the pick of them

[staxomega]

Any love for Cluytens/Berlin?

It's outstanding.

[Jo498]

It's been a while I heard it but I dissent wrt Cluytens/Berlin. It's good but I would not particularly recommend it or go out of my way to acquire it and I never quite understood why this was regarded more than decent solid recordings in decent early stereo. To me it sits in the not overly attractive middle between the flexible "subjectivist" school of Furtwängler, Mengelberg, Abendroth etc. and the fast and straightforward recordings of Karajan or Leibowitz a few years later.

[Brian]

When I was listening to Cluytens' and Monteux' cycles back to back to compare them, and Monteux was winning my affection every single time, Andre posted this helpful and descriptive comment on Cluytens:

Cluytens is quite unlike Leibowitz or Karajan IMO. His Beethoven is more stately, more avuncular. He succeeds best in nos 1, 2, 4, 6 and 9. In the others it hangs fire. For his type of approach I prefer Maag, Morris, Schmidt-Isserstedt and Böhm. Even with comparably slow tempi they are more alert, with more tensile strength. Cluytens' relaxed way is suitable for listening on rainy days

This week I listened to Gardiner's 3/4/7 and the new Manacorda 2. Quite liked them all and was pleasantly surprised to reacquaint with Gardiner - although usually (but not always) fast in tempo, he is not otherwise eccentric or distinctive as a conductor, letting the sonorities of the orchestra make the best impression. The bassoon solo in the finale of 4 is notably well played and articulated - truly impressive - while at the other end of the scale, the French horns do not dominate the finale of 7 in the way that Sarge and I like.

Manacorda's 2 falls into the "period style, modern instruments, chamber orchestra" style created by Dausgaard and P. Jarvi, and is a fun example. The initial release is 1/2/7, with the Seventh on a CD by itself. Not sure why they didn't put a coupling.

[Todd]

I selected Chailly and Toscanini '39 back in 2013.  I will stick with those, and add Thomas Adès for small band Beethoven.

[vers la flamme]

I'm listening through Gardiner/ORR this past week or so. Somehow I got it for like eight bucks a few months ago but have not spent all that much time with it yet. I'm reading along with the scores, too. It's been a great experience. I only think his horns seem too quiet, but maybe that's just me.

[Lisztianwagner]

My favourite is the Karajan/BP '63 Cycle, beyond doubt. I find it such an outstanding set, very powerful and passionate, but at the same time beautiful and elegant; rhythms, changes of dynamics and orchestral colour are great as well sound intensity. The 9th Symphony recording was especially an overwhelming experience.

[Brian]

I only think his horns seem too quiet, but maybe that's just me.

Nah, not just you, I agreed just a few posts up, too.  Definitely are many virtues to make up for it.

[vers la flamme]

Nah, not just you, I agreed just a few posts up, too.  Definitely are many virtues to make up for it.

Good to know—and I agree! I've been massively enjoying it this past week; it's always great to rediscover Beethoven through great performances.

[Symphonic Addict]

My favourite is the Karajan/BP '63 Cycle, beyond doubt. I find it such an outstanding set, very powerful and passionate, but at the same time beautiful and elegant; rhythms, changes of dynamics and orchestral colour are great as well sound intensity. The 9th Symphony recording was especially an overwhelming experience.

This could be my favorite cycle overall as well. From that set I find the 3rd and 7th particularly great.

[Jo498]

I find the Karajan 1962-63 a bit "slick". Although this "Pastoral" was the recording I got to know the music with, I liked the joke that it was more like driving a Porsche through the landscape instead of going there on foot...
The outstanding one for me is the 9th, partly because of the very good solo singers; Kmentt must be one of the few not sounding strained in the awkward and difficult tenor solo, Janowitz is also ideal with her "instrumental" singing and they are also decently balanced in the ensemble sections. In the 1st and 3rd movement I also prefer tempi around Karajan's to the often a bit faster (like HIP, Toscanini etc.) or slower (like Furtwängler).

[Anooj]

As someone who has a couple of traditional "big band" cycles, what would be the most recommendable cycle that's historically informed (I can go either way on period vs. modern instruments, more interested in the smaller orchestras and quicker tempos), and has really good interpretations of especially symphonies 1, 2, and 4? I sense those three would benefit the most from reduced orchestra sizes.

[ChamberNut]

As someone who has a couple of traditional "big band" cycles, what would be the most recommendable cycle that's historically informed (I can go either way on period vs. modern instruments, more interested in the smaller orchestras and quicker tempos), and has really good interpretations of especially symphonies 1, 2, and 4? I sense those three would benefit the most from reduced orchestra sizes.

My recommendation would be Harnoncourt with the Chamber Orchestra of Europe. Historically informed on modern instruments.

[Leo K.]

I am getting acquainted with Szell's Beethoven from the big box. Highly enjoyed and 5th and 9th and see what the fuss was about all these years. I have also been going through Klemperer's Warner Orchestral box, listening to his Beethoven and for some reason I have a difficult time with his Beethoven.  It seems slow and dragging. Yes, the details are wonderful and grand sound, the power, but I am not getting it yet. I wish I could get a handle on Klemperer's Beethoven and Mozart. I love his Mahler and Bach. Maybe this is because for many years I focused on HIP style Beethoven?

[Spotted Horses]

My recommendation would be Harnoncourt with the Chamber Orchestra of Europe. Historically informed on modern instruments.

I also love Immersaal (did I spell that right?).

[Karl Henning]

My recommendation would be Harnoncourt with the Chamber Orchestra of Europe. Historically informed on modern instruments.

Nice set!

[Karl Henning]

I am getting acquainted with Szell's Beethoven from the big box. Highly enjoyed and 5th and 9th and see what the fuss was about all these years.

Szell did great work in Cleveland.

I also love Immersaal (did I spell that right?).

Jos van Immerseel And yes, a very tasty set.

[Daverz]

As someone who has a couple of traditional "big band" cycles, what would be the most recommendable cycle that's historically informed (I can go either way on period vs. modern instruments, more interested in the smaller orchestras and quicker tempos), and has really good interpretations of especially symphonies 1, 2, and 4? I sense those three would benefit the most from reduced orchestra sizes.

Mackerras with the Scottish Chamber Orchestra.

[prémont]

As someone who has a couple of traditional "big band" cycles, what would be the most recommendable cycle that's historically informed (I can go either way on period vs. modern instruments, more interested in the smaller orchestras and quicker tempos), and has really good interpretations of especially symphonies 1, 2, and 4? I sense those three would benefit the most from reduced orchestra sizes.

I don't think Szell fits that description, whereas Harnoncourt and Immerseel are good choices. I would also mention Frans Brüggen's first traversal (the studio set, not the later live set). The Mackerras set mentioned just above is also very good except for a somewhat heavy rendering of the Choral symphony.