Beethoven's Symphonies.

[Lilas Pastia]

There is probably something extra-musical in this, but it's difficult to figure it out.

Regarding Böhm's tempi, they are very seldom slow (his DG Mozart Requiem and that 1981 LvB 9th can properly be characterized as "slow"). Speed is not the defining characteristic. "Imposing", "stately", "affectionate" (now, THAT's an overused adjective if ever there was one!), granitic could be used to characterize *some* of them. Also, remember that the piano concertos 3-5 were recorded a few years after the symphonies, in tempi that were quite alive - almost electric in the case of the c minor. And his end-of-life performances of the Bruckner 8th were also electrically charged in very volatile tempi.

So, clearly it's not a question of age, unless one understands age as a period which brings a different perspective on life. At the same time his unique feel for balances always took care to dispel any hint of turgidity: always crystal clear and transparent, yet full and vibrant. Muti could be fast and turgid. Karajan could be fast and aloof. Abbado could be fast and slightly unsympathetic.

In a symphonic or operatic context, Böhm always made sure a strong sense of forward momentum was at the forefront - like Klemperer, although K was more erratic in that regard. The "other" context I'm referring to is that of tone poems, like those or Richard Strauss. In these he displays a sense of "the moment" that is unrivalled. I've always regarded the late 70s WP Ein Heldenleben as one of the most perfect examples of music making ever recorded. And yet, the Penguin Guide has always dismissed it, although in polite terms.

All told, my affinities veer between two totally different aesthetics: Scherchen and Böhm. Szell and Schmidt-Isserstedt could be substituted to these two, but IMO the result is less compelling.

[adamdavid80]

Please read the posts you reply to before replying. 

I blame society...   

[jochanaan]

I'm not familiar with Böhm's Beethoven symphonies (I once heard the Fourth, and I remember it as slow but flawless), but I've got his Missa Solemnis with Margaret Price, Christa Ludwig, Wiesław Ochman, Martti Talvela, the Konzertvereinigung Wiener Staatsopernchor, and the Vienna Phil--an amazing recording!  Not "heaven-storming" but deeply centered and moving.  I have to say too that the soloists here sing as well as any group of soloists I've ever heard; despite their widely-varying vocal timbres, they come together in flawless unity of style.  I can only imagine that Böhm's symphonies would be equally centered and moving.