Beethoven's 7th Symphony

[Bogey]

It was transferred by one of, if not THE best in the business, Mark Obert Thorn, so no need to hesitate there.

Thanks George.  I almost switched on the Alert Signal.  Phew,.......that was a close one.

[George]

Thanks George.  I almost switched on the Alert Signal.  Phew,.......that was a close one.

LOL!!!

[Bogey]

Kletzki...again...

A partial review Don:

As Paul Kletzki's 1960s Beethoven cycle reaches its end, we are reminded of a time when recording projects such as this were rare and special occasions, when musicians and the public alike approached Beethoven symphonies with a near reverence that seems a little old-fashioned in our post-millenium era. Perhaps it is, but there is a special exalted sense in these recordings that is rarely found today.  Foremost, it is clear that Kletzki has an unwavering love for these scores, evident in his continued effort to have us hear everything in them. There's a lot more going on in this music than is usually revealed. The string runs after each statement of the main theme in Symphony No. 7's finale are just one example.

Wow, awesome list folks.  Thanks for the effort.

[cx]

I also really enjoy the Kleiber account.

This set is under $30 at Amazon, and the seventh is great (as are the rest):



--CS

[George]

If you really need another, Toscanini 1936 or 37 with the NY Phil is a classic.

Any thoughts on how this one differs from his '51 performance with the NBC Orchestra? 

[Bonehelm]

Karajan 60's is the best 7th I've heard. The 1966 one, I mean.

[Bogey]

Karajan 60's is the best 7th I've heard. The 1966 one, I mean.

66?  Can you post a pic of this?  Thanks.

[Bonehelm]

66?  Can you post a pic of this?  Thanks.

I doubt it's commercially available. YouTube it, just type ''Karajan Beethoven" and you will find it under his 5th and 9th. It's weird how the orchestra sits on stairs above the podium (ground level), though. Must be some magic tricks of the conductor.

[Bogey]

I doubt it's commercially available. YouTube it, just type ''Karajan Beethoven" and you will find it under his 5th and 9th. It's weird how the orchestra sits on stairs above the podium (ground level), though. Must be some magic tricks of the conductor.

I have never heard of a '66, so that is why I asked.  Do you have it on cd?

[Bonehelm]

I have never heard of a '66, so that is why I asked.  Do you have it on cd?

No, as I said it's not commercially available, or at least known by the public. Just listen to it on YouTube, even though the quality is inferior, the Karajan magic still shines in every second in that recording. Just listen to the open chords...wow...

[Renfield]

Any thoughts on how this one differs from his '51 performance with the NBC Orchestra? 

Well, after having listened to the above New York 7th, I've become a bit of a Toscanini-Beethoven-obsessive... Especially concerning 7ths!

So with that having been said, I find the '51 7th good, but of a rather different "breed" than the '36 one. Most poignantly, the Allegretto in this performance is an Allegretto, exactly as you'd expect; while in the '36 recording, it's a mystical experience of a second movement! Or (more objectively), I'd say the '51 7th is more "matter-of-fact", but with more "bite" than the '36.

That, however, does not stop it from obliterating outright most notable competition in my head, apart from the very best among the non-Toscanini 7ths. And of course, there's also the 1939 account, which is a whole different can of worms: suffice to say, I find it a slightly bizarre recording, but I've acquired it only very recently, so perhaps in time, it will reveal its secrets...


Bogey, the 7th Bonehelm is referring to is likely the video recording issued recently in a DVD box set; or at least that's where the "stairs above the podium" comment immediately took me, even though I didn't check in YouTube to confirm. Incidentally, both Karajan's 60's and 80's recorded 7ths are worth a listen, in my opinion.

[Bonehelm]

Well, after having listened to the above New York 7th, I've become a bit of a Toscanini-Beethoven-obsessive... Especially concerning 7ths!

So with that having been said, I find the '51 7th good, but of a rather different "breed" than the '36 one. Most poignantly, the Allegretto in this performance is an Allegretto, exactly as you'd expect; while in the '36 recording, it's a mystical experience of a second movement! Or (more objectively), I'd say the '51 7th is more "matter-of-fact", but with more "bite" than the '36.

That, however, does not stop it from obliterating outright most notable competition in my head, apart from the very best among the non-Toscanini 7ths. And of course, there's also the 1939 account, which is a whole different can of worms: suffice to say, I find it a slightly bizarre recording, but I've acquired it only very recently, so perhaps in time, it will reveal its secrets...


Bogey, the 7th Bonehelm is referring to is likely the video recording issued recently in a DVD box set; or at least that's where the "stairs above the podium" comment immediately took me, even though I didn't check in YouTube to confirm. Incidentally, both Karajan's 60's and 80's recorded 7ths are worth a listen, in my opinion.

Ah, I see. Thanks for clearing things up, Ren. So it IS commercially available.  Guess it's time to save up money again.

[Dancing Divertimentian]

A partial review Don:

As Paul Kletzki's 1960s Beethoven cycle reaches its end, we are reminded of a time when recording projects such as this were rare and special occasions, when musicians and the public alike approached Beethoven symphonies with a near reverence that seems a little old-fashioned in our post-millenium era. Perhaps it is, but there is a special exalted sense in these recordings that is rarely found today.  Foremost, it is clear that Kletzki has an unwavering love for these scores, evident in his continued effort to have us hear everything in them. There's a lot more going on in this music than is usually revealed. The string runs after each statement of the main theme in Symphony No. 7's finale are just one example.

Wow, awesome list folks.  Thanks for the effort.

Bill...

I'm getting chills!!! I'm listening to Kletzki's 7th right now and independent of outside influences I had been reveling in what the reviewer describes as "exalted" and "a lot more going on in this music than is usually revealed."

Amidst all this I had been taken aback by the extreme dynamics and detail of the music and was left gaping at the marvels it portrayed and then your words popped up - and as I read them I felt a chill!!

They really hit home!!!

[Bogey]

Well, after having listened to the above New York 7th, I've become a bit of a Toscanini-Beethoven-obsessive... Especially concerning 7ths!

So with that having been said, I find the '51 7th good, but of a rather different "breed" than the '36 one. Most poignantly, the Allegretto in this performance is an Allegretto, exactly as you'd expect; while in the '36 recording, it's a mystical experience of a second movement! Or (more objectively), I'd say the '51 7th is more "matter-of-fact", but with more "bite" than the '36.

So what transfer of the '36 do you have?

[George]

So with that having been said, I find the '51 7th good, but of a rather different "breed" than the '36 one. Most poignantly, the Allegretto in this performance is an Allegretto, exactly as you'd expect; while in the '36 recording, it's a mystical experience of a second movement! Or (more objectively), I'd say the '51 7th is more "matter-of-fact", but with more "bite" than the '36.

That, however, does not stop it from obliterating outright most notable competition in my head, apart from the very best among the non-Toscanini 7ths. And of course, there's also the 1939 account, which is a whole different can of worms: suffice to say, I find it a slightly bizarre recording, but I've acquired it only very recently, so perhaps in time, it will reveal its secrets...

Thanks for your impressions.

So I guess the question I should have asked is "if I have the '51 7th and the 5th from the same set, is the '36 7th and the 5th on the Naxos CD substantially better (or at least different) in your opinion?"

[uffeviking]

You mean, by contrast, with Kleiber it did not get interesting?

No, No, Paul, you misunderstood or I was not clear enough. The beginning of the Pletnev version is practically the same as Kleiber's, only after the 1st movement Pletnev goes off lightly on his own and by the time the last movement has arrived, it's all Pletnev. Better? 

[Dancing Divertimentian]

Bill,

Here are a couple more reviews of Kletzki's Beethoven.

Right on the money, I'd say!

[Dancing Divertimentian]

Some audio samples might help.

[George]

Bill,

Here are a couple more reviews of Kletzki's Beethoven.

Right on the money, I'd say!

Speaking of money, wow, what a bargain price! 

[Bogey]

Some audio samples might help.

Sounds like one is there....and these are just samples coming through my cruddy computer speakers.  Very nice.