Bohm Vienna

He did not thrust himself into the limelight but put himself, with economical, clear gestures, entirely at the service of the music: amongst the conductors of his time, Karl Böhm epitomized the anti-star. In the summer of 1964 he delighted the Lucerne audience with a compellingly flowing and cantabile reading of Bruckner’s Seventh – of course at the helm of “his” Vienna Philharmonic, with whom he was also to perform a buoyant Hindemith concerto six years later.

Beethoven - Symphonies Nos. 3 & 9, Overtures (1992) {Karl Böhm, VPO} {2CD Deutsche Grammophon 437 368-2 rec 1972}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 687 Mb | MP3 @320 -> 345 Mb
Full Artwork @ 300 dpi (png) -> 29 Mb | 5% repair rar
© 1972, 1992 Polydor / Deutsche Grammophon | 437 368-2
Classical / Symphonies

This is one of the greatest recordings of the famous Ninth Symphony. It has long been overshadowed by Karajan's three recordings for the same label, as well as Bernstein's version with the same orchestra. But put them all on your CD player and compare, and this is the one you'll be coming back to. Böhm was the least glamorous of conductors, but he approaches the Ninth with messianic zeal and a fanatical gleam in his eye. The opening movement is a cataclysm, the sublime slow movement never loses its contemplative flow, and everyone involved simply sings and plays the pants off of the finale. If the final minute or two doesn't pull you right out of your seat, nothing will. Grab it while you can at this "twofer" price. It's a steal. –David Hurwitz

Beethoven - Symphonies Nos. 1, 2, 4 & 5 (1993) {Karl Böhm, VPO} {2CD Deutsche Grammophon 439 681-2 rec 1972}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 628 Mb | MP3 @320 -> 317 Mb
Full Artwork @ 300 dpi (png) -> 29 Mb | 5% repair rar
© 1972, 1993 Polydor, Deutsche Grammophon | 439 681-2
Classical / Symphonies

Karl Böhm's Vienna Philharmonic Beethoven cycle is Deutsche Grammophon's best kept secret. Not only is it the finest complete set of Beethoven symphonies in their catalog, it's also far and away the best recorded, and to make matters even more irresistible, it's also the least expensive (it's available on three "twofer" sets). These performances are typical: weighty, intense, powerful, and magnificently played. Listen especially to the (comparatively) neglected Fourth Symphony: if Böhm doesn't convince you that this is major Beethoven, then no one can.

Bohm conducts Bruckner's 1889 revised score which represents the composer's final thoughts on his Third Symphony. As Bruckner matured - artistically speaking - his thoughts turned towards a more Beethovenian "Classical" view of symphonic music, in the Brahms mould, and the references to Wagner's - the Third's dedicatee - music were excised, all but one, from the score of the Third Symphony. This purity of symphonic form allowed Bruckner to present his musical thoughts in such a way that the music's inner logic conveyed a more well-structured architecture, allowing Bruckner's - and not Wagner's - voice to ring-out, loud and clear.

Recorded - Grosser Saal, Musikverein, Vienna 27th May 1953. During the 1950's, Karl Böhm made a handful of orchestral recordings for Decca with the Wiener Philharmoniker of, music by, among others, Mozart, Beethoven, Brahms and Weber. Reappearing here, for the first time on CD, internationally, are his swift recordings of Beethoven's Eighth and of two Schubert symphonies (Nos. 5 and 8). Never imposing his will too strongly on his Viennese orchestra - and they had these classics in their blood - he directs performances that are fresh and gives full rein to the Vienna Philharmonic's wonderful tonal resources. Add the acoustic of the Grosser Saal at the Musikverein, familiar as daily bread to all the participants, and you have the best kind of tradition.

This DVD of Ariadne is a 1978 film based on Filippo Sanjust’s Vienna State Opera production. The bustling Prologue is set in the backstage area of the mogul’s palace and the 18th century costumes fit neatly. In the opera proper, the stage is transformed into a very stagey desert island with an improbable set of stairs leading to the heroine’s cave, the action spilling over into the theatre’s side boxes at times. While there’s nothing particularly imaginative about the production, it never distracts from the main event–the music. Strauss was profligate in his melodic gifts, his ability to make a reduced orchestra sound big, and his wonderful obsession with the female voice, which yields many glorious moments in the opera. Lavish casting helps.