Bruckner, 卡尔·伯姆 Karl Böhm(boehm Bohm)

Karl Bohm was one of the most significant conductors of the 20th century; Three decades after his death, his clear-cut conducting style, that was characterized by deep gravity is enjoying a well-deserved revival. The present set makes available for the first time his complete later recordings of orchestral music on Deutsche Grammophon, including Mozarts last symphonies, Wagners orchestral music and the ninth symphonies of Beethoven, Schubert and Dvorak.

Mozart's greatest symphonies in classic performances by Karl Böhm and the Wiener Philharmoniker.
Böhm’s Mozart as experienced in these precious films is marked by youthful vigour and directness, as well as a lack of pathos and sentimentality. Every reading glows with profound love and understanding.
“Thanks to Bruno Walter’s exemplary performances, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” – Karl Böhm

Bohm: The Mozart Symphonies - BOXSET 3 DVD - Symphonies Nos. 33, 39 & 28 - DVD 3/3 [DVD9]
Classical | DVD | with complete scans (covers and booklet) | 7,00 Gb (DVD9) | DVD´s FULL No compression
Audio: PCM Stereo - DTS 5.1 | Relesase: September 12, 2006 | Publisher: Deutsche Grammophon

Almost any recording of a Mozart symphony by Austrian conductor Karl Bohm (1894-1981) is a sure thing: excellent sound, and sensible, solid, non-sentimental interpretation.
The films in this DVD were made in the 1970s: both picture and sound are excellent. Bohm is an easy conductor to watch, and his conducting style does not distract or call attention to him over the musicians or the music. Indeed, Bohm SERVES Mozart, and watching him conduct the great Vienna Philharmonic is a joy from beginning to end.

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.

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

This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.

When we turn to live recordings, we enter another world, one in which the performances have, on the whole, a greater consistency of thought and execution. That applies in spades to the famous Bayreuth set of 1966. Karl Böhm's swift, incandescent, very theatrical interpretation isn't to everyone's liking. Yet, for all the fast speeds, the charge of superficiality is misplaced. Böhm's direct, cogently thought through reading, in which tempo relationships, inner figures (as one might expect from a Mozart and Strauss specialist), and instrumental detail are all carefully exposed and related to each other, offers rich rewards. Expressive intensity is here married ideally to a transparency of texture.

“The immediacy of expression, the dramatic tension and the vitality achieved not only by the singers but also by the full-throated chorus, the wonderful orchestra and, last but not least, Karl Böhm himself all set standards by which other performances must be judged and found wanting.” So sayeth the liner notes to this first official release of the original broadcast tapes of the Fidelio that reopened the Vienna State Opera in 1955.

This production created for the opening of the Salzburg Festival in 1966, which remained on the programme for five years, was Karl Böhm's last Salzburg Figaro. After multiple tries to stage Figaro at the Salzburg Festival in the 1950's and 60's, the successful team Karl Böhm/Günther Rennert mounted this production with new décor, costumes by Rudolf Heinrich and with a practically new, young cast of singers. It was not only the celebrated highlight of the festival summer 1966 but also became a "standard for Mozart" " that at least was the headline the German critic and future director of the Stuttgart Opera, Wolfram Schwinger, gave his report in the "Stuttgarter Zeitung" of 27 July 1966.