Ludwig Van Beethoven Münchner Philharmoniker The Nine Symphonies

ECM New Series is better known for its documentation of contemporary works, but the music of the past sometimes receives coverage when artists bring a new perspective to it. The Diabelli Variations, Op. 120; the Sonata No. 32 in C minor, Op. 111; and the Six Bagatelles, Op. 126, are among the most original and intellectually stimulating works Ludwig van Beethoven composed for the piano, and the sophisticated interpretations of András Schiff are especially worthwhile for their insights into authentic performance practice and reception. Here, Schiff gives the listener options between a relatively modern sounding version of the Diabelli Variations and a period interpretation, without favoring one or the other. On the first CD he plays the Sonata and the Diabelli Variations on a Bechstein piano from 1921, though with minimal pedaling and a restrained execution that allows every inner voice and subtle dynamic to be appreciated. While this piano is not as hard or bright sounding as a modern Steinway, it is familiar to modern ears and most listeners will readily accept it. On the second CD, Schiff plays the Diabelli Variations, along with the Six Bagatelles, on a smaller sounding Franz Brodmann fortepiano, an original instrument from around 1820, Beethoven's time period.

This remarkable program brings together three late works by Ludwig van Beethoven in which the Fugue plays an essential and pivotal part. Beethoven, renowned as a revolutionary, approached the fugue with both reverence and innovation. Especially in his later works he used the form to bridge the classical and romantic eras, transcending traditional boundaries, and infusing the fugue structure with dramatic intensity and emotional depth.

This remarkable program brings together three late works by Ludwig van Beethoven in which the Fugue plays an essential and pivotal part. Beethoven, renowned as a revolutionary, approached the fugue with both reverence and innovation. Especially in his later works he used the form to bridge the classical and romantic eras, transcending traditional boundaries, and infusing the fugue structure with dramatic intensity and emotional depth.

Lorenzo Gatto's 2014 release on Outhere signals his return to classical performance, following popular successes with his crossover violin group, Trilogy. Yet because Gatto has been firmly grounded in classical music since childhood, recording Beethoven's Violin Concerto and the two Romances is a homecoming only in a technical sense, since he plays with the ease and mastery of one who has spent years living with these works. Accompanied by Benjamin Levy and the Orchestre de Chamber Pelléas, Gatto delivers an expansive and spirited reading of the Violin Concerto, giving the music natural elegance in his clean phrasing and pure tone, and high energy in his virtuosic displays. The Romances are long-breathed and lyrical, and with the orchestra's stirring performance of the Overture to the Creatures of Prometheus, this is a well-balanced program that shows Gatto's and Levy's excellent taste and superb musicianship.

A tremendous sense of energy and fulfillment. Karajan and the Berlin Philharmonic gave a series of concerts of Beethoven's symphonies from April 12 to 16, 1966. Each day's programming was carefully planned by Karajan himself for maximum effect. The overture "Coriolan" at the beginning and "Leonore No. 3" before the final Ninth indicate that everything is leading up to the main Ninth. I was very interested in the full text of Mr. Nao Shibata's commentary in the booklet, in which he analyzed Karajan's intention. Except for the overture "Coriolan," this is the first time it has appeared.

Ludwig van Beethoven - The Nine Symphonies - Pierre Monteux (2015) {6CD Set Decca 4808895 rec 1957-1962}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.25 Gb | MP3 @320 -> 1.03 Gb
Full Artwork @ 300 dpi (png) -> 62 Mb | 5% repair rar
© 1957-62, 2015 Eloquence / Decca / Universal | 480 8895
Classical / Symphony

Monteux’s Beethoven has been described as visionary. Respect for the spirit of the score, directness of expression, exceptionally well-drilled playing and a sense of untainted idealism that lay at the very heart of the composer’s vision – these are the qualities that typify Monteux’s interpretation of Beethoven. Eight of the symphonies were recorded for Decca; the Ninth for Westminster; and the third (Eroica) again, for Philips. Together with the rehearsal for the Ninth and an impromptu in-studio performance of ‘La Marseillaise’, they form the most complete collection of Monteux’s Beethoven recordings. Other conductors may have offered a more personalised take on the music but none made it more universal or more human. The fascinating accompanying notes to the set are by Rob Cowan and the recordings have been remastered for this release.

Karajan and the Berlin Philharmonic release live recordings of Beethoven's complete symphonies and his concerto with Alexis Weissenberg, which he recorded in Japan from November 13 to 18, 1977, in a limited edition box of 6 CDs.
The latest 192kHz 24bit remastering without artificial equalization delivers powerful and clear sound. It is a treasure-like record that allows you to enjoy Karajan's true magic and the Berlin Philharmonic's skills, which are difficult to detect in studio recordings.