Beethoven Symphony 2

A fantasy that turned into a symphony? First and foremost, this double album enshrines the exemplary work of an ensemble whose designation 'Baroque Orchestra' by no means limits it's excursions into later repertories: under the watchful eye of a gifted conductor, the 'Freiburgers' (and co.) offer us a profoundly renewed vision of the Ninth, that myth among myths, that touchstone of a genre in quest of the absolute - and the direct descendant of a much earlier 'Choral Fantasy'. The latter work showcased one of Beethoven's most extraordinary talents: improvisation. Kristian Bezuidenhout has joined forces again with his concerto partners to let us experience this little-known score as if it had just been premiered… then transcribed by Beethoven himself!

The Ninth makes for a strong conclusion to the set, but it perhaps lacks the grandeur of more traditional performances. It's powerful, meticulously prepared, and deeply committed, but it doesn't belong in the mighty Klemperer-Karajan dynasty. That will be a plus point to some, and a minus point to others. The young-sounding soloists are excellent as a quartet, especially the soprano, but aren't ideal in their solo numbers: the tenor sounds breathless and lightweight at Zinman's pace, and the bass is hardly commanding enough at his entry to be credible as a silencer of the orchestra's din. The chorus is excellent.

After the critical success of the first volume of Beethoven's symphonies, Jordi Savall offers us Symphonies Six to Nine. This latest publication crowns a nearly two-year world tour and confirms the extent to which the Savall renews our vision of these most famous works. The Concert des Nations shows that it also knows how to magnify the repertoire of the early 19th century.

45 years after his debut Philips recording of Beethoven’s 9th, Seiji Ozawa returns to this epic masterpiece. The Mito Chamber Orchestra features many international star players including Radek Baborák (horn), Ricardo Morales (clarinet) and Philippe Tondre (oboe). The German baritone Markus Eiche leads a quartet of leading Japanese soloists and the Tokyo Opera Singers in a fascinating performance on a chamber orchestra scale.

Judged on the musicality and style of the performance, Kurt Masur's live 1981 reading of Ludwig van Beethoven's Symphony No. 9 is comparable with many mainstream interpretations of its time, and may be regarded as a reasonable choice among the affordable CDs put out by Berlin Classics. Masur and the Leipzig Gewandhaus Orchestra are certainly at home in this symphony, and the interpretation and the execution are well-matched. For historical value, this recording is significant for marking the opening of the new Gewandhaus hall, which Masur was instrumental in planning since he began his tenure in 1970.

These recordings were made between 1937 and 1942, and they represent the sum of Mengelberg's commercially released Beethoven for the Telefunken label.

With his very own “mysterious seductive power and legendary elegance” (Le Monde), Claudio Abbado opened for the last time the LUCERNE FESTIVAL in the summer of 2013. Only a few months later, the world had to bid farewell to a monumental artist, humanist, great conductor and orchestra founder. Even in the concert itself, documented here, lived a moment of farewell, as the three great works performed tell of the transience of life. The centerpiece of the Eroica is the funeral march revealing “abysses of shattering dimension” - an “intense experience” (Neue Zürcher Zeitung). This record, the last audio-visual documentation of his work, captures once again the extraordinary atmosphere of “vibrant emotionality” that always emerged when Abbado created music with his “orchestra of friends”.

Seventy years ago, on the 29th July 1951, Wilhelm Furtwängler conducted Beethoven’s Symphony No. 9 at a concert marking the reopening of the Bayreuth Festival after seven years of silence following the Second World War. It was a momentous occasion, and the concert was broadcast by Bavarian Radio and trans¬mitted across the world, for instance by Swedish Radio. Using the analogue mono tape as digitized by Swedish Radio, the present disc reproduces the broadcast as it would have been heard by listeners in Sweden: we have chosen to not change anything, not to ‘brush up’ the sound, not to clean and shorten the pauses or omit audience noises within the music, but to keep the original as it was. In this way we hope to recreate the feeling of actually sitting in front of an old radio in 1951, listening to this important concert – a true historical document.

This disc offers something quite hard to get these days - Beethoven and Schubert played for their own sake under a conductor who can and does wield from the rostrum every bit of the immense authority of the best years of his cello-playing when even the intervals between the notes seemed to have been imaginatively recreated, and the phrasing presented with nothing less than perfect sensitivity and dignity, and without any desire to make points or impress by virtuoso polish. Of course his approach is of his time. But the Marlboro audience was very lucky, and so is anyone who now listens to this with an open mind. This is a great musician conducting folk who in the act of performance he treats as equals.

This new release from MDG presents Beethoven's 2nd and 5th symphonies in Hummel's transcriptions for chamber ensemble, performed here by ensemble1800berlin. Accurately historically informed and on instruments of Beethoven's time, the ensemble1800berlin presents these extraordinary treasures with unmistakable joy in making music, but also with respect for the incomparable original and the ingenious arrangement. A fascinating testimony to the times - through Hummel's chamber music glasses a completely new, exciting view of Beethoven and his time!