Symphonies Berlin Philharmonic

Mariss Jansons' EMI Shostakovich symphony cycle took nearly two decades to complete, yet it was mere weeks after the release of the final installment (Symphonies 3 & 14) that this new boxed set appeared, providing an opportunity for collectors to get all 15 symphonies at a bargain price. But don't let the packaging's diminutive dimensions fool you: there's nothing small-scaled about the music making.

In February 2001 Abbado and the BPO were guests at the Accademia Nazionale di Santa Cecilia in Rome to perform the Beethoven symphonies. For these, Abbado chose to use a new edition by Jonathan del Mar, which consists of existing manuscripts, and "corrections by Beethoven," which gave the conductor the opportunty to "throw new light on his reading, which takes a consistent and lucid approach to articulation, phrasing and dynamics." The conductor elected to use fewer strings, reducing the bass group in symphonies 1, 2, 4 and 8 to only three double basses and four cellos. He also uses only two horns in symphony 5, three in symphony 3. The result is an uncommonly transparent listening experience. And the performances are spirited to say the least, no dawdling here whatever. There always is a forward impetus to these dynamic performances which are magnificently executed by the orchestra.

EuroArts has released a special edition of all nine Beethoven Symphonies played by the Berlin Philharmonic under former chief conductor Claudio Abbado. Each of the symphonies is a masterpiece in itself - they are all quite different, each representing the composer's musical idiom at a particular stage in his development. This DVD includes symphonies Nos. 2 and 5 and offers a 'Conductor Camera' in the famous Fifth Symphony showing the maestro from the perspective of the musician. The recordings feature interpretations that are the fruit of decades of Claudio Abbado's involvement with Beethoven.

Bohm: The Mozart Symphonies - BOXSET 3 DVD - Symphonies Nos. 36, 1, 25, 31 & 38 - DVD 2/3 [DVD9]
Classical | DVD | with complete scans (covers and booklet) | 7,37 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.

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.

Some critics claim that Karajan's 1965 recording of Sibelius' Symphony No. 5 with the Berlin Philharmonic is the greatest performance of that symphony ever recorded. Some claim that his 1967 recording of the Sixth is the greatest performance of that symphony ever recorded. And a few critics even assert that his 1965 Fourth is, if not the greatest ever recorded, at least the most beautiful ever recorded. Beautiful? Yes, certainly; all of Karajan's mid-'60s recordings of Sibelius, like all of his mid-'60s recordings of everything, were opulently, sumptuously, voluptuously beautiful.

Shostakovich is not a composer the Berlin Philharmonic has regularly recorded, so this new album of Symphonies Nos 8, 9 and 10 is warmly welcome. Taped with a limited audience during the Covid pandemic, the Philharmonic’s chief conductor Kirill Petrenko combines a riveting precision with expressive intensity in his interpretation of the expansive Eighth Symphony. The succinct Ninth has plenty of crisply sardonic woodwind commentary, as in the brilliantly played third movement while the Tenth packs a formidably powerful punch, especially in a highly charged account of the second movement “Allegro.” In truth, it’s doubtful if there are better played performances of any of these symphonies on record, and Petrenko’s consistently cogent view of the music compels attention.