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Herbert Von Karajan Vol 3 - Beethoven: Symphonies No 3 & 9
BEETHOVEN Symphonies: No. 3;1 No. 92 âą Herbert von Karajan, cond; Elisabeth GrĂŒmmer (sop); Marga Höffgen (alt); Ernst Haefliger (ten); Gottlob Frick (bs); St. Hedwigâs Cathedral Ch; Berlin PO âą AUDITE 23 414, mono (2 CDs: 123:56) Live: Berlin 9/8/1953;1 4/25/19572
"The Audite release...is remarkable on a number of levels. For one thing, each of the symphonies it offers was recorded at a concert marking a historic event, the âEroicaâ from one that comprised the first post-war public appearance of the Berlin Philharmonic, that of the Ninth occurring on the 75th anniversary of that orchestra. Musically, each is a defining point in Karajanâs approach to Beethoven. The earliest of the conductorâs surviving accounts of the âEroicaâ is a 1944 performance with the Prussian State Orchestra of Berlin (possibly still available on Koch 1509). It is the broadest of the six Karajan versions that I have heard. This 1953 account is very different. In many respects it anticipates the lean, comparative fleetness of the conductorâs last (all digital) effort for DG. Indeed, it is often a more incisive version than Karajanâs recording from the previous year with the Philharmonia Orchestra. But it also features occasional rhythmic ruptures that characterized FurtwĂ€nglerâs approach, albeit less extreme. Unfortunately, the sound, although ample in presence and free of tape hiss, is marred by an unpleasant metallic harshness in the strings that cannot be neutralized with a treble control. But a flexible equalizer should help to improve things. This Ninth Symphony from five years later is remarkable for the way it echoes Karajanâs first studio effort (with the Vienna Philharmonic from 1947, still available on a single EMI CD). Particularly noteworthy are the cascading, explosive legatos of the first movement and, on the negative side, some undue haste in the finale. But this live account offers greater intensity in the second movement, where a first repeat (omitted in 1947) is included. Moreover, it is sonically better than that recording, and vastly superior in that regard to the strident âEroicaâ included in this set. A few bloopers from the horns simply add to the âliveâ ethos. Certainly, for those who admire Karajan, this release should have great appeal."
FANFARE: Mortimer H. Frank
"The Audite release...is remarkable on a number of levels. For one thing, each of the symphonies it offers was recorded at a concert marking a historic event, the âEroicaâ from one that comprised the first post-war public appearance of the Berlin Philharmonic, that of the Ninth occurring on the 75th anniversary of that orchestra. Musically, each is a defining point in Karajanâs approach to Beethoven. The earliest of the conductorâs surviving accounts of the âEroicaâ is a 1944 performance with the Prussian State Orchestra of Berlin (possibly still available on Koch 1509). It is the broadest of the six Karajan versions that I have heard. This 1953 account is very different. In many respects it anticipates the lean, comparative fleetness of the conductorâs last (all digital) effort for DG. Indeed, it is often a more incisive version than Karajanâs recording from the previous year with the Philharmonia Orchestra. But it also features occasional rhythmic ruptures that characterized FurtwĂ€nglerâs approach, albeit less extreme. Unfortunately, the sound, although ample in presence and free of tape hiss, is marred by an unpleasant metallic harshness in the strings that cannot be neutralized with a treble control. But a flexible equalizer should help to improve things. This Ninth Symphony from five years later is remarkable for the way it echoes Karajanâs first studio effort (with the Vienna Philharmonic from 1947, still available on a single EMI CD). Particularly noteworthy are the cascading, explosive legatos of the first movement and, on the negative side, some undue haste in the finale. But this live account offers greater intensity in the second movement, where a first repeat (omitted in 1947) is included. Moreover, it is sonically better than that recording, and vastly superior in that regard to the strident âEroicaâ included in this set. A few bloopers from the horns simply add to the âliveâ ethos. Certainly, for those who admire Karajan, this release should have great appeal."
FANFARE: Mortimer H. Frank
BEETHOVEN Symphonies: No. 3;1 No. 92 âą Herbert von Karajan, cond; Elisabeth GrĂŒmmer (sop); Marga Höffgen (alt); Ernst Haefliger (ten); Gottlob Frick (bs); St. Hedwigâs Cathedral Ch; Berlin PO âą AUDITE 23 414, mono (2 CDs: 123:56) Live: Berlin 9/8/1953;1 4/25/19572
"The Audite release...is remarkable on a number of levels. For one thing, each of the symphonies it offers was recorded at a concert marking a historic event, the âEroicaâ from one that comprised the first post-war public appearance of the Berlin Philharmonic, that of the Ninth occurring on the 75th anniversary of that orchestra. Musically, each is a defining point in Karajanâs approach to Beethoven. The earliest of the conductorâs surviving accounts of the âEroicaâ is a 1944 performance with the Prussian State Orchestra of Berlin (possibly still available on Koch 1509). It is the broadest of the six Karajan versions that I have heard. This 1953 account is very different. In many respects it anticipates the lean, comparative fleetness of the conductorâs last (all digital) effort for DG. Indeed, it is often a more incisive version than Karajanâs recording from the previous year with the Philharmonia Orchestra. But it also features occasional rhythmic ruptures that characterized FurtwĂ€nglerâs approach, albeit less extreme. Unfortunately, the sound, although ample in presence and free of tape hiss, is marred by an unpleasant metallic harshness in the strings that cannot be neutralized with a treble control. But a flexible equalizer should help to improve things. This Ninth Symphony from five years later is remarkable for the way it echoes Karajanâs first studio effort (with the Vienna Philharmonic from 1947, still available on a single EMI CD). Particularly noteworthy are the cascading, explosive legatos of the first movement and, on the negative side, some undue haste in the finale. But this live account offers greater intensity in the second movement, where a first repeat (omitted in 1947) is included. Moreover, it is sonically better than that recording, and vastly superior in that regard to the strident âEroicaâ included in this set. A few bloopers from the horns simply add to the âliveâ ethos. Certainly, for those who admire Karajan, this release should have great appeal."
FANFARE: Mortimer H. Frank
"The Audite release...is remarkable on a number of levels. For one thing, each of the symphonies it offers was recorded at a concert marking a historic event, the âEroicaâ from one that comprised the first post-war public appearance of the Berlin Philharmonic, that of the Ninth occurring on the 75th anniversary of that orchestra. Musically, each is a defining point in Karajanâs approach to Beethoven. The earliest of the conductorâs surviving accounts of the âEroicaâ is a 1944 performance with the Prussian State Orchestra of Berlin (possibly still available on Koch 1509). It is the broadest of the six Karajan versions that I have heard. This 1953 account is very different. In many respects it anticipates the lean, comparative fleetness of the conductorâs last (all digital) effort for DG. Indeed, it is often a more incisive version than Karajanâs recording from the previous year with the Philharmonia Orchestra. But it also features occasional rhythmic ruptures that characterized FurtwĂ€nglerâs approach, albeit less extreme. Unfortunately, the sound, although ample in presence and free of tape hiss, is marred by an unpleasant metallic harshness in the strings that cannot be neutralized with a treble control. But a flexible equalizer should help to improve things. This Ninth Symphony from five years later is remarkable for the way it echoes Karajanâs first studio effort (with the Vienna Philharmonic from 1947, still available on a single EMI CD). Particularly noteworthy are the cascading, explosive legatos of the first movement and, on the negative side, some undue haste in the finale. But this live account offers greater intensity in the second movement, where a first repeat (omitted in 1947) is included. Moreover, it is sonically better than that recording, and vastly superior in that regard to the strident âEroicaâ included in this set. A few bloopers from the horns simply add to the âliveâ ethos. Certainly, for those who admire Karajan, this release should have great appeal."
FANFARE: Mortimer H. Frank
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BEETHOVEN Symphonies: No. 3;1 No. 92 âą Herbert von Karajan, cond; Elisabeth GrĂŒmmer (sop); Marga Höffgen (alt); Ernst Haefliger (ten); Gottlob Frick (bs); St. Hedwigâs Cathedral Ch; Berlin PO âą AUDITE 23 414, mono (2 CDs: 123:56) Live: Berlin 9/8/1953;1 4/25/19572
"The Audite release...is remarkable on a number of levels. For one thing, each of the symphonies it offers was recorded at a concert marking a historic event, the âEroicaâ from one that comprised the first post-war public appearance of the Berlin Philharmonic, that of the Ninth occurring on the 75th anniversary of that orchestra. Musically, each is a defining point in Karajanâs approach to Beethoven. The earliest of the conductorâs surviving accounts of the âEroicaâ is a 1944 performance with the Prussian State Orchestra of Berlin (possibly still available on Koch 1509). It is the broadest of the six Karajan versions that I have heard. This 1953 account is very different. In many respects it anticipates the lean, comparative fleetness of the conductorâs last (all digital) effort for DG. Indeed, it is often a more incisive version than Karajanâs recording from the previous year with the Philharmonia Orchestra. But it also features occasional rhythmic ruptures that characterized FurtwĂ€nglerâs approach, albeit less extreme. Unfortunately, the sound, although ample in presence and free of tape hiss, is marred by an unpleasant metallic harshness in the strings that cannot be neutralized with a treble control. But a flexible equalizer should help to improve things. This Ninth Symphony from five years later is remarkable for the way it echoes Karajanâs first studio effort (with the Vienna Philharmonic from 1947, still available on a single EMI CD). Particularly noteworthy are the cascading, explosive legatos of the first movement and, on the negative side, some undue haste in the finale. But this live account offers greater intensity in the second movement, where a first repeat (omitted in 1947) is included. Moreover, it is sonically better than that recording, and vastly superior in that regard to the strident âEroicaâ included in this set. A few bloopers from the horns simply add to the âliveâ ethos. Certainly, for those who admire Karajan, this release should have great appeal."
FANFARE: Mortimer H. Frank
"The Audite release...is remarkable on a number of levels. For one thing, each of the symphonies it offers was recorded at a concert marking a historic event, the âEroicaâ from one that comprised the first post-war public appearance of the Berlin Philharmonic, that of the Ninth occurring on the 75th anniversary of that orchestra. Musically, each is a defining point in Karajanâs approach to Beethoven. The earliest of the conductorâs surviving accounts of the âEroicaâ is a 1944 performance with the Prussian State Orchestra of Berlin (possibly still available on Koch 1509). It is the broadest of the six Karajan versions that I have heard. This 1953 account is very different. In many respects it anticipates the lean, comparative fleetness of the conductorâs last (all digital) effort for DG. Indeed, it is often a more incisive version than Karajanâs recording from the previous year with the Philharmonia Orchestra. But it also features occasional rhythmic ruptures that characterized FurtwĂ€nglerâs approach, albeit less extreme. Unfortunately, the sound, although ample in presence and free of tape hiss, is marred by an unpleasant metallic harshness in the strings that cannot be neutralized with a treble control. But a flexible equalizer should help to improve things. This Ninth Symphony from five years later is remarkable for the way it echoes Karajanâs first studio effort (with the Vienna Philharmonic from 1947, still available on a single EMI CD). Particularly noteworthy are the cascading, explosive legatos of the first movement and, on the negative side, some undue haste in the finale. But this live account offers greater intensity in the second movement, where a first repeat (omitted in 1947) is included. Moreover, it is sonically better than that recording, and vastly superior in that regard to the strident âEroicaâ included in this set. A few bloopers from the horns simply add to the âliveâ ethos. Certainly, for those who admire Karajan, this release should have great appeal."
FANFARE: Mortimer H. Frank
