Beethoven: The 9 Symphonies (Furtwängler)

This is a 5 CD set from EMI Classics. As the booklet acknowledges, these interpretations will lack the free will and brave exploration of the more trying years. Perhaps Wilhelm Furtwängler wanted a more parsimonious work than in previous endeavours. This must be because the situation did not call for such a stern position on his part, but as well, for the weight of the tradition of the Wiener Philharmonic which he was conducting, for the most part.

In any case, delightful. I think that Furtwängler has a respect for the work and its details that was unheard before, and certainly not with Karajan, afterwards. A respect for little accents, flute colorings, strings rhythms, etc. I think that, novel phrasings (esp. of repetitions), the tempo and dynamics are what made Furtwängler's interpretations so magnificent and noteworthy ;-)

Symphony 1

It makes so much sense; I think it is so straightforward, simple, almost naïve. Furtwängler extracts the lyricism that it begs for. Listen particularly to the majestic crescendos in the fourth movement, like a true community rising for a single cause, enthusiasm brooding collectively. And what a nice unpretentious finale. I am delighted with it all.

Symphony 2

The more I listen to the first movement, the more I like it. The struggling to pull through, two thirds into the first movement. The passing of theme from one instrument to the others (I think it is strings and flute).

I lament the quality of the recording. Notice Furtwängler's dry and short attacks.

Symphony 3

Amazing Marica Funebre. What an undoubtedly funerary narrative by Furtwängler... with its orchestral sound languishing towards the end... how many of the musicians are still alive in the end?

Furtwängler signature (among others) is the use of tempo to reinforce the turns and twists of emotion in beethoven's work. This can be seen as well in the famous live recording of the 5th. What a precise and non-traditional use of metals in the grand finale.

Symphony 4

A more impetuous, more mature orchestration appears in Beethoven. Playful, courtly 3rd movement. Forceful 4th movement. Great contrasts in fortissimo and piano achieved by Furtwängler, can hardly imagine someone doing any better. Beethoven managed to sustain the tension a bit longer here than in previous symphonies. Magnificent sort of severe inhalaltions by the whole orchestra, as if the room would expand and contract. (I could not make sense of a little percussion like accent or noise made during those "inhalations").

Symphony 5

Since I am familiar, and who isn't, with the famous 5th, I can notice things that otherwise remain hidden to me. For sintance, I can compare Furtwängler's version with Karajan's, since Karajan's is often played, and was my father's favorite. So my ear was conformed to Karajan's style. Today I can compare Furtwängler's style with a healthy meal, simple powerful recipe. Karajan's is more like a fatty meal, more comparable to comfort food. Furtwängler always adds spices, and each can be tasted, where as Karajan's is like excellent puffy or crispy, but salty fatty fries.

With Furtwängler, along with the interpretative effort, the simple orchestration allows for more enjoyment of the particular instruments, in ornamentations, accents, and timbres, be them in drums, violins, metals... hidden gems, that are brought to light, that would otherwise be only known to a few.
Amazing 3rd movement! An amazing and novel phrasing of the violins, which makes so much sense, until he decides to break it up, to give way to the beautiful demonstration of basses, strings and metals. And so generous and pious pizzicato.

Symphony 6

Very nice storm in the 4th movement.

Symphony 7

Extraordinary impetus in the opening raising scales of movement 1. Quite a nimble flute contrasting with the struggling orchestra in the 4th. Lovely galloping orchestra during the resolution.  Fantastic Finale, even if one has little time, and one wants the finale, it is worth going through the rest, to build that frantic load of excitement.

Symphony 8

Too bad the sound is too muddled. As per the booklet's information, there is no studio recording from Furtwängler of the 8th. Perhaps of all, this is the one of the set where Furtwängler's guillotine-like tempo is more clearly perceived, in the 1st movement. Great touch of strings accents by the strings in the 2nd, contrasting with the pianissimo of the melody and harmony. The staccato reinforces the precision tempo just mentioned, further marked by clear attacks on each note. I think the fanfarre theme of the 3rd is a bit overdone, and the least interesting.

Symphony 9

It boasts Furtwängler's control on attacks, dynamics, and theme lines. The 1st movement is so powerful yet clear, even its frantic sections. The 2nd works like half a dozen chariots darting or struggling through different terrains, sometimes apart - sometimes reunited, with a few stops to rest and talk. Personally, this version's 3rd movement does not tell me anything, and I think it is too slow. For the 4th, in its full majesticness, has, with Furtwängler, a Slavic more than a Germanic flavor. I might guess the tempo and the emphasis on the metals.

Name	Key	Catalogue	Musicians	Observations
CD 1
Symphony #1	C	Op.21	Wiener Philharmoniker	1952
Symphony #3	Eb	Op.55	Wiener Philharmoniker	Eroica, 1952
CD 2
Symphony #2	D	Op.36	Wiener Philharmoniker	1948, live
Symphony #4	Bb	Op.60	Wiener Philharmoniker	1952
CD 3
Symphony #5	Cm	Op.67	Wiener Philharmoniker	1954
Symphony #7	A	Op.92	Wiener Philharmoniker	1950
CD 4
Symphony #6	F	Op.68	Wiener Philharmoniker	Pastoral, 1952
Symphony #8	F	Op.93	Stockholm Philharmonic Orchestra	1948, live
CD 5
Symphony #9	Dm	Op.125	Wiener Philharmoniker Elisabeth Schwarzkopf, soprano Elisabeth Höngen, alto Hans Hopf, tenor Otto Edelmann, basso Chor & Orchester der Bayreuther Festspiele	Choral, 1951, live

Beethoven: Piano Concerto 4 & 5

Excellent. Beautiful concerti, and one can always count on Pollini for a forceful virtuoso interpretation. And Beethoven asks for one, of course.

Name	Key	Catalogue	Movements	Observations
Konzert für Klavier & Orchester #5	Eb	op.73	Allegro Adagio un poco mosso-attacca Rondo. Allegro	Emperor
Konzert für Klavier & Orchester  #4	G	op.58	Allegro moderato Andante con moto Rondo. Vivace

Maurizio Pollini, piano
Karl Böhm / Wiener Philharmoniker.

General information on the piano concerti, scores, instruments, performers, etc: No.5 op.73, at wikipedia
No.4, Op.58, at wikipedia

Wilhelm Kempff: Great Pianists of the 20th Century

This CD from Philips Great Pianists of the 20th Century is the second of a 3 part view of Wilhelm Kempff, as chosen by Alfred Brendel, who admired Kempff.

I would have to agree that Michael Steinberg, whose comments appear in the accompanying booklet, that Kempff is particularly simple (I would add sober) in all these interpretations.

I, and now I am sure I am being shallow as my opinion contradicts Brendel's, did not like this CD. CD-2 I do not foresee me listening to, and CD-1 I am sure I can find more pleasurable (at least to my ear and experience) versions.

Regardless, this CD comes quite recommended elsewhere.

CD 1 Franz Schubert Piano Sonata in Am, D845 Moderato Andante, poco mosso Scherzo, Allegro vivace Rondo, Allegro vivace Beethoven Piano Sonata in Em, Op.90 Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck Nicht zu geschwind und sehr singbar vorgetragen Mozart Piano Concerto #23 in A, KV 488 Ferdinand Leitner/Bamberger Symphoniker Allegro Adagio Allegro assai

CD 2 Franz Liszt Deux Légendes Saint François d'Assise: la prédication aux oiseaux Saint François de Paule marchant sur les flots Années de pèlerinage Première année: Suisse excerpts (7, 2, 4) Deuxième année: Italie excerpts (2, 3, 4, 5, 6) JS Bach + Kempff Nun komm' der Heiden Heiland, BWV 659 Jesus bleibet meine Freude (from BWV 147) Wachet auf! ruft uns die Stimme (from BWV 140)

Beethoven: Violin Concerto; 2 Romances

I must say that I was not thrilled by this CD. I mean, the pieces are fantastic, and the small orchestration allows for details that are not usually available in other more modern big philharmonic interpretations. Like the flute in the 3rd movement that is always hidden, or at least from me, in other versions. I personally think the cadenza is too ornamented and not in the same spirit as the concerto.

Of course, the period instruments of the Orchestra of the 18th Century allow for a very particular enjoyment  in addition to all else. All in all, it is a good buy, but I had higher expectations from Frans Brüggen. Zehetmair plays the violin in this Philips record.

Name	Key	Catalogue	Musicians	Observations
Romance for Violin No. 2	F	Op.50
Romance for Violin No. 1	G	Op.40
Concerto for Violin	D	Op.61		I. Allegro ma non troppo II. Larghetto III. Rondo. Allegro

Beethoven: Symphony no.9

My disc is from Deutsche Grammophon's "entrée" collection, whereas the one I present is from DG's Numerique. Both are exactly the same May 1986 live recording with Claudio Abbado conducting the Wiener Philharmoniker.

Abbado's version of Beethoven's Symphony no. 9 is quite controlled and precise. It seems dragging in time, at moments, but the sound clarity is great... a lot of detail and warm, full sounds. I am not sure to recommend it, in general, but it sounds quite well, with a fabulous dynamic range.
Gabriela Beňačková - soprano; Marjana Lipovšek - contralto; Gösta Winbergh - tenor; Hermann Prey - baritone; Konzertvereingung Wiener Staatsopernchor

Beethoven: Symphony no.9, Dm, op.125



1. allegro ma non troppo, un poco maestoso (17'14)


2. molto vivace (14'21)


3. adagio molto e cantabile


4. presto - "o freunde, nicht diese töne!" - allegro assai (final chorus from Schiller's ode "An die Freude")

Wilhelm Kempff (Centurion)

This is a somewhat reknowned CD by Centurion Classics, that albeit being very cheap has great masterpieces by Mozart and Beethoven, but played by magnificent Wilhelm Kempff.

Such depth in interpretation, with softness or anger, speed and expression. It is difficult (at least for me) to imagine a better one.



You may buy this CD for Kempff's piano interpretation, either Mozart's and/or Beethoven's Concerto (or Sonata), or the price... for any of these reasons you would have done right.

Name	Key	Catalogue	Musicians	Observations
Mozart: Piano Concerto No. 20	D minor	K. 466	Dresdner Philharmonic, Paul van Kempen (director)	recorded 1941
Beethoven: Piano Concerto No. 3	C minor	Op. 37	Dresdner Philharmonic, Paul van Kempen (director)	recorded 1942
Beethoven: Piano Sonata No. 24	F sharp major	Op. 78		recorded 1932

Beethoven: Symphonies No.1 & 3

Brilliant finally got out their Complete Beethoven collection. This box has 85 CDs, although I have the 100 CD box with 15 historical recordings.
Gewandhausorchester Leipzig, Kurt Masur, 1974 recording.
(Interesting slavic theme which I had not noticed before)

Name	Key	Catalogue	Musicians	Observations
Symphony No.1	C	Op.21
Symphony No.3	Eb	Op.55		Eroica

Bruno Walter: Beethoven & Mahler

This is the rare Volume 2 for Grammofono 2000's "His First Recordings in America for Columbia". Bruno Walter conducts the New York Philharmonic Orchestra. And he plays the piano in "Lieder und Gesänge aus der Jugendzeit" for Desi Halban, soprano.

I really enjoyed Mahler's Symphony no. 5 with Walter, as compared to Claudio Abbado's. I think Walter's is how it was intended... much more subtle, playful, serene (of course, his closeness to Mahler must have played a key role in his interpretation). While Abbado's gives it a cinematographic touch, very much with the grandiosity used in incidental music, Walter's is more situated, theatrical... less lights and more imagination. The comparison would be similar to Hollywood productions today vs. Hollywood productions from the 50's.
Regardless, both are worth listening to. Enjoy particularly the fifth movement of Mahler Symphony No. 5.

Beethoven's Eroica is very expressive, especially with his use of dynamics.

Link to Amazon's page for this CD set: Beethoven: Symphony No. 3; Mahler: Symphony No. 5

Name	Key	Catalogue	Musicians	Observations
Disc 1: Beethoven
Symphony No.3	Eb	Op.55 Columbia M449	Jan. 1941	Eroica
Disc 2: Mahler
Symphony No.5	C#m	Columbia SL 171	Feb.10,1947
Selection from "Lieder und Gesänge aus der Jugendzeit" for Voice and Piano(1880-1890)		Columbia SL 171	Desi Halban, soprano Bruno Walter, Piano Dec. 16, 1947	I.Frühlingsmorgen (Leander) II. Erinnerung (Leander) III. Hans und Grethe (Mahler) VII. Ich ging mit Lust durch einen grünen Wald (*) IX. Starke Einbildungskraft (*) XI. Ablösung im Sommer (*) XII. Scheiden und Meiden (*) XIII. Nicht wiedersehen (*)

Beethoven: The Cello Sonatas

Pau Casals hums through the profound and rich Cello Sonatas in the 1993 recording with Rudolf Serkin. A super bit mapping CD from Sony Classical, The Cello Sonatas: complete edition. This 2CD cannot be missed !!
Amazing.

Name	Key	Catalogue	Musicians	Observations
Disc 1
Sonata no.1	F	Op.5 no.1		recorded 1953
Sonata no.2	Gm	Op.5 no.2		recorded 1951
Sonata no.4	C	Op.102 no.1		recorded 1953
Disc 2
Sonata no.3	A	Op.69		recorded 1953
Sonata no.5	D	Op.102 no.2		recorded 1953
7 Variations on "Bei Männern, welche Liebe fühlen"		WoO 46		from Mozart's "Die Zauberflöte", recorded 1951
12 Variations on "Ein Mädchen oder Weibchen"		WoO 66		from Mozart's "Die Zauberflöte", recorded 1951

Beethoven: The Complete Violin Sonatas Vol.II

These are beautiful. In Deutsche Grammophon's edition, the 1970 recording by Yehudi Menuhin and Wilhelm Kempff is superb.


I have listened to this many times, and I still cannot come up with something intelligent to comment on them. My experience is only one, and I cannot decompose it into aspects. Thank God for this!

Name	Key	Catalogue	Musicians	Observations
Disc 1
Sonata for Piano and Violin	A	op.30 no.1
Sonata for Piano and Violin	Cm	op.30 no.2
Rondo for Piano and Violin	G	op. 30 no.3
Disc 2
Sonata for Piano and Violin	A	op.47		Kreutzer
Sonata for Piano and Violin	G	op.96

Beethoven: The Complete Violin Sonatas Vol.1

These are beautiful. In Deutsche Grammophon's edition, the 1970 recording by Yehudi Menuhin and Wilhelm Kempff is superb.
After "Frühlings Sonate" there is not much that can be listened.
I personally think that Kempff played much better than Menuhin, esp. in CD1. My impression is that Menuhin played "a little bit dirty", but it adds to the playfulness of the recording, which no doubt was enjoyed very much by both interpreters.

Name	Key	Catalogue	Musicians	Observations
Disc 1
Sonata for Piano and Violin	D	op.12 no.1
Sonata for Piano and Violin	A	op.12 no.2
Sonata for Piano and Violin	Eb	op.12 no.3
Rondo for Piano and Violin	G	WoO 41
Disc 2
Sonata for Piano and Violin	Am	op.23
Sonata for Piano and Violin	F	op.24		"Spring Sonata"
Twelve Variations on "Se vuol ballare"		WoO 40		from Mozart's opera "Le nozze di Figaro"

Furtwängler: Beethoven, Symphonien 5 & 7

[post modified jun-2010]
This is a beautiful interpretation. I used to be a musical ignorant and snob to the point that I would have frowned upon the dull recording of this CD. Fortunately, this experiment (of listening to great interpretations) has broadened my enjoyment, and can now heartedly recommend this Deutsche Grammophon CD as a cornerstone for a collection.
What a wide range of emotion, the precision of the attacks and releases is of such beauty. Furtwängler is in control of the orchestra at each step. What a crisp orchestration.
Be prepared for some deliberate slowness in the 5th, and an overwhelming precision and impetus in the 7th. This was an opportunity for Furtwängler and the Berlin Philharmoniker to protest against the way Nazi Germany was heading towards the end of WWII.

Berlin Philharmoniker,Wilhelm Furtwängler

Name	Key	Catalogue	Musicians	Observations
Symphony 5	Cm	Op.67		Live, Berlin, Philarmonie, 30.6.1943
Symphony 7	A	Op.92		Live, Berlin, Philarmonie, 3.11.1943

My Favourite Cello (Tortelier, de Machula, Fournier, Piatigorsky)

This is a sampler of different legendary cello players, with digitally remastered recordings from 1946-1950. I found Gregor Piatigorsky especially good playing Dvořák's concerto, which I have heard with Rostropovich. This Centurion Classics CD is well worth (and very cheap) because of Dvořák's concerto. The Beethoven's variations are interesting, too.

Name	Author	Catalogue	Musicians	Observations
12 Variations: Mädchen, for cello and piano	Beethoven	Op.66	Paul Tortelier, Cello, Karl Engel, piano
Abendlied	Schumann	Op.85 no.1	Tibor de Machula, Residentie Orkest den Haag c. Willem van Otterloo	arr. Machula, for Cello and Orchestra
Abendlied	Schumann	Op.85 no.12	P.Fournier, pellas-Lemon, piano	for cello and piano
Concerto for cello and orchestra in Bm	Dvořák	Op. 104	Gregor Piatigorsky, Cello, Eugene Ormandy cond. Philadelphia Orchestra

Beethoven & Brahms: Violinkonzerte

This is Jascha Heifetz soloist interpretation of 2 beautiful works:
Beethoven's op. 61 and Brahms Op. 77 concerts for violin and orchestra.

Beethoven's concert just leaves us begging life he had written more of these. With his usual mix of bass strings and high pitched themes of flute and violin. With rhythmic patterns in the strings giving way to sweet melodies.

Heifetz is not shy when trying to give his interpretation a sublime intent. He is playful whilst being sober, which as far as I can imagine is the way Beethoven might have wished this to be.

As for Brahms', Heifetz does a powerful first movement, with so sweet spots and a forceful cadenza. The second movement has also a very tender violin interpretation. And the third, with the timbral weaving of the presentation of the theme, turns it from pleasurable to beautiful.

I have to confess that it took me some active listening of Brahms' concert, to find the beauty beyond just following the tune. But that is what this endeavor is about.

A RCA Victor, Red Seal CD.


Beethoven, Concerto Op. 61, in D
Boston Symphony Orchestra, Chales Munch
recorded Nov. 27 & 28, 1955, Symphony Hall, Boston, USA
Cadenza 1st movement: Auer - Heifetz
Cadenza 3rd movement: Joachim - Heifetz

Brahms, Concerto Op. 61, in D
Chicago Symphony Orchestra, Fritz Reiner
recorded Nov. 21 & 21, 1955, Orchestra Hall, Chicago, USA
Cadenza 1st movement: Heifetz

Beethoven: Diabelli-Variationen

This one is great too.
So many jewels lost among big symphonic pieces. It takes someone with good knowledge to pick these ones.
Great soft joyful interpretation by Alfred Brendel, Philips Digital Classics.

I have to confess that by the end I got a bit overwhelmed by the repetitions. :*(

1. Tema (Vivace) - Variation I (Alla marcia maestoso)


2. Variation II (Poco allegro)


3. Variation III (L'istesso tempo)


4. Variation IV (Un poco più vivace)


5. Variation V (Allegro vivace)


6. Variation VI (Allegro ma non troppo e serioso)


7. Variation VII (Un poco più allegro)


8. Variation VIII (Poco Vivace)


9. Variation IX (Allegro pesante e risoluto)


10. Variation X (Presto)


11. Variation XI (Allegretto)


12. Variation XII (Un poco più moto)


13. Variation XIII (Vivace)


14. Variation XIV (Grave e maestoso)


15. Variation XV (Presto scherzando)


16. Variation XVI (Allegro)


17. Variation XVII (Allegro)


18. Variation XVIII (Poco Moderato)


19. Variation XIX (Presto)


20. Variation XX (Andante)


21. Variation XXI (Allegro con brio - Meno allegro - Tempo I)


22. Variation Xxii (Allegro Molto: Alla "Notte E Giorno Faticar" Di Mozart )


23. Variation Xxiii (Allegro Assai)


24. Variation Xxiv: Fughetta (Andante)


25. Variation XXV (Allegro)


26. Variation Xxvi (Piacevole)


27. Variation Xxvii (Vivace)


28. Variation Xxviii (Allegro)


29. Variation Xxix (Adagio Ma Non Troppo)


30. Variation XXX (Andante, sempre cantabile)


31. Variation Xxxi (Largo, Molto Espressivo)


32. Variation Xxxii: Fuga (Allegro - Poco Adagio)


33. Variation Xxxiii (Tempo Di Minuetto Moderato)

Oistrakh: Beethoven, Mozart, Brahms, Prokofiev 1/2

Wow! I could not imagine Beethoven as a care-free joyful being. The Triple Concerto Op.56 is that. Oistrakh's interpretation in Emi Classics, double forte is great.

Light, whole-hearted, warm, exquisite... a definite favorite.

Mozart: Violin Concerto

I have heard 2 versions of Violin Concerto No.3 in G, KV 216. One in Oistrakh's interpretation in Emi Classics, double forte, the other in Brilliant's CD2-16 with Verhey playing the violin.
I have to say that I prefer Brilliant's orchestration with Eduardo Marturet directing the Concertgebouw Chamber Orchestra. But Oistrakh's intention and force well surpasses Verhey's. This version features Oistrakh as director of the Philharmonia Orchestra.
Nice piece. As has been my general experience so far, Brilliant's is worth listening to, but this time Oistrakh's shouldn't be missed.


In Violin Concerto No.1 B flat KV 207, Verhey's cadenza in the end is quite charming. Though concertos 1 and 2 are quite umpretentious, the natural fluency of Mozart's themes and scales are always welcome.
The double forte 2CD edition seems to be out of print, but this is the most similar I found.