I write this review after having purchased this Beethoven Symphony cycle about four years ago and having upgraded to the Sony International (made in Japan) SACD hybrid version about two years ago to join the rave reviews for what I’ve found to be the most enjoyable Beethoven Symphony cycle in a very competitive market which includes many excellent Beethoven Symphony cycles.
The Symphony performances in this box set date from 1957-1965; some of the Overtures were recorded in the following two years.
To my ear the sound quality of these “24-Bit High Resolution Audio” CDs is very good, albeit they do not attain the sound standards set by more recent top-notch Beethoven cycles such as (i) Gunter Wand/NDR Symphony Orchestra (Hamburg, Germany); (ii) Daniel Barenboim/Staatskapelle Berlin; and (iii) Osmo Vänskä/Minnesota Orchestra (BIS hybrid SACD).
However, when striking the balance between the performances and the marginally better sound quality on these more recent standouts, I find the Szell cycle the most enjoyable.
In terms of performances, the balance Szell achieves among the various orchestra sections is superb. Woodwinds, for example, are not minimized or obscured as they often are in Karajan’s still generally enjoyable performances. Otto Klemperer with the Philharmonia/New Philharmonia Orchestra, while providing different interpretations, is another master at achieving great balance between the various orchestral sections so listeners can enjoy a performance in its full beauty. Indeed, listeners should sample more than one approach to Beethoven’s Symphonies and the Klemperer 10 CD box set that also comes with his magnificent performances of Beethoven’s Overtures [Beethoven: The Orchestral Recordings; ASIN: B008YKRRI6] would be the second set I’d recommend.
Assessing each Szell performance individually, each performance is the one I return to most often, among the ones I return to most often or a first-rate performance.
To my ear Szell’s performance of the 7th Symphony is the most enjoyable on the market. No other performance I’ve heard comes close. Szell develops details other conductors do not, his pace seems perfect and in the first, third and fourth movements he strategically builds intensity at key points that make for an unparalleled performance. Carlos Kleiber’s performance with the Vienna Philharmonic gets more publicity. The New Yorker Magazine in a 2012 article named a CD containing it and Kleiber’s Vienna Philharmonic 5th Symphony performance as one of “10 Perfect Orchestral Recordings.” I have that Kleiber CD in the SACD version, the sound quality is nothing special, the performance of the 7th is quite enjoyable but I find much to prefer in Szell’s performance.
Szell’s performances of Symphonies 3, 5, 6 and 9 are also standouts, being among the performances of those works I return to most often.
Listeners wanting even better sound quality may consider the hybrid SACD Szell set issued by Sony International (Japan) [search for ASIN: “B01EB6PMB0”] on the Amazon site. As hybrid SACDs they will play on regular CD players. Given the cost of the set (currently above $100) those without an SACD player – and even those with SACD players -- may want to consider using that money to get copies of some of the other superb Beethoven Symphony cycle sets available. I’d also recommend that listeners interested in getting the SACD version check the Amazon Japan site and compare options.
Other Beethoven Symphony cycle box sets that would make great additions to your collection are:
1. Otto Klemperer/Philharmonia/New Philharmonia Orchestra:
- To my ear many of Klemperer’s performances are revelatory in that he takes a more measured – but rarely “slow” -- pace in developing the composition such that I hear compositional details I miss in many other performances.
- The 10-CD set, “Beethoven: The Orchestral Recordings: Symphonies & Overtures,” contains multiple versions of Symphonies 3, 5 and 7 and multiple versions of some of the Overtures.
-- There are two versions of Symphonies 3 and 5 with one of each being an earlier mono version, albeit in excellent mono sound. Some listeners prefer the performance of the mono version of one or both; given the benefit of stereo I prefer the stereo 3rd but prefer the mono version of the 5th Symphony based on its slight brisker pace.
-- There are three versions of the 7th. None are to my taste and those are the only performances in this otherwise superb box set I do not return to. Other listeners may enjoy one or more of these performances. The only place where I perceive Klemperer being “slow” – in the sense of dragging a bit – is in the 2nd movement of his 1968 7th Symphony performance.
- The Overture performances are sensational. The Overture I listen to most often is “The Consecration of the House.” The box set contains two performances – one from 1956 and one from 1959. Both are in stereo, both are great and, in my opinion no one else comes close to matching either performance [Claudio Abbado with the Vienna Philharmonic comes closest].
- The sound on these discs is very good despite the age of the recordings. In short, this set, along with the Szell set, are, in my opinion, the two most desirable sets on the market.
2. (the following three are all extremely worthwhile and I won’t try to prioritize them)
a. Bruno Walter with the Columbia Symphony Orchestra (ASIN: B0129YBV5M).
-- This is a 7-CD set which also comes with a very enjoyable Violin Concerto performance with Zino Francescatti and a CD containing portions of Bruno Walter rehearsals of the 4th, 5th, 7th and 9th Symphonies.
-- Walter’s 6th and 4th Symphonies are justly renowned and often cited as reference performances. To my ear his performance of the 3rd Symphony should also be included in any list of reference recordings of the Eroica.
-- Sony International (Japan) released an SACD version of this set. It is very expensive – more expensive than the Szell SACD box set. Listeners can find it on the Amazon Japan site [ASIN: B07WZHJN44].
b. Gunther Wand/NDR Symphony Orchestra (Hamburg, Germany)[this set has been issued multiple times; also recommend checking the Amazon Japan site for availability].
-- David Hurwitz of “Classics Today” who has been reviewing and providing critical analyses of classical music for 30-40 years started posting a series of classical music talks on his You Tube channel around April, 2020. I’ve found them extremely worthwhile and well done and am continually looking for his talks on performances of composers I enjoy. His June, 2020, “The Best Beethoven Symphony Cycles” listed this set as his first choice based on performances and his first choice based on sound quality. He also placed this Szell set in his top three – along with Wand/NDR and Barenboim/Staatskapelle Berlin.
-- Mr. Hurwitz listed three ground rules for his selections – the most important being there are “no dud performances” in the cycle. Another was that there should generally not be a standout performance of the work by the conductor and orchestra that is not included in the cycle box. Other talks show that Mr. Hurwitz generally holds Klemperer and Walter in extremely high esteem but he did not include their box sets in this list. While I have no formal music background or training, my experience being limited to having listened to classical music for decades, and would agree that Klemperer’s 7th Symphony performances are disappointing, given the revelatory nature of many of his other Symphony performances and his sensational Overture performances, I would include his set. I would also include Walter’s cycle with the Columbia Symphony Orchestra.
c. Leonard Bernstein/New York Philharmonic (ASIN: B003S0IJWA)
-- I have no idea why this set has not received greater attention. These performances are superb and they were all recorded in the 1961-1964 period at the Manhattan Center. To my ear Bernstein recordings from the Manhattan Center are typically very good and the sound quality of these performances are, with the possible exception of the 6th Symphony, excellent, providing the type of crystal-clear sound I typically get and greatly appreciate from Decca CDs.
-- This 6-CD set also comes with five Overture performances and a 1959 performance at the St. George Hotel in Brooklyn of the Violin Concerto with Isaac Stern. While I was happy to see the Violin Concerto included in the set, it turned out to be a major disappointment based on sound quality – the sound of the violin having a displeasing metallic sound to my ear. Other listeners may differ and if they like the sound of this performance that is even more reason to get this set.
-- While this Bernstein 6-CD box set states, like the Szell 5-CD box set, that the CDs are “24-Bit High Resolution Audio,” in 2019 Sony released these Symphony performances (as well as the five overtures but not the Violin Concerto) in a “remastered” 10-CD box set “Bernstein Conducts Beethoven [ASIN: B07WNKVHT2]. The booklet that comes with the 2019 “Remastered” edition indicates the remastering was done in 2017 using 24-Bit/192 kHz technology and lists who worked on the remastering. Interestingly, most, perhaps all, of the Sony “Masters” box sets indicate they contain CDs that are “24-Bit High Resolution Audio” but avoid affirmatively indicating the recordings were remastered (unless I overlooked it in the fine print). The 10-CD set spreads the performances out among the CDs (e.g. Symphonies 3, 5, 6 and 7 are on their own separate CD), there is a second Symphony 7 performance (from 1957) and a Missa Solemnis performance replaces the Violin Concerto.
3. Karl Bohm/Vienna Philharmonic (ASIN: B00E59ZROG)
4. Herbert von Karajan: Berlin Philharmonic [1961-1962 performances (“1963 cycle”) and 1976-1977 performances (“1977 cycle”)].
-- There are four Karajan Beethoven Symphony cycles. The first is a mono set with the Philharmonia; the subsequent three are with the Berlin Philharmonic – the 1963 cycle, the 1977 cycle and an early 1980s cycle which is seen by many as inferior to the 1963 cycle and the 1977 cycle, albeit the individual performances of the 3rd and 8th Symphonies from the early 1980’s are highly regarded by many (and are available on one CD in Japan – see the Amazon Japan site).
-- To my ear the sound quality on the Deutsche Grammophon CDs of the 1963 and 1977 sets is middling at best. Part of how I perceive the sound quality of those CDs may be attributable to Karajan’s style that submerges instrumental detail to achieve an overall smooth sound – which leads to the minimization or virtual disappearance of the woodwinds.
-- The 1963 set was issued by Deutsche Gramophone on SACD and the SACDs offer some, but not great, improvement in sound. Upon initial release they sold at a reasonable price ($40-$50) but they have become harder to get and consequently more expensive.
-- The 1977 set was issued in Japan in a single layer (not hybrid and thus will not play on a regular CD player) SACD set and this set is a very high-end product which presents Karajan’s performances, which despite submerging details from portions of the orchestra like the woodwinds, can nevertheless be beautiful. This set will cost approximately (the Japanese Yen equivalent of) $120. The set does not appear to be listed on the Japanese Amazon site anymore but it can be located at “cd Japan” – do a google search on “cd japan, Karajan, Beethoven, SACD.” The JAN/ISBN number is 4988031273685; the “Org. Catalog No. is UCGC-9129.
Overall, I give the highest recommendation to this Szell Beethoven Symphony cycle box set.
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George Szell Conducts Beethoven Symp Honies & Overtures
Box Set, Import
Ludwig van Beethoven
(Composer),
George Szell
(Conductor),
Cleveland Orchestra
(Orchestra)
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George Szell Conducts Beethoven Symphonies & Overtures
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Track Listings
Disc: 1
1 | I. Adagio molto - Allegro con brio - The Cleveland Orchestra |
2 | II. Andante cantabile con moto - The Cleveland Orchestra |
3 | III. Menuetto - Allegro molto e vivace - George Szell |
4 | IV. Finale. Adagio - Allegro molto e vivace - The Cleveland Orchestra |
5 | I. Allegro ma non troppo (Erwachen heiterer Emfindungen bei der Ankunft auf dem Lande) - The Cleveland Orchestra |
6 | II. Andante molto moto (Szene am Bach) - The Cleveland Orchestra |
7 | III. Allegro (Lustiges Zusammensein der Landleute) - The Cleveland Orchestra |
8 | IV. Allegro (Gewitter Sturm) - The Cleveland Orchestra |
9 | V. Allegretto (Hirtengesang: Frohe und dankbare Gefühle nach dem Sturm) - The Cleveland Orchestra |
10 | Egmont Overture, Op. 84 - The Cleveland Orchestra |
Disc: 2
1 | I. Allegro con brio - George Szell |
2 | II. Marcia funebre. Adagio assai - George Szell |
3 | III. Scherzo. Allegro vivace - George Szell |
4 | IV. Finale. Allegro molto - George Szell |
5 | I. Allegro vivace e con brio - The Cleveland Orchestra |
6 | II. Allegretto scherzando - The Cleveland Orchestra |
7 | III. Tempo di Menuetto - The Cleveland Orchestra |
8 | IV. Allegro vivace - The Cleveland Orchestra |
Disc: 3
1 | I. Adagio - Allegro vivace - George Szell |
2 | II. Adagio - George Szell |
3 | III. Menuetto. Allegro vivace - Trio. Un poco meno allegro - George Szell |
4 | IV. Allegro ma non troppo - George Szell |
5 | I. Poco sostenuto - Vivace - The Cleveland Orchestra |
6 | II. Allegretto - The Cleveland Orchestra |
7 | III. Presto - Presto meno assai - George Szell |
8 | IV. Allegro con brio - The Cleveland Orchestra |
9 | Overture "King Stephen", Op. 117 - The Cleveland Orchestra |
Disc: 4
1 | I. Adagio molto - Allegro con brio - The Cleveland Orchestra |
2 | II. Larghetto - The Cleveland Orchestra |
3 | III. Scherzo. Allegro - The Cleveland Orchestra |
4 | IV. Allegro molto - George Szell |
5 | I. Allegro con brio - George Szell |
6 | II. Andante con moto - George Szell |
7 | III. Scherzo. Allegro - George Szell |
8 | IV. Finale. Allegro - George Szell |
Disc: 5
1 | I. Allegro ma non troppo- un poco maestoso - The Cleveland Orchestra Chorus |
2 | II. Molto vivace - The Cleveland Orchestra Chorus |
3 | III. Adagio molto e cantabile - Andante moderato - The Cleveland Orchestra Chorus |
4 | IV. Presto - The Cleveland Orchestra Chorus |
5 | Presto - Recitativo: O Freunde, nicht diese Tone! (Final Chorus on Schiller's "Ode to Joy") - The Cleveland Orchestra Chorus |
6 | Fidelio Overture, Op. 72 - The Cleveland Orchestra |
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 5.04 x 5.04 x 0.63 inches; 5.15 ounces
- Manufacturer : Sony Music Canada Inc.
- Item model number : 888837371520
- Original Release Date : 2013
- Run time : 5 hours and 58 minutes
- Date First Available : August 9, 2013
- Label : Sony Music Canada Inc.
- ASIN : B00EC0VVRA
- Number of discs : 5
- Best Sellers Rank: #49,936 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #804 in Chamber Music (CDs & Vinyl)
- Customer Reviews:
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4.7 out of 5
311 global ratings
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Top reviews from the United States
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Reviewed in the United States on October 25, 2020
Reviewed in the United States on March 28, 2017
The price on this bare-bones reissued set from Sony bounces around somewhat, but the set is a great bargain. Price aside, this is a a great set of the Beethoven symphonies.
Columbia Records recorded these performances in Cleveland during the late 1950s and early 1960s. (They may have first come out under the Epic label, a Columbia brand.) Szell by that time had elevated the Cleveland Orchestra to the very top tier of American orchestras or, for that matter, of orchestras world-wide. His orchestra was known for its disciplined, precise playing and the clarity of its musical lines. Szell avoided a lush massed string sound favored by a number of other orchestras of the time, in favor of a cleaner, drier sound achieved by only light vibrato. To an extent, Szell anticipated the style of the "historically informed performance" (HIP) school.
Over 20 years ago, earlier in the age of digital music, the music critic Ted Libbey (who became known in America through his programs on National Public Radio) put out a book of recommendations of classical CDs. Among recordings of the complete Beethoven symphonies by modern (as opposed to period instrument) orchestras, Libbey recommended the works of just three conductors, Herbert von Karajan, Bruno Walter, and George Szell, recommending these Cleveland Orchestra performances. Libbey compared the sound of the Cleveland Orchestra to chamber music by a full orchestra. I think I know what Libbey meant. The playing of a whole section of the strings sounds as tight and nimble as if it were a single player, and the different musical lines emerge individually.
The playing is strong, and Szell's tempos are generally brisk. They are not all as fast as the tempos you hear in an HIP -- set by Beethoven's metronome markings -- but there is nothing lethargic in the playing. I hear none of the precious lingering over phrases that mars some other performances of the same general era. The playing is muscular, full of energy.
I agree with those who especially like the 9th (though I find it hard to single out any of the symphonies; all the performances are strong). Robert Shaw, probably the preeminent American choir director of the second half of the 20th century, directed the Cleveland Chorus in the finale.
The biggest problem I see in picking out a set of the nine symphonies, or in writing about any single one of those sets, is that there are so many good ones available. I have listened to a number of those sets but certainly not all. I do believe that if price is a consideration, then it is easy to recommend this set to anyone. Beyond this, without regard to price, these are excellent and enjoyable performances by a great musician conducting the great orchestra that he had pretty much himself created.
Columbia Records recorded these performances in Cleveland during the late 1950s and early 1960s. (They may have first come out under the Epic label, a Columbia brand.) Szell by that time had elevated the Cleveland Orchestra to the very top tier of American orchestras or, for that matter, of orchestras world-wide. His orchestra was known for its disciplined, precise playing and the clarity of its musical lines. Szell avoided a lush massed string sound favored by a number of other orchestras of the time, in favor of a cleaner, drier sound achieved by only light vibrato. To an extent, Szell anticipated the style of the "historically informed performance" (HIP) school.
Over 20 years ago, earlier in the age of digital music, the music critic Ted Libbey (who became known in America through his programs on National Public Radio) put out a book of recommendations of classical CDs. Among recordings of the complete Beethoven symphonies by modern (as opposed to period instrument) orchestras, Libbey recommended the works of just three conductors, Herbert von Karajan, Bruno Walter, and George Szell, recommending these Cleveland Orchestra performances. Libbey compared the sound of the Cleveland Orchestra to chamber music by a full orchestra. I think I know what Libbey meant. The playing of a whole section of the strings sounds as tight and nimble as if it were a single player, and the different musical lines emerge individually.
The playing is strong, and Szell's tempos are generally brisk. They are not all as fast as the tempos you hear in an HIP -- set by Beethoven's metronome markings -- but there is nothing lethargic in the playing. I hear none of the precious lingering over phrases that mars some other performances of the same general era. The playing is muscular, full of energy.
I agree with those who especially like the 9th (though I find it hard to single out any of the symphonies; all the performances are strong). Robert Shaw, probably the preeminent American choir director of the second half of the 20th century, directed the Cleveland Chorus in the finale.
The biggest problem I see in picking out a set of the nine symphonies, or in writing about any single one of those sets, is that there are so many good ones available. I have listened to a number of those sets but certainly not all. I do believe that if price is a consideration, then it is easy to recommend this set to anyone. Beyond this, without regard to price, these are excellent and enjoyable performances by a great musician conducting the great orchestra that he had pretty much himself created.
Top reviews from other countries
Miquel
5.0 out of 5 stars
magnífica integral
Reviewed in Spain on May 4, 2015
No voy a caer en la tentación de comparar versiones. Creo que cuando se juntan las partituras de una obra maestra, un gran director con criterios interpretativos sólidos y coherentes y una excelente orquesta, los resultados no suelen defraudar. En este caso tenemos todos los ingredientes para una magnífica integral y el resultado no defrauda.
Otros (y yo también, según los momentos) preferirán el dramatismo incandescente de Furtwangler, el virtuosismo aterciopelado del último Karajan o la sobria elegancia de Abbado. A mi todos ellos, y otros como Bloomstedt, Gardiner o Kleiber, me dan un Beethoven casi siempre satisfactorio, a pesar de sus diferencias. Esta es una de las grandezas de estas partituras.
Para que no parezca que no quiero mojarme, diré qué me ha gustado más y qué me ha gustado menos de esta integral, siempre desde mi discutible subjetividad: la heroica y la octava me han parecido sublimes. De la séptima no me ha convencido el allegretto, creo que le falta un poco de pasión. De la novena no me ha convencido el último movimiento, creo que el cuarteto vocal no da la talla. El resto de las interpretaciones son también de un alto nivel.
La calidad del sonido me ha parecido bastante buena, mejor incluso que algunas grabaciones más recientes.
Compré la integral a un vendedor tercero (Importcd) por el precio irrisorio de 7,27 euros y tardó 20 días en llegar. Los más impacientes pueden comprarla directamente a Amazon por unos 10 euros más, con la ventaja de que lleva incluida la versión mp3.
Otros (y yo también, según los momentos) preferirán el dramatismo incandescente de Furtwangler, el virtuosismo aterciopelado del último Karajan o la sobria elegancia de Abbado. A mi todos ellos, y otros como Bloomstedt, Gardiner o Kleiber, me dan un Beethoven casi siempre satisfactorio, a pesar de sus diferencias. Esta es una de las grandezas de estas partituras.
Para que no parezca que no quiero mojarme, diré qué me ha gustado más y qué me ha gustado menos de esta integral, siempre desde mi discutible subjetividad: la heroica y la octava me han parecido sublimes. De la séptima no me ha convencido el allegretto, creo que le falta un poco de pasión. De la novena no me ha convencido el último movimiento, creo que el cuarteto vocal no da la talla. El resto de las interpretaciones son también de un alto nivel.
La calidad del sonido me ha parecido bastante buena, mejor incluso que algunas grabaciones más recientes.
Compré la integral a un vendedor tercero (Importcd) por el precio irrisorio de 7,27 euros y tardó 20 días en llegar. Los más impacientes pueden comprarla directamente a Amazon por unos 10 euros más, con la ventaja de que lleva incluida la versión mp3.
SonofLudwig
5.0 out of 5 stars
Szell's Beethoven ... Precision and Power ... absolutely glorious!
Reviewed in Canada on December 7, 2013
The first time I heard the Cleveland Orchestra conducted by George Szell was in a triple GYM at the University of Western Ontario in London, Ontario. You would expect the sound to be muddy in such a terrible environment, especially when the stage was placed in the middle of the long wall, the opposite of the ideal shoe-box concert hall.
The performance, however was incredible, unbelievable in fact. Beethoven’s Forth and Eight symphonies seemed to flow out of the end of Szell’s baton. The orchestral precision was so marvellous. Every bow seemed to be at the same millimeter ... on every fiddle. The sound was precise yet powerful … and yet perfectly balanced. The strings sounded like a giant string quartet with very clear brass and woodwinds layered on top. Compared with any previous experience, the performances were simply awesome. Under George Szell the CSO became perhaps the best Beethoven Orchestra in North America.
The Szell set of Beethoven symphonies was the fourth set I bought on vinyl. I had complete sets by Arturo Toscanini, Bruno Walter and Herbert von Karajan. I loved them all for different reasons. Then I obtained the Szell set and they were played to death. Only the Karajan Seventh and Ninth got more plays. Over forty years have passed since then. and I have collected over two dozen different sets of Ludwig’s NINE … so many happy hours of listening to so many great performances (and some not so great.)
Now Amazon.ca offers the Szell SONY set for less than 20 bucks. WOW! Is it any good? Silly question! This is the same Szell Beethoven with precision and power … now with even better sound. Thanks SONY. I love you.
If you have never heard Szell’s Beethoven, you are in for a real treat. Get it now before the price increases or they sell out. You will not regret it.
PS 1 In the last movement of the NINTH, you can hear George Szell grunting as he extols the Clevelanders to give even more. I guess the engineers will never be able to remove those grunts.
PS 2 Where do I rank the Szell’s set? I rank it right at the top along with Karajan (both 1962 and 1977 sets), Gardiner, Zinman, and Wand.
PS 3 If you love the Fifth and Seventh, get Fritz Reiner’s Chicago Symphony recordings. Incredible!
In Summary: HIGHLY RECOMMENDED Happy Listening!
The performance, however was incredible, unbelievable in fact. Beethoven’s Forth and Eight symphonies seemed to flow out of the end of Szell’s baton. The orchestral precision was so marvellous. Every bow seemed to be at the same millimeter ... on every fiddle. The sound was precise yet powerful … and yet perfectly balanced. The strings sounded like a giant string quartet with very clear brass and woodwinds layered on top. Compared with any previous experience, the performances were simply awesome. Under George Szell the CSO became perhaps the best Beethoven Orchestra in North America.
The Szell set of Beethoven symphonies was the fourth set I bought on vinyl. I had complete sets by Arturo Toscanini, Bruno Walter and Herbert von Karajan. I loved them all for different reasons. Then I obtained the Szell set and they were played to death. Only the Karajan Seventh and Ninth got more plays. Over forty years have passed since then. and I have collected over two dozen different sets of Ludwig’s NINE … so many happy hours of listening to so many great performances (and some not so great.)
Now Amazon.ca offers the Szell SONY set for less than 20 bucks. WOW! Is it any good? Silly question! This is the same Szell Beethoven with precision and power … now with even better sound. Thanks SONY. I love you.
If you have never heard Szell’s Beethoven, you are in for a real treat. Get it now before the price increases or they sell out. You will not regret it.
PS 1 In the last movement of the NINTH, you can hear George Szell grunting as he extols the Clevelanders to give even more. I guess the engineers will never be able to remove those grunts.
PS 2 Where do I rank the Szell’s set? I rank it right at the top along with Karajan (both 1962 and 1977 sets), Gardiner, Zinman, and Wand.
PS 3 If you love the Fifth and Seventh, get Fritz Reiner’s Chicago Symphony recordings. Incredible!
In Summary: HIGHLY RECOMMENDED Happy Listening!
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Claude DUTRU
5.0 out of 5 stars
Grande version classique et exemplaire
Reviewed in France on May 24, 2014
Je rejoins ce qui a été dit par d'autres : cette intégrale des symphonies de Beethoven, pas souvent citée parmi les grandes références de ce monument de la musique, ne mérite que des éloges. Une caractéristique me semble frappante : à l'écoute, pas une seule fois je n'ai ressenti l'impression de "trop vite", "trop lent", "trop lourd", etc. Les tempi, le rythme, les accents sont EVIDENTS. S'il en est ainsi, c'est sans doute parce que Szell s'en tient à ce que lui disent les partitions, sans chercher à y ajouter de message personnel. Vous voulez du Beethoven ? Il est là ! Vous voulez du Beethoven transcendé, empoigné, disséqué... voyez Furtwängler, Karajan, Harnoncourt et d'autres.
Mais la MANIERE de Szell, néanmoins, si on écoute attentivement, se révèle passionnante. L'essentiel tient dans le rythme, l'articulation et le soin apporté à la mise en valeur du moindre détail. Tous les pupitres pourront dire "j'étais là" ! Il faut dire aussi que l'orchestre de Cleveland, s'il n'a pas les lettres de noblesses des grandes phalanges européennes, fait preuve d'une discipline et d'un brio exemplaires (à en juger par la photo qui orne l'album, on ne devait pas trop rigoler pendant les répétitions !). La célèbre "Pastorale" tranche un peu sur cet ensemble où règne rigueur et dynamisme : la baguette d'acier du chef s'est garnie de velours, la détente est flagrante, et personne ne s'en plaindra. Dans la Neuvième, le ton monte d'un cran, avec deux mouvements initiaux impérieux, un adagio grave et chantant mais pas trop et un hymne à la joie grandiose (solistes moyens, surtout les femmes).
A noter aussi que la prise de son et le travail de remastérisation sont d'un bon niveau et nous livrent un orchestre puissant et transparent.
Sur plan très général, on peut dire que cette intégrale se situe parmi les grandes versions "classiques", à égalité avec les meilleures car aucune n'est parfaite... et le prix constitue un attrait supplémentaire qui conforte la note 5 étoiles.
Mais la MANIERE de Szell, néanmoins, si on écoute attentivement, se révèle passionnante. L'essentiel tient dans le rythme, l'articulation et le soin apporté à la mise en valeur du moindre détail. Tous les pupitres pourront dire "j'étais là" ! Il faut dire aussi que l'orchestre de Cleveland, s'il n'a pas les lettres de noblesses des grandes phalanges européennes, fait preuve d'une discipline et d'un brio exemplaires (à en juger par la photo qui orne l'album, on ne devait pas trop rigoler pendant les répétitions !). La célèbre "Pastorale" tranche un peu sur cet ensemble où règne rigueur et dynamisme : la baguette d'acier du chef s'est garnie de velours, la détente est flagrante, et personne ne s'en plaindra. Dans la Neuvième, le ton monte d'un cran, avec deux mouvements initiaux impérieux, un adagio grave et chantant mais pas trop et un hymne à la joie grandiose (solistes moyens, surtout les femmes).
A noter aussi que la prise de son et le travail de remastérisation sont d'un bon niveau et nous livrent un orchestre puissant et transparent.
Sur plan très général, on peut dire que cette intégrale se situe parmi les grandes versions "classiques", à égalité avec les meilleures car aucune n'est parfaite... et le prix constitue un attrait supplémentaire qui conforte la note 5 étoiles.
aprosdoketon
5.0 out of 5 stars
Szell e la leggerezza di Beethoven
Reviewed in Italy on October 15, 2013
Una delle collane più meritevoli dell'odierno panorama discografico è sicuramente la serie "Masters" della Sony, che propone attraverso sillogi ragionate le "punte di diamante" del ricchissimo catalogo della major giapponese, in cui sono confluiti quelli della RCA e della CBS. L'unico veniale difetto che le si può imputare (e che si auspica possa venire prima o poi emendato) è, almeno sinora, la mancanza dei libretti illustrativi; quanto al resto, le confezioni sono eleganti, solide e maneggevoli, i prezzi più che accessibili, e - quel che veramente conta - la levatura dei contenuti è al di sopra di qualunque elogio.
Per citare solo alcuni esempi che si commentano da sé, si pensi che la collana comprende il ciclo beethoveniano di Bernstein con la New York Philharmonic, tutte le incisioni beethoveniane di Serkin, Stern e Heifetz, tutte le sonate (da Scarlatti a Prokof'ev) incise da Horowitz in oltre mezzo secolo per le due etichette americane. E ancora: i quartetti di Beethoven col Budapest e il Tokyo, i concerti di Mozart con Perahia, le freschissime incisioni mozartiane della prima fase berlinese di Abbado, quelle di Walter con la Columbia, e nutritissimi assaggi del Bach "eterodosso" di Gould come del sublime rigore di quello di Leonhardt. Ma l'elenco potrebbe seguitare per un pezzo, perché nella collezione non c'è praticamente nessun album che possa definirsi mediocre o di scarso interesse.
Delle sinfonie di Beethoven, la collana comprendeva già due integrali, quella (ottima) di Leinsdorf con la Chicago Symphony e quella (straordinaria) di Bernstein con la New York Philharmonic. Ad esse si aggiunge ora quella di Szell con la sua Cleveland Orchestra; e così si completa felicemente la trilogia dei più significativi cicli beethoveniani realizzati in America nella generazione successiva alla scomparsa di Toscanini e Walter.
Pur collocandosi tutte in un filone interpretativo prevalentemente estroverso, le tre letture sono tra loro profondamente diverse e complementari: se quella di Leinsdorf si caratterizza essenzialmente per la forza d'urto e i colori accesi e quella di Bernstein attua una miracolosa sintesi di vitalismo ed introspezione, questa di Szell appare concepita soprattutto nel segno di una non meno miracolosa levità: levità di tempi, di fraseggio, di colorito.
Ovvio quindi che ci si debbano attendere risultati particolarmente persuasivi dalle sinfonie "pari". La Pastorale, innanzitutto: sia nella nostra versione di Cleveland, sia in quella di qualche anno prima con la New York Philharmonic, si presenta ariosa, mossa e carezzevole, con una stupefacente raffinatezza di sfumature ritmiche e coloristiche.
Altra piena riuscita la Quarta, snellissima e frizzantissima, incarnazione addirittura ipertipica della linea interpretativa vitalistica. Nel primo tempo, la contrapposizione tra la lentezza misteriosa dell'introduzione e la sbrigliata effervescenza dell'allegro vivace si presenta ancor più accentuata che nella versione di Toscanini (che di questo filone è il capostipite); trionfalmente fluenti e luminosi sono poi sia l'adagio che il terzo tempo, mentre il finale (a differenza per esempio dalle letture molto rapide che ne offre Karajan) è concepito come un vero allegro ma non troppo, salvo movimentarlo mettendo in risalto le figurazioni dell'accompagnamento: soluzione che si incontrava del resto già sia in Toscanini che in Furtwängler.
L'altra faccia della vivacità e della simpatia è rappresentata dalla Seconda, dove incontriamo altrettanta verve ma molti meno contrasti, con tempi base relativamente moderati e uniformi che però finiscono per apparire vivaci grazie all'estrema leggerezza e mobilità del fraseggio. Se nella Quarta l'adagio introduttivo è lentissimo, cupo, misterioso, perfino minaccioso negli accordi e nei pizzicati in registro grave della seconda sezione, quello della Seconda è invece spedito, nervoso, trasparente, mentre il successivo allegro con brio, tra scariche di biscrome e accordi a piena orchestra, riesce a conciliare effervescenza e grandiosità in una quadratura del cerchio che ne restituisce con particolare efficacia lo spirito di baldanza giovanile. Disteso, trasparente e luminoso il larghetto, mentre nello scherzo il tempo non troppo veloce conferisce maggior risalto umoristico ai dettagli; il finale inizia piuttosto rapido ma tende a dilatare il tempo sui temi accessori, salvo poi stringerlo marcatamente nella coda: approccio fantasioso che conferisce maggior risalto a quello che non di rado rischia di essere il punto debole di questa simpaticissima sinfonia preromantica.
La concezione snella e luminosa del direttore ungherese produce comunque effetti benefici anche sulle sinfonie "forti", allontanandole dalle insidie della retorica e facendole apparire sotto una luce nuova. Di ottima stampa gode ad esempio la sua Settima, ancora una volta rapidissima nei tempi e raffinatissima nelle sonorità, che si pone ai vertici del filone apollineo tra la versione di Cantelli e quella di Carlos Kleiber. Singolare l'esperimento dell'Eroica, dove un fraseggio risoluto di matrice toscaniniana si associa a sonorità prevalentemente ovattate e quasi carezzevoli.
Levità di fraseggio e colore orchestrale scuro producono effetti molto suggestivi nel primo movimento della Quinta, scandito a tempo regolare ma con le "corone" molto tenute sulla quarta nota del tema principale. Fluido e caloroso il secondo tema: subito dopo la sua presentazione, si faccia caso ad uno sforzando di cui viene accentuato l'effetto ritardando leggermente, alla maniera di Walter (circa 1'15"). Nell'episodio accordale a metà dello sviluppo (circa 3'50"), il rallentando è invece molto meno marcato che in Toscanini; di straordinaria suggestione l'effetto "morendo" nella cadenzina dell'oboe (da 4'50).
Fra tanta snellezza ed essenzialità di contorni, un po' in controtendenza si presenta la Nona, dove prevale il registro della grandiosità. Maestoso nei tempi e brunito nelle sonorità, il primo movimento dura quasi sedici minuti, più nella linea di Furtwängler che in quella di Toscanini. Tagliente, incalzante e ritmicamente contrastato lo scherzo, dove i rintocchi dei timpani risuonano quasi brutali; vi contrasta più che mai il trio, rapido, fluido, legato, quasi carezzevole. Lento e angelico l'adagio, senza particolari contrapposizioni di tempo fra le due sezioni; tellurica la "fanfara del terrore" che apre il finale, il quale poi prosegue in chiave furtwängleriana, sia nella relativa moderazione con cui sono affrontati il tema della gioia ed i suoi sviluppi, sia nella sfrenatezza dionisiaca del prestissimo conclusivo.
Per citare solo alcuni esempi che si commentano da sé, si pensi che la collana comprende il ciclo beethoveniano di Bernstein con la New York Philharmonic, tutte le incisioni beethoveniane di Serkin, Stern e Heifetz, tutte le sonate (da Scarlatti a Prokof'ev) incise da Horowitz in oltre mezzo secolo per le due etichette americane. E ancora: i quartetti di Beethoven col Budapest e il Tokyo, i concerti di Mozart con Perahia, le freschissime incisioni mozartiane della prima fase berlinese di Abbado, quelle di Walter con la Columbia, e nutritissimi assaggi del Bach "eterodosso" di Gould come del sublime rigore di quello di Leonhardt. Ma l'elenco potrebbe seguitare per un pezzo, perché nella collezione non c'è praticamente nessun album che possa definirsi mediocre o di scarso interesse.
Delle sinfonie di Beethoven, la collana comprendeva già due integrali, quella (ottima) di Leinsdorf con la Chicago Symphony e quella (straordinaria) di Bernstein con la New York Philharmonic. Ad esse si aggiunge ora quella di Szell con la sua Cleveland Orchestra; e così si completa felicemente la trilogia dei più significativi cicli beethoveniani realizzati in America nella generazione successiva alla scomparsa di Toscanini e Walter.
Pur collocandosi tutte in un filone interpretativo prevalentemente estroverso, le tre letture sono tra loro profondamente diverse e complementari: se quella di Leinsdorf si caratterizza essenzialmente per la forza d'urto e i colori accesi e quella di Bernstein attua una miracolosa sintesi di vitalismo ed introspezione, questa di Szell appare concepita soprattutto nel segno di una non meno miracolosa levità: levità di tempi, di fraseggio, di colorito.
Ovvio quindi che ci si debbano attendere risultati particolarmente persuasivi dalle sinfonie "pari". La Pastorale, innanzitutto: sia nella nostra versione di Cleveland, sia in quella di qualche anno prima con la New York Philharmonic, si presenta ariosa, mossa e carezzevole, con una stupefacente raffinatezza di sfumature ritmiche e coloristiche.
Altra piena riuscita la Quarta, snellissima e frizzantissima, incarnazione addirittura ipertipica della linea interpretativa vitalistica. Nel primo tempo, la contrapposizione tra la lentezza misteriosa dell'introduzione e la sbrigliata effervescenza dell'allegro vivace si presenta ancor più accentuata che nella versione di Toscanini (che di questo filone è il capostipite); trionfalmente fluenti e luminosi sono poi sia l'adagio che il terzo tempo, mentre il finale (a differenza per esempio dalle letture molto rapide che ne offre Karajan) è concepito come un vero allegro ma non troppo, salvo movimentarlo mettendo in risalto le figurazioni dell'accompagnamento: soluzione che si incontrava del resto già sia in Toscanini che in Furtwängler.
L'altra faccia della vivacità e della simpatia è rappresentata dalla Seconda, dove incontriamo altrettanta verve ma molti meno contrasti, con tempi base relativamente moderati e uniformi che però finiscono per apparire vivaci grazie all'estrema leggerezza e mobilità del fraseggio. Se nella Quarta l'adagio introduttivo è lentissimo, cupo, misterioso, perfino minaccioso negli accordi e nei pizzicati in registro grave della seconda sezione, quello della Seconda è invece spedito, nervoso, trasparente, mentre il successivo allegro con brio, tra scariche di biscrome e accordi a piena orchestra, riesce a conciliare effervescenza e grandiosità in una quadratura del cerchio che ne restituisce con particolare efficacia lo spirito di baldanza giovanile. Disteso, trasparente e luminoso il larghetto, mentre nello scherzo il tempo non troppo veloce conferisce maggior risalto umoristico ai dettagli; il finale inizia piuttosto rapido ma tende a dilatare il tempo sui temi accessori, salvo poi stringerlo marcatamente nella coda: approccio fantasioso che conferisce maggior risalto a quello che non di rado rischia di essere il punto debole di questa simpaticissima sinfonia preromantica.
La concezione snella e luminosa del direttore ungherese produce comunque effetti benefici anche sulle sinfonie "forti", allontanandole dalle insidie della retorica e facendole apparire sotto una luce nuova. Di ottima stampa gode ad esempio la sua Settima, ancora una volta rapidissima nei tempi e raffinatissima nelle sonorità, che si pone ai vertici del filone apollineo tra la versione di Cantelli e quella di Carlos Kleiber. Singolare l'esperimento dell'Eroica, dove un fraseggio risoluto di matrice toscaniniana si associa a sonorità prevalentemente ovattate e quasi carezzevoli.
Levità di fraseggio e colore orchestrale scuro producono effetti molto suggestivi nel primo movimento della Quinta, scandito a tempo regolare ma con le "corone" molto tenute sulla quarta nota del tema principale. Fluido e caloroso il secondo tema: subito dopo la sua presentazione, si faccia caso ad uno sforzando di cui viene accentuato l'effetto ritardando leggermente, alla maniera di Walter (circa 1'15"). Nell'episodio accordale a metà dello sviluppo (circa 3'50"), il rallentando è invece molto meno marcato che in Toscanini; di straordinaria suggestione l'effetto "morendo" nella cadenzina dell'oboe (da 4'50).
Fra tanta snellezza ed essenzialità di contorni, un po' in controtendenza si presenta la Nona, dove prevale il registro della grandiosità. Maestoso nei tempi e brunito nelle sonorità, il primo movimento dura quasi sedici minuti, più nella linea di Furtwängler che in quella di Toscanini. Tagliente, incalzante e ritmicamente contrastato lo scherzo, dove i rintocchi dei timpani risuonano quasi brutali; vi contrasta più che mai il trio, rapido, fluido, legato, quasi carezzevole. Lento e angelico l'adagio, senza particolari contrapposizioni di tempo fra le due sezioni; tellurica la "fanfara del terrore" che apre il finale, il quale poi prosegue in chiave furtwängleriana, sia nella relativa moderazione con cui sono affrontati il tema della gioia ed i suoi sviluppi, sia nella sfrenatezza dionisiaca del prestissimo conclusivo.
john.edward.dalzell
5.0 out of 5 stars
Excellent version of LVB Nine
Reviewed in the United Kingdom on January 5, 2024
I love George Szell and the Cleveland Orchestra. This is beautifully recorded, and the Cleveland Orchestra under the venerable George Szell could always be relied upon, to deliver nothing but sheer excellence. I like this version of Beethoven's Nine Symphonies a lot.
It was a great buy at the price too.
What more could one ask for.......Great seller superfast dispatch top 5 star seller many thanks
It was a great buy at the price too.
What more could one ask for.......Great seller superfast dispatch top 5 star seller many thanks