[.ca] 9 Syms/6 Ovts

From Amazon.com:
This is hedonistic Beethoven, though in listening to these accounts one wonders sometimes whether Herbert von Karajan may not have confused sex with love, and physicality with emotion. At least he seems more concerned with opulence of sound and weight of texture than with psychology or substance. Yet while his interpretation has neither great emotion, nor struggle, nor a sense of spiritual release, it certainly has great beauty and exhilaration. The readings are typical of the "massaged" style of performance Karajan cultivated in Berlin during the 1970s, and which Andrew Porter famously critiqued when he likened the results to Kobe beef. There is a certain softness under all that muscularity, though for the most part Karajan shows his usual strong grip and maintains the balance of lyrical and kinetic elements. The Berlin Philharmonic, at its peak when these recordings were made, is a marvel: even if its playing is rarely fiery or spontaneous, its sound is plush, succulent, and exilaratingly rich. Karajan uses a big orchestra all the way through, even in Symphony No. 1--which as a result sounds rather massive, though not heavy (the brisk scale in the violins at beginning of the fourth movement is delightfully airy). In addition to their polish, his readings are notable for their high energy level. This is particularly true of the Eighth, one of the most successful items in the set, which is interpreted in a way that clearly shows its connection to Seventh. On balance, the accounts run from very good to outstanding (Nos. 4, 8 and 9), but only rarely do they approach the transcendent. The recordings, made in Berlin's Philharmonie, are close-miked and mastered at a fairly high level, and sound is impressively firm. --Ted Libbey

truly magnificent:
Many critics will argue that Karajans 1960's cycle of the Beethoven symphonies is superior to this one-generally because of the highly polished sound of these recordings.That is their opinion but I happen to like higly polished orchestral playing and these Karajan performances are heaven to my ears.If you like these performances check out Karajans seventies recordings of the Brahms and Mozart symphonies which have similar merits.

under the surface:
This truly is an amazing set! For me this set beats his famous 1963 recordings. It seems that people take it for a fact that most of his 1970 recordings lack power, passion and meaning without ever hearing those performances. Yes you have that reckognisable Karajan sound allover, but how this sound interact with a certain composer or work you'll only find out by listening to it. For example: I like the "kitschy" singing violins in this Beethovenset very much, it adds mysterie to the score, the same singing violins (same recorded as well) however I dislike in his Bruckner-recordings, because there they rob the music of its mystery and mystique. Weird, because string-vibrato in general suits Bruckner's music better than Beethoven's. As said, the main reason why people underrate this set (and most of his '70 recordings)is because of their general perception of Karajan's sound. That Karajan sound isn't just the orchestral playing, but also the sound of the recordings and I agree that this sound can add too much "Karajan" to a musical work, and can rob the music's identity-> The Karajan soup, constantly flavoured by the same ingredients. One particular flavour is the (artificial sounding) concert hall acoustics and it is this acoustic in partnership with those violins that can give most music that peculiar 1970 romantics feel: candlelight dinners, on the beach at the right time: when the sun is going down, stone grilling (am I saying it right?-> cooking meat at a hot stone)etc. But it's not honest to judge all his music on these likeable or unlikeable features: under that polished surface of the recordings there is real passion, energy and drive and the playing isn't that polished at all. Listen to the lower strings, they rub intensly and the brass isn't underplayed all the time, rather under-mixed. I am probably the only person who rate these performances higher than his1963 recordings, there I do not find the same energy, passion and speed. Yes, the tempi are faster and I like them that way. Of this set I particuarly like the 3rd, 5th, 6th, 7th and 8th sympnonie. The first two symphonies are given a too massive performance, in these works only a period intsrument ensemble can do a fine job or the orchestra must be smaller. His 9th is let down by a too slow and not very rythmical profiled 1st movement. The rest, especially the adagio is superb. (The adagios in general I like better played by a traditional orchestra instead of a period ensemble). His 3rd is superb: great speed in the first movement and the orchestra is playing their socks of, what power, drive and passion! Same with the 7th. Yes the brass could be better profiled and articulated, but the overall stormy performance generously make up for these minor complaints. His 6th is still the best I ever heard, to my ears this work is the most romantic in atmosphere and therefore everything matches even that "kitschy" recording. All these performances are not that cold and polished as the recording might suggest. In comparison with Gardiner I noticed that Gardiner's performance is much more controlled, polished and somewhat polite than Karajan. I recommend this set without hesitation, for me these performances still are up with the best. Judge for yourself.

No match for 1963 cycle:
The most thrilling Beethoven cycle on records was released with Von Karajan and the Berlin Philharmonic in 1963 on DG #429036-2. It is unsurpassed for beauty, drama and excitement. In 1976 Von Karajan recorded a second cycle that brought all the notes together in the right places at the right time, but was relatively pallid. He returned for the last time in 1990 with this ponderous offering. Perhaps his interpretive decline is because - in 1963 - Von Karajan was closer in age to the mature Beethoven and had greater affinity with the composer's whole being instead of merely his profundity.

I respectfully disagree, this is the best series:
I adore each of the Karajan Beethoven cycles, and many others'. But I will not join the persistent near consensus which hails the 1963 cycle over the last, heard here. The 1963 Berliners were fiery, but rarely elegant; the 1970's Berliners, more elegant. Afterwards, the partnership with Karajan, although often rocky, was a devoted one, and the results became extraordinary - the best was even better. There is a balance of precision and emotion in this last period which K. and the orchestra had striven to achieve for decades together. Surely this perfect blend is what Beethoven would have desired in the Age of Romance and Enlightenment? Listen to the phrases he wrote, and try to gauge if they could be played with a greater combination of technical perfection and passion than heard in this cycle. One can hope for more fire as in 1963, but not more passion by these musicians. At the most important moments, this collaboration very nearly transcends the limits of human artistry, and that is all we could hope for.

!963 set far superior:
Good though these performances are, the 1963 ones are far better, perhaps with the exception of the 6th. The performance of it in this set has the best scherzo I have ever heard, with the repeat intact and oboe and horn playing that are out of this world (not at all like peasants, but never mind) and I never tire of listening to it. But that's where it ends. The first movement of the Eroica is misty and much too fast, a far cry from the superb offering Karajan gave us in 1963, the same goes for the 4th symphony. It reminded me of thick gluggy gravy. The 7th is very well articulated and hard to fault, and yet something is missing that is present on the 1963 recording. Go for the earlier set which has the best 3rd, 4th, 7th 8th and 9th ever made.

• Symphony No. 1 In C Major, Op. 21: 1. Adagio molto - Allegro con brio
• Symphony No. 1 In C Major, Op. 21: 2. Andante cantabile con moto
• Symphony No. 1 In C Major, Op. 21: 3. Menuetto. Allegro molto e vivace
• Symphony No. 1 In C Major, Op. 21: 4. Adagio - Allegro molto e vivace
• Symphony No. 4 In B Flat Major, Op. 60: 1. Adagio - Allegro vivace
• Symphony No. 4 In B Flat Major, Op. 60: 2. Adagio
• Symphony No. 4 In B Flat Major, Op. 60: 3. Allegro vivace
• Symphony No. 4 In B Flat Major, Op. 60: 4. Allegro ma non troppo
• Overture, Egmont, Op. 84: Sostenuto, ma non troppo - Allegro
• Symphony No. 2 In D Major, Op. 36: 1. Adagio - Allegro con brio
• Symphony No. 2 In D Major, Op. 36: 2. Larghetto
• Symphony No. 2 In D Major, Op. 36: 3. Scherzo. Allegro
• Symphony No. 2 In D Major, Op. 36: 4. Allegro molto
• Symphony No. 7 In A Major, Op. 92: 1. Poco sostenuto - Vivace
• Symphony No. 7 In A Major, Op. 92: 2. Allegretto
• Symphony No. 7 In A Major, Op. 92: 3. Presto
• Symphony No. 7 In A Major, Op. 92: 4. Allegro con brio
• Symphony No. 3 In E Flat Major, Op. 55 'Erocia': 1. Allegro con brio
• Symphony No. 3 In E Flat Major, Op. 55 'Erocia': 2. Marcia funebre. Adagio assi
• Symphony No. 3 In E Flat Major, Op. 55 'Erocia': 3. Scherzo. Allegro vivace
• Symphony No. 3 In E Flat Major, Op. 55 'Erocia': 4. Finale. Allegro molto
• Overture Leonore No. 3, Op. 72A: Adagio - Allegro
• Symphony No. 5 In C Minor, Op. 67: 1. Allegro con brio - L.V. Beethoven
• Symphony No. 5 In C Minor, Op. 67: 2. Andante con moto - L.V. Beethoven
• Symphony No. 5 In C Minor, Op. 67: 3. Allegro - L.V. Beethoven
• Symphony No. 5 In C Minor, Op. 67: 4. Allegro - L.V. Beethoven
• Symphony No. 8 In F Major, Op. 93: 1. Allegro vivace e con brio - L.V. Beethoven
• Symphony No. 8 In F Major, Op. 93: 2. Allegretto scherzando - L.V. Beethoven
• Symphony No. 8 In F Major, Op. 93: 3. Tempo di Menuetto - L.V. Beethoven
• Symphony No. 8 In F Major, Op. 93: 4. Allegro vivace - L.V. Beethoven
• Overture Fidelio, Op. 72B: Allegro - L.V. Beethoven
• Symphony No. 6 In F Major, Op. 68 'Pastorale': 1. Awakening Of Cheerful Feelings Upon Arrival In The Country - Allegro ma non troppo
• Symphony No. 6 In F Major, Op. 68 'Pastorale': 2. Scene By The Brook - Andante molto mosso
• Symphony No. 6 In F Major, Op. 68 'Pastorale': 3. Merry Gathering Of Country Folk
• Symphony No. 6 In F Major, Op. 68 'Pastorale': 4. Thunderstorm
• Symphony No. 6 In F Major, Op. 68 'Pastorale': 5. Shepherd's Song: Happy And Thankful Feelings After The Storm
• Overture To H. J. von Collin's Tragedy, Op. 62: Allegro con brio
• Overture 'The Creatures Of Prometheus' To Salvatore Vigano's Ballet: Adagio - Allegro molto con brio
• Overture 'The Ruins Of Athens' From The Music To A. von Kotzebue's Play: Andante con moto - Allegro, ma non troppo
• Symphony No. 9 In D Minor, Op. 125: 1. Allegro manon troppo, un poco maestoso - Ludwig Van Beethoven
• Symphony No. 9 In D Minor, Op. 125: 2. Molto vivace - Ludwig Van Beethoven
• Symphony No. 9 In D Minor, Op. 125: 3. Adagio molto e cantabile - Ludwig Van Beethoven
• Symphony No. 9 In D Minor, Op. 125: 4. Presto - Ludwig Van Beethoven
• Symphony No. 9 In D Minor, Op. 125: 4. Presto - Final Chorus From Schiller's 'Ode To Joy' - Ludwig Van Beethoven