Ships within 3 business days ≪Brand new unopened item≫

Detail description This is hedonistic Beethoven. However, listening to these performances, Herbert von Karajan sometimes seems to confuse sex and love, body and emotion. At least, he appears to be more interested in the richness of sound and the weight of texture than in psychology or substance. His interpretations lack great emotion, conflict, or a sense of spiritual liberation, but they certainly possess great beauty and uplifting mood. His playing style is a typical “massage” style that Karajan refined in Berlin in the 1970s, and as is well known, the “massage” style was compared by Andrew Porter to Kobe beef, praising the results of his performances. Beneath a muscular physique, there is a certain softness, but overall, Karajan demonstrates his intense command, maintaining a balance between lyrical and dynamic elements. It is remarkable that the Berlin Philharmonic Orchestra, which was at its peak when these recordings were made, is truly astonishing. Although their performances are rarely passionate or spontaneous, their sound is luxurious, lively, and rich enough to lift the mood. Karajan consistently used a large orchestra throughout. Even in Symphony No. 1, the sound is not heavy but sounds large (the brisk scales of the violins at the beginning of the 4th movement are pleasantly light). In addition to the orchestra’s smoothness, Karajan’s interpretation is notable for its high level of energy. This is especially true for Symphony No. 8, one of the most successful works in this complete set, which is performed in a way that clearly shows its relation to No. 7. Regarding balance, evaluations range from “very good” to “outstanding” (for Nos. 4, 8, and 9), but approaching transcendence is rare. The recordings made with close mics at the Berlin Philharmonic are produced at a very high level, and the sound is remarkably robust. Content introduction Karajan, Complete Beethoven Symphony Cycle of the 1970s Although Karajan left six complete sets of Beethoven symphonies during his lifetime, including video, the most thoroughly intended recording by Karajan is this set recorded between 1975 and 1977. The combination with the Berlin Philharmonic during this period undoubtedly reached its peak, producing a grand, powerful, yet detailed sound that is highly listenable. The analog recordings by Günter Hermanns during the final phase are also excellent, conveying the performers’ intensity directly. The six overtures included in the set are also large-scale and superb performances. [Recording contents] CD1 · Symphony No. 1 in C major, Op. 21 · Symphony No. 4 in B-flat major, Op. 60 · Overture “Egmont,” Op. 84 CD2 · Symphony No. 2 in D major, Op. 36 · Symphony No. 7 in A major, Op. 92 CD3 · Symphony No. 3 in E-flat major, Op. 55 “Eroica” · Overture “Leonore” No. 3, Op. 72b CD4 · Symphony No. 5 in C minor, Op. 67 “Fate” · Symphony No. 8 in F major, Op. 93 · Overture to the opera “Fidelio,” Op. 72c CD5 · Symphony No. 6 in F major, Op. 68 “Pastoral” · Overture “Coriolan,” Op. 62 · Overture “Prometheus,” Op. 43 · Overture “The Ruins of Athens,” Op. 113 CD6 · Symphony No. 9 in D minor, Op. 125 “Choral” Anna Tomowa-Sintow (S) · Agnes Baltsa (M) · Peter Schreier (T) · José van Dam (B) · Vienna Singers’ Association Chorus · Helmuth Froschauer (Chorus conductor) · Berlin Philharmonic Orchestra · Herbert von Karajan (Conductor) Recorded: 1975-77 [Symphonies], 1965 & 1969 [Overtures] Media reviews etc. “In July 1989, at age 81, conductor Karajan passed away, leaving a collection of recordings of Beethoven’s symphonies on Deutsche Grammophon. This is the first release.” (C)RS
-
【Disclaimer】The benefits may end without notice. Please inquire if you wish to confirm. If there is no inquiry, we will deliver in the new packaging. Thank you for your understanding.