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| Disc: 1 |
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| 1. Symphony No. 3 In E Flat Major, Op. 55 'Eroica': I. Allegro con brio |
| 2. Symphony No. 3 In E Flat Major, Op. 55 'Eroica': II. Marcia funebre: Adagio assai |
| 3. Symphony No. 3 In E Flat Major, Op. 55 'Eroica': III. Scherzo: Allegro vivace |
| 4. Symphony No. 3 In E Flat Major, Op. 55 'Eroica': IV. Finale: Allegro molto |
| Disc: 2 |
| 1. Symphony No. 5 In C Minor, Op. 67: I. Allegro con brio |
| 2. Symphony No. 5 In C Minor, Op. 67: II. Andante con moto |
| 3. Symphony No. 5 In C Minor, Op. 67: III. Allegro - |
| 4. Symphony No. 5 In C Minor, Op. 67: IV. Allegro |
| 5. Symphony No. 7 In A Major, Op. 92: I. Poco sostenuto - Vivace |
| 6. Symphony No. 7 In A Major, Op. 92: II. Allegretto |
| 7. Symphony No. 7 In A Major, Op. 92: III. Presto |
| 8. Symphony No. 7 In A Major, Op. 92: IV. Allegro con brio |
Solti's 5th is fast and furious and Gramophone rightly said - it is in the 'great' class. The horns come through thrillingly in the 7th symphony. I have Carlos Kleiber's 5th and 7th. I think the honors are about equal between Kleiber and Solti. If I had to make a choice, I would go with the Kleiber. But the Solti is also not to be missed, especially since it comes with his Eroica. the Solti can hold its own against the kleiber. Collectors need not hesitate to purchase this Solti set.
The Vienna Philharmonic has once again proven that it is one of the world's greatest orchestras. Recommended without hesitation.
The seventh is just as good, but regrettably, Solti takes NONE of the repeats. I consider the seventh to be the toughest of Beethoven's symphonies to bring off, because if the execution isn't spot-on, it sounds frantic and driven, especially in the outer movements. But here, Solti and the Viennese shine. The last movement is a whirlwind, but it never sounds pushed or breathless, because the execution is breathtaking - listen to the violins playing the turning figure in the coda's big buildup just before the end. The only comparable execution I've ever heard in Beethoven is also a Vienna production - Carlos Kleiber's fabled DGG performance of the fifth.
Solti's fifth doesn't match Kleiber's (who does?); it's perfectly serviceable, with a menacing third movement and wonderful heft and presence in the basses. But the brasses are oddly subdued, and the second movement just never seems to get into gear. Great execution, but it fails my ultimate test of performances of this symphony: it doesn't leave me with goosebumps.
Serviceable sound; solid but no sonic blockbuster. But the musical thrills these performances give more than make up for it. It's great to have these wonderful performances back, sounding better than ever.
Solti's style works best in the third symphony. This was the first of Beethoven's symphonies to really stray from the Classical style and declare itself a truly Romantic composition. Solti's energy, along with the unrefined sound of the recording work perfectly in this "crossover" piece. The first movement is both Classical and Romantic in its sound, toeing the line perfectly. The second movement presents an unpretentious depth of feeling, exuding a mood of true mourning. The second half of the symphony allows Solti to move from the endless vitality of the third movement to blaring optimism of the fourth.
The fifth symphony is probably Solti's weakest showing in the set. The first movement, with its all-too familiar "fate knocking" motif is perfectly executed, but the second movement lacks sustenance. I prefer Karajan's sweeping, accelerated rendition (which brings the fifth concerto to mind). I think Solti tries to hang on to the moment too long, allowing it to actually elude him. The third and fourth movements are tolerable, but still lack the high energy or clean sound necessary to conclude the elements of the symphony.
The seventh symphony is perfection, although with a raw sound, exposing the listener to the nuts and bolts of Beethoven's fire. The tempos are perfectly executed in the first movement, ranging from slow indecision to rollicking energy. The second movement sounds almost medieval in its approach. The bitterly lethargic tempo, the unrefined sound, all contribute to a vast feeling of inescapable sorrow. Solti is marvellous with the third movement, seeming to constantly speed the orchestra. Solti presents the fourth in a raucous, breathtaking rampage.
Solti's energetic character along with the more intimate sound of the recrodings provides a balanced look at pieces that belong both in the Classical AND Romantic periods. The sound is not of the gargantuan orchestras of the later Romantic or modern period, but Solti's style as a showman gives the works fresh vitality and raw energy that pierce right to the heart of Beethoven's works.
