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1958 Syms 3/5/7

Ludwig Van Beethoven Audio CD
4.8 out of 5 stars  See all reviews (5 customer reviews)
Price: CDN$ 49.81
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Product Details

Disc: 1
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

Customer Reviews

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5.0 out of 5 stars First Class March 7 2003
By A Customer
Format:Audio CD
This collection of Beethoven Symphonies can hold its own against the best in the market. The 1959 Solti Eroica is more spacious than Karajan's 1962 Eroica but better. Not only does Decca have a better recording and sound, Solti's interpretation is more exciting and befitting of the heroic proportions of the Eroica Symphony. Karajan's 1962 recording is too revebrant. You get the feeling that the orchestra is playing in an empty hall (which, in fact, it is). You'll be surprised but Decca in 1959 had a better recorded sound than later Decca. The sense of presence is incredible. The same can be said of the 5th and 7th symphony. The Vienna Philharmonic is simply Hors Concours here. They outshine the Berlin Philharmonic for in the 5th and 7th in Karajan's cycle. Somehow, the Karajan leaves one vaguely dissatisfied. To be fair to Karajan, part of the reason is the unsatisfactory recording by DG which is too revebrant. The woodwinds in particular sound like they some from some distance away. Whereas in the Solti Vienna edition, the woodwinds are rightly in front. The sound is fuller and better.
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.
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5.0 out of 5 stars They're back and Better Than Ever Oct. 2 2002
Format:Audio CD
I owned these back when the world was young and vinyl was the only medium you could hear them on. The prizes here are the third and seventh. In the "Eroica", Solti takes all the repeats, and, for my money, strikes just the right balance between the excessively propulsive performance of Dohnanyi's Cleveland and Klemperer's ponderous New Philharmonia. The second movement again hits just the right stride, not too fast, but never bogging down. There are some wonderful horn balances in the fugue section that still raise the hairs on my arms thirty years after I first heard this performance. The scherzo is full throttle, almost impossibly fleet, except for the trio section where he slows down considerably - an interesting touch. Well-paced fourth movement, again with good horn balances in the last big statement of the main theme. This performance is much better than his last one with the Chicago, which in my opinion, was a sodden mess. This is my "desert island" "Eroica".
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?
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4.0 out of 5 stars Wide Dynamics and Tempos Jan. 24 2002
Format:Audio CD
Georg Solti and the Vienna Phiharmoic- how can one go wrong? To begin with, I will admit a bit of favoritism: I enjoy the high energy and fast tempos of Herbert von Karajan's cycle of Beethoven's symphonies. Solti's renditions pose a striking contrast to the clean and glossy sound of those recordings. Solti gives a raw, charged atmosphere to these symphonies, putting a bit of himself into the overall sound. Whereas Karajan preferred to take a cool approach to the music, Solti charges straight in, never hesitating or apologizing for taking interpretation to the extreme.
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.
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