Complete Symphonies Box set, Import
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|1. Symphony No. 9 Op. 125 'Choral': I Allegro ma non troppo un poco maestoso|
|2. Symphony No. 9 Op. 125 'Choral': II Molto vivace|
|3. Symphony No. 9 Op. 125 'Choral': III Adagio molto cantabile - Andate moderato|
|4. Symphony No. 9 Op. 125 'Choral': IV Presto - Allegro assai|
|1. Symphony No. 5 Op. 67 In C Minor: I Allegro con brio|
|2. Symphony No. 5 Op. 67 In C Minor: II Andante con moto|
|3. Symphony No. 5 Op. 67 In C Minor: III Allegro|
|4. Symphony No. 5 Op. 67 In C Minor: IV Allegro|
See all 9 tracks on this disc
|1. Symphony No. 3 Op. 55 'Eroica': I Allegro con brio|
|2. Symphony No. 3 Op. 55 'Eroica': II Marcia funebre: Adagio assai|
|3. Symphony No. 3 Op. 55 'Eroica': III Scherzo: Allegro vivace|
|4. Symphony No. 3 Op. 55 'Eroica': IV Finale: Allegro molto - Poco andante - Presto|
See all 8 tracks on this disc
|1. Symphony No. 7 Op. 92: I Poco sostenuto - Vivace|
|2. Symphony No. 7 Op. 92: II Allegretto|
|3. Symphony No. 7 Op. 92: III Presto|
|4. Symphony No. 7 Op. 92: IV Allegro con brio|
See all 8 tracks on this disc
|1. Symphony No. 2 Op. 36: I Adagio molto - Allegro con brio|
|2. Symphony No. 2 Op. 36: II Larghetto|
|3. Symphony No. 2 Op. 36: III Scherzo|
|4. Symphony No. 2 Op. 36: IV Allegro molto|
See all 8 tracks on this disc
Beethoven: The Nine Symphonies / Maag, Padua and Veneto Orch
These are the first recordings of Beethoven's symphonies by a distinguished Swiss conductor, working with an obscure and relatively small Italian orchestra. It's surprising on several counts. The smallness of the orchestra is sometimes a minor handicap, not in its impact, but in the way the winds often overbalance the strings. More commonly these days, we lose details in the wind parts, so the change in perspective can be refreshing. Also, the interpretations are all distinguished, among the better conceptions of the music currently available. And the playing of the orchestra is quite splendid, very well executed and coordinated throughout. These may not be perfect recordings, but then, neither is any of the others. And every performance has a point of view, an interpretive stance that makes sense. The discs are also available individually (and you will find more detailed reviews of the individual discs), but the price for the complete set is considerably lower. --Leslie Gerber
Top Customer Reviews
peter maag was a great conductor. and some of his recordings have attained legendary status. examples include his mozart with the london symphony, and his mendelssohn with the same orchestra. in these beethovens, maag is still interesting, of course, but despite some fine renditions of several of the symphonies (especially the 9th), the recordings are marred by uninspired playing and a grating, rough sound. it's simply too bad, for maag deserved a better orchestra than the padua and veneto.
the 3 stars are for peter maag; the little band he had got no star at all.
so there we have it. on the one hand, there's the previous reviewer who praised these disks to high heavens, and now my less glowing remarks.
Most Helpful Customer Reviews on Amazon.com (beta)
Maag apprenticed to Furtwangler, who taught him the importance of an intuitive approach to music and supported Maag's natural romantic tendencies, and he also apprenticed to Ernest Ansermet, who had a more rationalist approach. As a result, Maag valued a spontaneous approach to music, and he absorbed and polished Furtwangler's capacity to mould phrases and long-term musical lines with adjustments to dynamics (in particular) and tempo (with Maag, less so). But Maag coupled this with a rationalist's clarity of texture and line as well as more French orchestral balances (forward brass and winds in particular).
Maag waited until late in life to record the Beethoven cycle. In a mid-1990's interview in Italy, Maag said of these recordings, "I was always a little bit afraid because probably I had to live in the shadow of Furtwängler and I had the feeling that I would never be able to do and to record Beethoven in a such great way. However slowly I gained the courage and I faced the symphonies . . . If Furtwängler could listen to these recordings I hope he could find well exposed his teaching but I am sure he would tell me that these interpretations are more rational than he could expect, even if the intuition enjoys for me a special regard. This is probably the heritage of my collaboration with Ernest Ansermet, who always supported a rational background in music making . . . Ansermet gave to my romantic soul the French drops of reason and maybe the decision to record the symphonies of Beethoven with a chamber orchestra is linked with this experience. A chamber orchestra doesn't allow you to hide yourself but gives the opportunity to bring into the foreground the infinite details of the score." While this set features clear and open textures, with generally forward brass and woodwinds, Maag is careful to adjust the dynamics to bring out important details and maintain the melodic lines. Amazon's reviewer Leslie Gerber said that the winds overwhelm the strings; I disagree. I think these are the conductor's deliberate choices.
Three of the symphonies were recorded live: the 5th, 6th and 9th. And, not surprisingly, those three are the highlights of the set. The Pastoral has strong similarities to Furtwangler's leisurely approach but is very much on its own terms and very convincing. The Fifth is heroic and inspiring, and the 9th is beautiful. Other highlights include the Eroica, especially the Funeral March, which is forceful and dramatic with a wider range of emotion than usual; an energetic Seventh which truly does sound like a force of nature more than a symphony; and sweet Second with a meltingly beautiful slow movement. The Fourth is probably my favorite version of this symphony by anyone. Maag creates a joyous, light-footed, high-spirited performance which brings this lovely piece to light, and the last movement in particular puts every other interpretation I've heard in the shade.
Now, to the orchestra and the sound: this is truly a small chamber orchestra, with a regular complement of about 35 players (Chamber Orchestra of Europe has 50) and only 8 each in the first and second violins. Extra strings gives a polish and depth of sound, and that the Orchestra of Padua and Veneto definitely lacks. The wind and brass playing is almost uniformly excellent, although the first flute frequently gets lost in the tuttis. The string playing is fine and very Italian, with a bit wider vibrato than I'm used to. Considering that all of these performances were apparently done in one take, whether live or not, the orchestra acquits itself marvelously, with very few errors and no obvious flubs, and follows Maag's direction to a "t". That said, Maag's combination of small-scale orchestra with more romantic interpretations can be disconcerting. When I expected to hear that massive drama which comes from 100 musicians, I get the sharper, more punchy sound of the smaller ensemble. You have to be willing to forego the bigger, more sonorous string sound of the large orchestra to really love these recordings.
The recordings were made in four different locations: the 1st, 3rd, 7th and 8th in the Modigliani Auditorium, the 2nd and 4th in the Longio in Venice, the 5th and 6th in the Pollini Auditorium, and the 9th at the St. Antony Basilica. The recordings in the Pollini and the Basilica have the best acoustics for this orchestra, with a nice balance of clarity and tasteful reverb. The worst is the Modigliani, which has more reverberation and makes the orchestra sound both larger and rougher-sounding than it is. Arts' recording is clean and decent, but I just get this feeling that they wanted to make the orchestra sound like it had 70 players instead of 35.
I've yet to find a complete Beethoven set that didn't have its drawbacks. For this set, the compromises are in the orchestral quality (the lack of polish and depth of string sound noted above) and auditorium acoustics (in the 1st, 3rd, 7th and 8th). Interpretively, this set, for me, stands head and shoulders above many of those lauded by amazon customers, including those of Maag's contemporaries von Karajan and Bohm. Maag was a deeply spiritual person, a student of theology and philosophy who deep-sixed his career at its zenith by taking a two-year retreat in a Buddhist monastery because he felt he was becoming too much of a businessman and too little a musician. He says he learned concentration and meditation which influenced his musicianship at a very deep level. His care and love shine through, and the combination of Germanic and French influences, together with Maag's unique insights and skills in phrasing and dynamics and his sure sense of tempi and balance, make this a set worth anyone's time.
(Quotations from Maag's interview are taken from the Orchestra di Padova e Veneto's website.)
Maag, a one-time piano student of Alfred Cortot, and disciple of Wilhelm Furtwaengler, was one of the most impressively sensitive conductors of his era, noted for his beautiful and searching interpretations of, especially, Mozart and Mendelssohn, whose spirits, he clearly felt, were closely related to one another. His complete recording (with the London Symphony) of Mendelssohn's "Midsummer Night's Dream" has been rightly revered for forty years, and his more recent achievements with the Orchestra of Venice and Padua are no less impressive. In addition, the recordings are remarkably well engineered (fine ambience, excellent attention given to matters of balance).
The orchestra should also be singled out for praise - wonderfully warm string tone, and some of the finest wind-playing to come out of Europe in recent times. It is damning with faint praise to characterise this set as the work of a major conductor directing a minor league orchestra. There is nothing second rate about these musicians and Maag's presence lends an authority and assurance that places the results well beyond the goals and achievements of many so-called "star" conductors. Simply put, Maag was one of the great musicians of the century and these recordings are a worthy testament to his extraordinary gifts. Those interested in discovering details in the Beethoven symphonies that they didn't imagine existed should invest in this set forthwith. Contributing strongly to the overall effect is Maag's decision to reduce the size of the string section. Far from representing any handicap, this results in a satisfyingly "classical" Beethoven, with winds and brass suitably prominent, and with plenty of fire and drama where and when it's called for.
Has any other conductor better realised Beethoven's cautionary designation "non troppo", attached to the opening Allegro of the Pastoral? Or summoned more energy in the great seventh symphony? Or shaped the opening of the slow movement of the same work so tellingly?
The delights which await the listener are far too numerous to enumerate in any detail here. Suffice it to say that those wise enough to invest in this set (knowing Maag's reputation) will be rewarded by performances of almost transcendental beauty, conducted by an undisputed master, in state-of-the-art recorded sound. At one time, Peter Maag removed himself from the professional conducting circuit to devote his life to Buddhist study, in part to reclaim his "humility" as an interpreter. What is presented here (as well as in Maag's equally fine set of Mozart's later symphonies, also recorded with the Italian orchestra, of which he was chief conductor) is music-making of the greatest power, insight and humility by one of the most fascinating and satisfying conductors of the twentieth century. Strongest recommendation. Five stars.
Maag had only this one chance to commit his interpretations to disc and three of these recordings (the Fifth, Sixth and Ninth) are from live performances - not that you would know it from any deficiencies in the sound quality or precision. The effect of employing a smaller band - essentially a chamber orchestra - in the fairly reverberant acoustics of all four recording locations is just occasionally slightly unfortunate; the strings can sound a little, well, stringy and under-nourished, especially when the wind instruments are more prominent than we are perhaps used to, but this has the effect of allowing musical lines to emerge that we are not in the habit of hearing and I do not for one second wish to imply that the musicians themselves are anything less than first rate in intonation, phrasing or expression. We are treated to some lovely horn tone and pungent bowing, without any of the harshness associated with small, original instrument bands.
So much here sounds so right that it passes the biggest test in such familiar music: you do not find yourself wishing that it had been played in any other way, because Maag's conceptions are so wise and compelling. Just listen to the urbane charm of the "Andante con moto" of the Fifth or the bucolic serenity of the Sixth before the beautifully judged, scurrying intensity of the storm; Maag has the gift of allowing the listener to experience potentially hackneyed music with fresh ears; there is a sense of childlike wonder in his journey through this greatest of symphonic cycles. The Seventh is virile and rhythmically insistent in proclaiming its genius, with superb horn playing. The biggest surprise - perhaps because I was not expecting Maag to be able to compete with the Big Boys in the ultimate blockbuster - is his account of the Ninth. It is driven and passionate, with all the vividness of a live performance where everyone is inspired. I was especially impressed by the quality of the choral and solo singing. As a voice-fancier, I erroneously imagined that the singers could not be first class as I had not heard of any of them, before or since, yet they are a wholly convincing team, homogeneous and alert, rising admirably to the formidable vocal challenges.
In short, this bargain set is well worth the modest outlay. You may still want occasionally to enjoy the lushness of a big band like the Berlin Philharmonic but I would not pay too much heed to those who dismiss these performances as compromised by the lack of a household name symphony orchestra; Maag's vision in combination with their alert responsivness and innate musicality quite counter any doubts. This is a worthy companion to Maag's set of late Mozart symphonies from the same source (see my review).
Peter Maag's cycle is in that small latter category. I have heard many different conductors approach these symphonies and in each of those cycles I have the sense of the conductor's strong personality giving a kind of uniformity to all of the symphonies. With Maag, each symphony has its own distinct and unique character. He does not seem to have a particular interpretive template that he applies to all of them, and that allows each symphony to stand on its own. Additionally, he fuses a romantic temperament with a detailed, analytical approach, and in this repertoire that gives satisfying results. These performances have made me fall in love with Beethoven all over again. I've been listening to them multiple times over the past several weeks and they sound even better now than they did the first time.
Take the Second Symphony: it's the 'tweener, looking backward to Haydn and forward (as we know in hindsight) to the Eroica. Most versions of the piece I've heard take one of those two stances; Maag is one of the very few who lets it stand as its own high-spirited, joyful and melodious self. As to the others: the First is very Haydn-esque, sounding like it could have easily been written by him. The "Eroica" has an enormous emotional range, embracing strength, joy, grief, despair and the ecstacy of discovery and bursting apart the seams. The Fourth has lightness, deftness (especially in the finale) and a sense of curiosity, of looking at what's coming around the corner like a child exploring. The Fifth is fierce and triumphant. The Sixth gives more of a sense of the joy of being in nature than any version I've heard (especially in the second movement, where the instrument colors and phrasing show how well Beethoven captured the sounds of birds etc.) and the last movement has a steady radiance. The Seventh sounds like a grand experiment with rhythm and meter, with a fairly stern second movement and a galloping finale. I've never heard the humor of the Eighth presented better; it's the musical jokes of Haydn and Mozart interpreted through Beethoven's unique genius. And the Ninth is passionate, from the tearing emotional angst of the first movement through the spiritual uplift of the last. In addition, Maag's decision to record the symphonies with a small chamber orchestra gives an air of intimacy, although there is a certain heft missing from some of the major climaxes.
One reviewer here, and amazon's Leslie Gerber, raised issues about the orchestra. After listening to these recordings on headphones, I think I've isolated the problem. The orchestra itself is excellent: they play with finesse and follow Maag's directions flawlessly, including his sometimes-sudden shifts in phrasing and dynamics. This is even more impressive given that it appears each symphony was recorded in one "take", without subsequent edits (a practice of which Maag's mentor Furtwangler would have approved). The problem appears to be in at least one of the recording locations (for the first, third, seventh and eighth), which is so "live" and resonant that it creates a "smear" (which sounds like harshness) on the sound in some of the louder passages, as well as in the engineering, which tends to hide the flutes and make the tympani lack presence.
These sonic details are, however, minor quibbles in one of the more enlightening and satisfying traversals of the Beethoven canon I've heard. Very highly recommended.
"Likable" is a good word for this cycle. The trouble is that Beethoven would have loathed such an appellation applied to himself, or his history-making symphonies. Great art is severely diminished when it turns merely likable, a synonym for domesticated. the recent reappearance of Maag's cycle at various download sites reveals that the sonics are very good and also the balance of the orchestra. It's no fault in this HIP era for an orchestra to be small, but the most committed period conductors bring zip and punch to their Beethoven, while Maag is middle-of-the-road in all respects. Just to stay with the Eroica, the funeral march is a mild, sunny stroll -- in what way is that a true representation of the composer's intent? The Scherzo proceeds well, and happily, the Trio finds the horns in good shape. But we are soon back to domesticity in the finale, which opens with considerable caution and proceeds along a literal path to the end. Accents are nearly absent, and once again, the dynamic range remains almost entirely confined to a few notches above and below mezzo forte.
To sample other highlights: The Fifth Sym. has a first movement that is well paced but is emotionally so low key, with softened accents and limited dynamics, that only mild approval is called for. The Scherzo is handled with care to create some atmosphere, but the sudden horn entrance is sodden instead of startling. The great golden trombone entrance in the finale is underplayed, and the whole movement proceeds sturdily. This is respectable small-time Beethoven. The first movement of the "Pastorale" reveals a tendency on Maag's part to set a reasonable tempo, only to lapse into tedium very soon thereafter. the Scherzo finds our peasants dancing politely in slippers, with not the slightest rustic wit or energy. The Allegretto of the Seventh, a hard movement to handle because of its slow build and repetitiveness, simply lies there. The finale, which Karajan turns into a thrilling race, all but ambles under Maag.
Why go on? It's not for me or anyone else to legislate taste, but I'm sorry to find so much enthusiasm for this respectable but hardly outstanding Beethoven, compared to which Gunter Wand is Jove hurling lightning bolts. It's never encouraging when the ordinary swallows up the estraordinary.