Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1963

★★★★★

   The full cycle of Ludwig van Beethoven’s nine symphonies is one of highest achievements in the history of music, especially in orchestral music and in symphonic form. Considering the role of these symphonies play in the history of music, it’s needless to say, this is mandatory set of works in artistic development of every orchestra. The same applies to conductor. Performances of Beethoven’s symphonies usually reveal what the real possibilities of an orchestra and conductor are. Whatever we can say about different esthetic attitudes, perfect symphonic form, augmented with rich musical semantics and emotional content, these works always disclose real quality of musical art. Unprofessional orchestra can successfully play Symphony No. 1, maybe even Symphony No. 2, but there is no amateur band which is able to play the whole cycle. In opposite to this, best orchestras have no problem with performing symphonies, they are able to embody any particular vision of Beethoven’s music.
   Berliner Philharmoniker took position in the forefront of best symphony orchestras in the world. The band is sometimes called Berlin Philharmonic Orchestra (BPO), but its original German name is brand perfectly known for any educated person in the world. One of qualities of their sound is its flexibility and instant reaction for conductor’s gesture. This orchestra is perfect instrument and can change the way it sounds for any need. No wonder it embodies interpretative elements on every level of performing skills and always sounds as a continuation of conductor’s idea. This quality makes Berliner Philharmoniker just a perfect band performing and recording Ludwig van Beethoven’s music.

Herbert von Karajan — Beethoven — Symphonies 1st & 2nd (1963)

   The 1963 edition of Deutsche Grammophone Gesellschaft was the first time Herbert von Karajan recorded complete set of Beethoven’s symphonies with Berliner Philharmoniker. For many reasons this performance is the best one. For 55 years old Karajan this was critical point of his career. He already achieved all conductor can, he was recognized as great artist, he had recorded whole basic symphonic repertoire, he was working successfully with almost every significant orchestra in the world. For some reasons he was willing to be the best one, while he was still one of best only. Recording in 1963, 1977 and 1984 next sets of Beethoven’s symphonies he was aiming to reach the position of absolute leader of symphonic music. And the fact is no other part of musical tradition can equal the cycle of Beethoven’s nine symphonies.
   All four Karajan’s visions of Beethoven’s cycle were complementary, every symphony took its place in the sequence set as it was marking episodes in output of revolutionary composer. And Karajan was always tending to show this quality as a feature. In 1963 edition symphonies are rendered with separate plans using the possibilities of recording technique. Selective sound of every group makes whole orchestra sound in multidimensional sound space. And oppositions of orchestral sections are clear and energetic. Especially for the first two of symphonies this rendition is original, probably most unusual of Karajan’s interpretations. First two symphonies he shows in more sustained interpretations then these compositions are usually shown. Every element is consequently planned and executed. This way early Beethoven’s symphonies sound even more dramatic and emotional. These renditions reveal new possibilities of interpreting Beethoven’s works. Five stars for the record.

Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1977

★★★★★

   Symphonic works by Ludwig van Beethoven were the major position in Karajan’s repertoire. Beethoven’s style was always a perfect choice to show Maestro’s abilities to connect deeply emotional, dramatic matters with formal discipline. After success achieved with completes of symphonies recorded with Philharmonia Orchestra in 1950’s and with Berliner Philharmoniker in early 1960’s Karajan was perceived as a perfect performer of music by Beethoven. Recording his third complete of nine symphonies decade later, Karajan was way ahead in his career than any time before. He was famous as one of most charismatic conductors in the history of music, the orchestra in its best shape was working in the newly built house, performing and recording in new concert hall with outstanding acoustics. This moment was conceptualized as triple pentagon emblem symbolizing the unity: space-music-man in West Berlin Philharmonic.
   In second half of 1970’s Deutsche Grammophone released new complete of recordings of Beethoven’s nine symphonies conducted by Herbert von Karajan. Covers of new edition were series of photographic variations on numbers of included symphonies. Almost in parallel to this series, the same label had republished earlier complete with color cover photos of Karajan in various positions. This can be seen as an act of bravery considering artistic quality of first edition, but in fact there was no undue risk. As it was easy to predict, in second DGG edition Herbert von Karajan once again demonstrated his ability to create powerful constructions of symphonic works, reaching the heights of emotional and intellectual sophistication.

Karajan — Beethoven — Symphonies 1st & 2nd (1977)

   Comparing to strong, in some parts even rough performance of earlier decade, these renditions of first two symphonies have gentler and a bit subtler sound. Tempos in all movements are fast and jokes are easy to understand, what makes this vision less complicated than performances of 1963 album. For the same reasons 1977 rendition can be considered as well as more classical. This unity of formal context and well established ideas reveal entire work as emotional narration which is still classical, but already struggling with some new points. Minuet in Symphony C-Major Op. 21 sounds with demonic fatality and still is light merging sincerity with joker’s determination and cheerfulness. Dramatic effect in the beginning of Finale occurs to be next joke, and even more joyous pageant for the light-hearted closing of this early symphony being in a fast first step to break the classical style. 

   And the next Beethoven’s step toward the new century music was his second Symphony D-Major Op. 36. This time Beethoven makes his first change in formal construction of classical symphony — the third movement is signed as Scherzo, although it has more minuet features than Minuet in 1st Symphony. While Minuet in Symphony C-Major is in fact a scherzo, here we have opposite idea: considering rhythmic and melodic characteristics third part of 2nd Symphony is as much minuet as Minuet in 1st Symphony was a scherzo. It looks like Beethoven is hesitating between keeping old formal rules and expressing his individual experiences and feelings. Finale is just eruption of joy, closing this dramatic work with pleasant feelings. Just like it was expression of the seventies’ zeitgeist – dramatic but still full of hope.

Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1984

★★★★★

   Herbert von Karajan recorded Beethoven’s symphonies many times. Among dozens of studio and live recordings of performances with various orchestras, most important part of Karajan’s discography were cycles of nine symphonies he recorded first with Philharmonia Orchestra and three complete sets he recorded with Berliner Philharmoniker. First cycle has been published in 1955 by Columbia. Next three cycles were recorded for Deutsche Grammophone Gesellschaft — first in early 1960’s, second in late 1970’s and third in 1980’s. And these editions may be the most capacious vision of symphonic experience for those decades. Every rendition has its own qualities and fanatic proponents, wherein majority choices are generally earlier Karajan interpretations. In fact the volume of later editions was smaller, so the circulation of last performance was not as significant as it was before. Nonetheless this edition is extremely interesting one. It can be considered even as an artistic testament of the great conductor.
   The natural solution in Karajan’s DGG editions is setting first two of Beethoven’s symphonies on one LP. In 1970 these symphonies were reissued in changed configuration, but the main idea of keeping original order was retained in all editions. In fact the first two are among shortest of Beethoven’s symphonies and both are connected by style and orchestral demands. Strings, double winds, two trumpets and two horns plus timpani mark this instrumentation in classical mainstream. Although many stylistic elements show that music of first two Beethoven’s symphonies is clearly classical, most interesting qualities are elements differentiating young composer’s work from the conventional classical style. 

Karajan — Beethoven — 1st & 2nd Symphonies (1984)

   The First Symphony, composed in late 18th century and premiered in 1801 is rather a rebellious commentary than one more classical construction. Starting with harmonic passage introducing the key as a kind of musical joke, composer developing his construction always with a grain of salt, and in third movement Minuet everything become clear. It can be only a comic effect to imagine this very fast Allegro molto e vivace dance with minuet steps and figures. Keeping the name Minuet, Beethoven wrote his first scherzo in 1st Symphony. And since this movement is based entirely on harmonic scheme taken from opening Allegro con brio, there’s no doubt this is a caricature of these shaping principles. Here young Beethoven shows qualifications and sense of humor being manifestation of his independence.
   In Karajan’s 1984 recording Beethoven’s first two symphonies had been rendered in slightly slower tempos to enhance the articulation and sound perspective. The sound is unbelievably precise and thus the musical space is wide and clear, Beethoven’s music tissue in this recording looks like it was shown in aerial view. This occurred to be a great idea. Showing multitude of nuances, focusing his attention on various possible readings, Karajan gives listener a chance to find some new perspective and an unknown comprehension in decoding Beethoven’s music. After powerful Allegro con brio in 2nd Symphony, second movement  Larghetto spreads between mysticism and determination. Orchestra sounds clear and warm, sound space is as wide as it is possible. This deeply inspired performance opens whole series of Karajan’s 1984 recordings of Beethoven’s complete symphonies. Each record of this complete is worth highest rating, so this time there’s no need to count the stars.

Bruno Walter - Schubert's Unfinished and Beethoven's Fifth

★★★★★

   There are genius musicians and musicians with moderate talent. Among them there are modest people and impostors. Since most musicians are duplicating some patterns, it is really hard to say what part of the scene is more important in the history of music, creators or carriers and supporters.  One of the best ways to test creative talent in music is to examine how original are interpretations of commonly known works. Performances too much dependent of tradition, reproductive and not self-reliant are excluded at this point, although we should remember this is the main part of all musical activity. Interpreters who can show the work in new perspective, who are able to find some new ideas in famous and commonly known work, these are really gifted people. Such works as most popular symphonies like Beethoven’s Fifth or Schubert’s Unfinished are the test some musicians will never pass.
   Bruno Walter recorded Schubert and Beethoven many times. Especially looking for recordings of most popular symphonies like Beethoven’s Fifth and Schubert’s Unfinished, one can be overwhelmed by number of performances and recordings. But our astonishment fades away when we consider it was just a part of everyday work and basic symphonic repertoire was recorded on various occasions, for example with live radio broadcasts. Standards were considerably lower and market more voracious, so recordings had more chance to be sold. These recordings have paramount importance in understanding changes in perception of music in last century. Bruno Walter recorded Schubert’s Symphony No. 8 “Unfinished” nine times, first time with Vienna Philharmonic Orchestra in 1936 and last time with the same orchestra in 1960. Beethoven Symphony No. 5 in C Minor Bruno Walter recorded four times, first time for Columbia with Royal Philharmonic Orchestra in 1926, second with New York Philharmonic in 1941 and then two times more as parts of wider projects of complete Beethoven’s Symphonies in 1950 with New York Philharmonic and in 1958 with Columbia Symphony Orchestra.

Bruno Walter conducts Schubert and Beethoven (1963)

   In 1963 edition of two most popular symphonies Columbia chose newest studio recordings. Schubert’s Symphony No. 8 is sixth recording and was made with New York Philharmonic March 3rd, 1958 at St. George Hotel in Brooklyn. It was recorded three more times with Chicago Symphony Orchestra, New York Philharmonic and with Vienna Philharmonic, but all of these were live recordings. Recording of Beethoven’s Symphony No. 5 with Columbia Symphony Orchestra was Walter’s last recorded performance of this work. It was done during two day session January 27 & 30, 1958 at American Legion Hall. Both were master performances and Columbia published them repeatedly as parts of various programs. Unfinished Symphony was published under Columbia Masterworks label since 1960 in many re-editions. It basic set was together with Schubert’s Fifth Symphony. This album has its license edition in German Democratic Republic in 1967, in 1974 was republished in CBS Masterworks and in 1996 on CD with Beethoven’s Overture Leonore III by Sony. Beethoven’s Fifth was published with Fourth and sold both as a part of  complete Symphonies' set or as alone album.
   What makes these more than half century old recordings still interesting is the question of value in music. In fact this is also the way to ask about autonomy of musical meaning. 19th century music is so much complex it can be reinterpreted without the danger its potential can be exhausted. The issue in best conductors’ performances is not only to show the new face of the composition, but to show it in most universal, most capacious shape. Bruno Walter read Schubert’s Symphony No. 8 B Minor ‘Unfinished’ in a dramatic way, moving the centre of gravity from melodic narration to background harmony dramatic contrasts and obsessive rhythms. Powerful dynamics and orchestral precision of sound and articulation give this performance more tragic aspect than usual. In contrast Beethoven’s Symphony No. 5 C Minor Op. 67 Bruno Walter shaped as more classical, balanced in equilibrium of melodic and rhythmic ideas and formal discipline. Characteristic feature of his interpretation of Fifth are moderate tempos, never too fast, rather slower, calm and reassuring. Five stars for quality of interpretation sound of orchestras and recording quality.

Ludwig van Beethoven – Lieder verschiedener Völker

★★✰

   Strong position of artistic song in romantic culture, its complex relations with folklore sometimes obscures predominant role of the folk song in classical period. In instrumental music of this period folk tunes were the main source of melodic invention, covering dance and cantilena formations. This was intellectual effect of Enlightenment turn to laic, secular traditions and pre-romantic judgment on value of folk culture. This presumption was strengthened in late classicism, and one of apostles of merging folk traditions with artistic music was Ludwig van Beethoven. The great composer was known for his symphonic pieces and sonatas, while dozens of his songs remain unpublished. This is why so many of Beethoven’s pieces are signed by WoO – (Werke ohne Opuszahl – Works without opus number).
   Many cycles of Beethoven’s unedited songs in different catalogues or even various editions of the catalogues have different numbers. That is why there’s no such cycle as 27 Lieder verschiedener Völker (Songs Of Various Nationalities) WoO 158/1, although Eterna edition show such number for the cycle and even catalogue number. Under this number in Hans Halm and Georg Kinsky catalogue we can find only 23 Lieder verschiedener Völker WoO 158a (23 Songs Of Various Nationalities) and indeed first 23 songs from the record are the set of the cycle. After comparison of first 23, we should ask where the other four songs are. And this question is not quite easy to answer. Of course we can find the songs in catalogue of Beethoven’s compositions.

Ludvig van Beethoven – 27 Lieder verschiedener Völker (1973)

   Number 24 is Non, non, Colette with information it’s Jean-Jacques Rousseau’s Air of Colin from Le Devin du Village. Full title of this song is Non, non, Colette n’est point trompeuse and it can be find in Halm and Kinsky catalogue as 2nd song in the cycle 6 Songs Of Various Nationalities WoO 158c. Numbers 25 and 26 are two songs from Austria written in March 1820. They are present in catalogue by Willy Hess under Nr 133: Das liebe Kätzchen and Nr 134: Der Knabe auf dem Berge. Last song is present in Halm and Kinsky catalogue Air Français WoO 158d. These four songs are supplement to the cycle of 23 Lieder verschiedener Völker WoO 158a. In catalogue by Halm and Kinsky there are much more arrangements of folk songs from various European cultures. Why in complete edition of Beethoven’s works these four were connected to the cycle of 23 remains unknown, but one can guess it is justified by the origin – the first part of WoO 158 is collection of continental folk songs, just like the four added songs. The last song Air Français is just the melody, text is unknown, so it is played by oboe.
   Most widely represented is Tirol with 5 songs, then go Russian and Spanish culture with 3 songs each, later Polish and Portugal with 2 songs. Denmark, Hungary, Italy, Sweden, Switzerland and Ukraine are presented with one only song. Different voices are Renate Krahmer (soprano), Ingeborg Springer (mezzo-soprano), Eberhard Büchner (tenor) and Günther Leib (baritone). There are voices of members of Radio Choir from Leipzig under direction of Horst Neumann and accompanying instrumentalists Kurt Mahn (oboe), Werner Pauli (guitar), Eva Ander (piano), Reinhard Ulbricht (violin) and Joachim Bischof (cello). Recorded in May and July of 1972 album is rare document of old, traditional style of song performing art. Interesting for its idea and for history of composer who was more European than most Europeans can understand, it deserves two and a half star for its uniqueness.

Wilhelm Furtwängler conducts Ninth by Beethoven

   Wilhelm Furtwängler was one of the best symphonic and operatic conductors in 20th century. He was the man of phenomenal talent and musical reliability, an artist challenging with dramatic circumstances in German culture of nazi era and many unfair judgments after the war. There were some controversies about how much his position in nazi Germany affected mature period of his career. It’s meaningful, after decades these issues are still remembered and discussed as the matter of public interest. There was also in 1995 a play Taking Sides by Ronald Harwood and then movie under the same title produced in 2001 with Harvey Keitel and Stellan Skarsgård. Both are great as adversaries fighting in front of a pair symbolically representing first generation of rebuilding Germany Birgit Minichmayr and Moritz Bleibtreu. Skarsgård is so convincing in the role of dr Wilhelm Furtwängler, it’s easy to forgive he is not a conductor. Actor’s conducting gesture is wary and safe against the real Furtwängler’s expression as we know it from documentaries. Although movie is interesting vision of postwar consciousness conflicts, it is not quite accurate picture.
Despite Wilhelm Furtwängler was great musician, he was responsible person taking difficult decisions at the time it could have cost him his life. His personal story of recognized conductor in time of nazi regime, the story of a German who did not agree with the nazis but did not leave the country, trying to help as many as he can, both Jewish musicians and Germans who did not agree with politics of new rulers. As an artist with internationally recognized fame, director of Berliner Philharmoniker was to some degree untouchable, so he was able to help for many people. Furtwängler was also in contact with German resistance and his situation began to change when regime was close to the end, he had to flee to Switzerland. After the war famous conductor was brought to degasification trial and in effect cleared of all allegations. In comments he said he stayed in Germany during nazi rule because he felt responsible for German music. The controversy was just at starting point.

Furtwängler – Beethoven – Symphony No. 9 (1951)

   Despite the verdict of denazification officials, Wilhelm Furtwängler was stigmatized in public opinion. In forthcoming years there were still people who disagreed with artist’s acquittal, blaming him for confirming nazi regime. When in 1949 he was proposed as director of Chicago Symphony Orchestra, artists in USA and some other countries had declared against him and Chicago Symphony boycott, among his opponents were conductors Arturo Toscanini and George Szell, pianists Alexander Brailowsky, Artur Rubinstein, Vladimir Horowitz and violinist Isaac Stern. Finally the offer has been withdrawn. Accusations against conductor can be seen as an effect of emotional and intellectual powerlessness in the face of nazi crimes. While Furtwängler was banned in America, in Germany he was authority regarded not only as the great artist but also the one who was trying to save as much of German culture as it was possible.
   There were also artistic controversies dealing Furtwängler’s interpretations. Probably the most famous was 1942 performance of the Choral Symphony before rulers of Germany. He presented the rendition revealing depth of humanity present in Beethoven’s music and in Schiller’s poem. Next performance was prepared for festive re-opening of Bayreuther Festspiele in 1951, when two performances were recorded – first during dress rehearsal (EMI) and second during public performance (Orfeo D’or). Last of Furtwängler’s recordings of the Ninth was concert performance from Lucerne Festival in 1954.
   The one Wilhelm Furtwängler conducts with the Chor und Orchester der Bayreuther Festspiele made by EMI was for years recognized as one of best performances of Ludwig van Beethoven’s Symphony No. 9 D Minor op. 125. Recorded at the July 29, 1951 in Bayreuth and published by EMI in 1955, this is dramatic performance, full of inner tensions and contrasting episodes. Great quartet of soloists includes great soprano, star of world opera Elisabeth Schwarzkopf, known for her Wagner and Richard Strauss performances mezzo-soprano, here announced as an alt, Elisabeth Höngen, operatic heroic tenor Hans Hopf and Wagnerian bass Otto Edelman. Powerful team makes the symphony stands on the foundation of a solid sound. Perfection and sudden changes affect the turbulent and dramatic narrative. More than 60 years later, I still can impress, although it is also evidence that both recording technique and means of expression over the years have changed considerably. Three stars as it is still fair performance.

Cyprien Katsaris plays Beethoven’s Seventh Symphony

   Romanticism was the time of great success of Ludwig van Beethoven’s music. In the times of the birth of romantic ideology and a growing worship surrounding artists, poets and composers, the last great Vienna classic became the social mind hero. He was seen as an unrivaled creator of music reaching highest levels of metaphysical mysteries and human spiritual powers. Especially his symphonies and sonatas were considered as the exposure of 19th century mind. And this music was played not only in original settings, but also by every possible instruments and ensembles. Piano sonatas were transcribed for various chamber lineups to meet social needs. The same way, the whole cycle of Beethoven’s symphonies was present virtually in everyday life with its various piano transcriptions. Some were easy, like four-hands editions for home playing, others were highly artistic arrangements demanding virtuoso pianist.

   One of greatest piano virtuoso ever and the prominent composer of 19th century was Franz Liszt (he was also known under the name Franz Ritter von Liszt or Hungarian form of his name as Liszt Ferenc). He was strong personality in New German School (Neudeutsche Schule) forcing new ideas in writing and constructing musical forms. An important part of his artistic activity were public performances as the master of romantic piano. Like every romantic virtuoso Liszt was composer of his own repertoire but also and author of numerous piano transcriptions. He was not only transcribing music for piano, organ and other instruments, making many free editing changes, composing paraphrases, variations, reminiscences, fantasias and other creative elaborations common in romantic culture. Among most famous were his transcriptions of music by Richard Wagner who was Liszt’s son-in-law and complete of nine Beethoven’s symphonies.

Cyprien Katsaris – Beethoven-Liszt Symphony No.7 (1985)

   Beethoven’s Symphony No. 7 was transcribed by Franz Liszt in 1838 along with Fifth and Sixth. Five years later he transcribed Third. Other transcriptions were unpublished while Liszt was playing them during his European touring. In 1863 Breitkopf & Härtel ordered transcriptions for planned publication of complete set. Cyprien Katsaris, one of the best pianists recording in last four decades, recorded this one in 1985 for Teldec complete edition pressed in Direct Metal Mastering technology. This recording has all the advantages to become a legend. Virtuoso cycle of great works demands great technique as well as great intellectual and emotional possibilities. And Cyprien Katsaris is one the only artist with such temperament and professional possibilities. Powerful sound, wide range of dynamic and expression means, deep emotionalism and suitable distance to the form – these are qualities giving Katsaris' recordings exceptional place between best achievements of piano masters.
   Program of the album comprises also 1982 recording of Robert Schumann’s Exercises (original title is Etüden in Form freier Variationen über ein Thema von Beethoven, WoO 31). The choice is strongly justified since basic subject of the Exercises is the Allegretto theme of the same Beethoven’s Symphony. The comparison of these two compositions shows stylistic difference between Schumann and Liszt piano works. This is also a perfect occasion to experience the versatility of Cyprien Katsaris’ pianistic art. This is phenomenal attribute of his art. His interpretations are always subjected to a composer’s style to the point he is hard to recognize as a performer. He owes his position to unforgettable renditions of Beethoven, Chopin, Mozart and great set of late romantic virtuoso music. In Liszt’s transcriptions of Beethoven’s music there are all qualities of his art. Five stars (out of five) for rendition which is so much complete.

Herbert von Karajan – Beethoven – Symphony No. 4 B-flat major op. 60

   Symphonic oeuvres by Ludwig van Beethoven provoke listeners to an interesting alternation of meaning. While odd symphonies are considered to be rather revolutionary and unique, even are seen as predominantly more conservative and stable. Among four even symphonies only Pastoral Symphony is clearly a rebellious in idea and construction. But three others, 2nd, 4th and 8th are seen as more balanced and in fact less meaningful. Of course this deeply unfair assumption comes more likely from the way these symphonies are interpreted, than from their actual contents. For example many renditions of Symphony no. 4 are basing the presumption there are no tragic fragments in this work. In this context any different rendition can be seen as revealing, but when reinterpretation is made by Herbert von Karajan, it is insightful by definition.
   Two years after Eroica and two years before famous Fifth in the summer 1806 Beethoven composed Symphony No. 4 B-flat major op. 60. It was premiered in March 1807 at a private prince Franz Joseph von Lobkowitz’s home concert. The same evening premieres were Coriolan Overture op.62 and Piano Concerto G major op. 58. The form of this symphony is almost perfect medium of mature classical style. First and last parts are in sonata form and in the key of B-flat major. Dialogues between instruments in the development section of first movement Allegro vivace are indicating the real aim of this symphony could be a kind of discourse on relations between form and meaning. This is confirmed by resonating violins theme augmented with great symphonic setting in second movement Adagio in E-flat major key. Last movement  Allegro ma non troppo with its erupting enthusiasm confirms discursive idea of Fourth Symphony.

Herbert von Karajan – Beethoven – Symphony No. 4 (1977)

   Herbert von Karajan recording in 70’s his second complete set of Beethoven’s symphonies made interpretation of every one like it was separate attainment. This approach is justified because this symphony is separated by two-year gaps from previous and next symphony – the Third was written in 1804 and the Fifth was finished in 1808. These years were the time of political and health troubles, developing deafness and emotional complications in his personal life. And one more time Karajan has proven how great interpreter of Beethoven he was. Trying to grasp the meaning of symphony being for many conductors just consolation between tragic symphonies of this period, Karajan strengthened fragments of dramatic tension giving them a kind of sinister feeling and foreboding of active evil. Even in scherzo Allegro vivace he found characteristic traces of an obsessive anxiety.
   As it was mentioned, comparing to other symphonies, especially dramatically determined 3rd and 5th, Symphony B-flat major op. 60 is usually read as more sustainable, gentle and subtle. Not this time – the inner energy of this rendition is hard to believe. Berliner Philharmoniker working with Karajan as principal conductor from 1954 to 1989 was consistently one of the best symphonic orchestras worldwide. In 1970’s, and later on, its characteristic quality was beautiful sound in every moment of extremely wide dynamic range. This gave conductor possibility for creating interpretation virtually without limitations. And in Beethoven’s symphonys as well as in many other of his recordings Herbert von Karajan make great use of this features. Having at his disposal the orchestra of phenomenally beautiful sound, Karajan strengthened dynamic contrasts and with perfect articulation augmented dramatic qualities of symphonic narration. This vision of Symphony B-flat is as much dramatic as classically balanced. Finale Allegro ma non troppo and especially turbulent transformations in central part makes it the key movement carrying out the idea of this performance. Here is also the place and time for more dramatic effects than might have been expected.

Friedrich Gulda plays Beethoven’s Complete Sonatas

   When choosing the interpretation of the great composition cycles the great caution is highly advisable. Such cycles are sometimes piece of work spanning whole composer’s life. In many cases an artist owes the fame to his past achievements or to accurate performance of some part of the cycle. In such case it's easy to overlook the differences between the works and even fall into the stereotypical reading. Cycle of Beethoven’s 32 piano sonatas is an example of such challenge. Of course, every great pianist, gaining freedom in determining the sonata form rendition and artistic self-consciousness, attempts to deal with this task. One of those who made it with great success is Friedrich Gulda. Personally I think he made it with best known artistic quality.
   Friedrich Gulda was one of most reliable and creative piano masters of 20th century. Born in 1930, in age of seven he started to study in Vienna conservatory and as 12 year old he entered Music Academy. In 1946 he won the Geneva International Competition, and before he reached his twenty, he played worldwide. His basic repertoire span includes late baroque, classicism, romanticism and modernity, although the best results he achieved in classical piano forms, concertos and sonatas by Mozart and Beethoven. Furthermore he was highly unorthodox artist, opened for different genres and styles. He played jazz, recording with Chick Corea, composing such music as Variations on The Doors ‘Light My Fire’ and organizing rave parties. He was also playing baritone sax and giving public performances in unconventional clothes.

Friedrich Gulda – Beethoven's Complete Sonatas (1967)

   Friedrich Gulda was an artist of strong background in tradition of Western music and personality whose creative ideas pushed him to explore alternative traditions as well as new ideas. Some officials were unable to understand his esthetical and philosophical views. When in 1988 council of Salzburg Festival express some doubts about inviting jazz pianist Joe Zawinul, Gulda in protest cancelled all appointed performances. This attitude gave him nickname “terrorist pianist”. But he was just the artist who was not submissive to authorities. In his recordings this point of view has been clearly expressed. And there is no better composer for emphasizing performer’s defiance than Ludwig van Beethoven. In his large-scale, multi-movement forms depths of ideas and intensity of feeling reached the limits of musical meaning.

   It is open question, if one pianist can perform whole set of Beethoven’s sonatas. Differences between early and late of 32 sonatas, the set comprising forty years (1782-1822) of composer’s development are profound. Beethoven’s personality change, historical and intellectual breakthroughs increased the stylistic distance between first and last works. No wonder for pianists Beethoven’s Sonatas are Himalayas of artistic challenge. Every artist dreams about performing complete set, but only some achieve complete success. One of them is Friedrich Gulda who recorded this 11 LP set for famous 1967 edition by Amadeo – Viennese label focused mainly on jazz (active 1956-1974). This legendary series is one of best renditions ever. Comparing to earlier recordings by Schnabel and Kempff, Gulda is more open, more polyphonic. He left more space for listener’s individual experience. His brilliant technique gives clear picture of both musical structures and emotional depths. Five star recording, maybe the best ever complete of Beethoven's sonatas and excellent candidate for personal favorite.

Maurizio Pollini – Beethoven’s Piano Concerto G Major

There are dozens of great renditions of every one from Beethoven’s cycle of five piano concertos. This is natural consequence of qualities inserted to this traditional formal construction by the last of the three greatest composers of classical Vienna school. Due to the extraordinary economy of resources and an unprecedented wealth of musical content, all five piano concertos are groundbreaking creations. Every one of his concerti as well as any work in other form is different and in its individual way full of significant features. It’s worth to notice, Beethoven’s music is always consistent on formal level, but still most of references point directly to emotional spheres of musical meaning.
Beethoven’s Piano Concerto No. 4 G Major op. 58 admittedly is one of very best piano concertos in the whole history of this form. The outward appearance of this concert is typical for its time – three part concerto construction with tonal change in middle movement (E minor in Andante as relative key to G major of first and last movements) and a Beethovenian usual cast of symphonic orchestra (flute, double winds, dual horns and trumpets, timpani and strings) – it looks like it was common work of late Classical Era. Piano introduction opening Allegro moderato, enchanting impression in Andante con moto and lively rhythmic Rondo, all this makes Concerto No. 4 the major effect of creative impulse. This is common characteristics of Beethoven’s oeuvres and maybe this is the reason for great respect which surrounds his music.

Pollini and Böhm in Beethoven's Piano Concerti (Eterna 1982)

Every record collector has personal choice of almost any great musical works best renditions. There is the real crowd on the shelf with excellent recordings of Beethoven’s piano concertos. But still it is hard to omit among them the Deutsche Grammophon series of LPs featuring Maurizio Pollini along with the Wiener Philharmoniker conducted by Karl Böhm. This collection of three records included only three of five Beethoven piano concertos – 3rd, 4th and 5th – which are definitely more essential and more appreciated by the public than first two. This 1976 DGG edition was awarded by music lovers with the Grand prix des discophiles. In 1982 series of records has been released as a oficial license edition by Eterna company in GDR, and than became widely recognized in Eastern Europe.
Recording Concerto No. 4, Maurizio Pollini gave great performance both on technical and on esthetic level. His piano sounds firmly and stylish, tempi are based on phrases formed the way as set by Beethoven. Such prudent approach along with original composer’s cadenzas makes this interpretation absolute perfect picture of this work. Orchestra of Viennese Philharmonic sounds deep in dynamics and perfectly in articulation. This recording is founded upon qualities giving Piano Concerto No. 4 G Major op. 58 mark of one of the best symphonic works and overall form of piano concerto the parallel position to Beethoven’s symphonies.

Herbert von Karajan – Beethoven’s Pastoral Symphony

Symphony in F Major, commonly known as Pastoral Symphony was finished in 1808 and premiered together with composers Fifth Symphony during one concert in Theater an der Wien, December 22nd, 1808. And this is not by coincidence these two works are so close. Ludwig van Beethoven begin to compose his Sixth Symphony in 1802. He was under great impression of just premiered oratorio Die Jahreszeiten by Joseph Haydn. Since we know he was wandering on every occasion by the rural outskirts of Vienna, it can be confirmation of his deep love to the nature and straightforward country living. And this affection made him try to render the beauty of countryside in series of symphonic visions.

Invoking most obvious situations, imitating sounds of nature and suggesting emotions he achieved much more than programmatic instrumental music. Formally it is first symphony of this kind in the history. It has five movements instead of four which we know as a rule according to classical principle. Composer gave series of tittles suggesting matter of every part and forming a kind of story beginning with arrival to the country, admiring idyllic scenes, surviving the storm, feeling gratitude and happiness.

He made this external program the most readable layer of his work but composition was constructed consequently as a symphonic cycle. Even if it is composed of five parts, fourth part is a kind of introduction to the real finale. This movement titled by composer as Gewitter, Sturm can be also seen as a second part of the scherzo which would be then consisted of two contrasting episodes. But the first option is more likely because of lack of final cadence in fourth movement of this symphony.

Herbert von Karajan – Beethoven’s Pastoral Symphony

Beethoven was intentionally searching for best dramatic solution in frame of classical symphonic form. Scherzo in Pastoral Symphony has two trios what can be taken from idea of the rondo form balancing sonata rondo form in closing part of the work. Theodor Adorno considered this to be a pattern referred to by Anton Bruckner in his scherzos. Nevertheless three last movements are connected together and played attaca as one movement. And whole symphony is enough universal in it’s idea and realisation to be listen just as a symphonic cycle. And maybe this is why composer said it is „more the expression of feeling than painting”.

Among many phenomenal renditions of this work one is special. Recorded in 1962 with Berliner Philharmoniker and first published in 1963, Herbert von Karajan’s interpretation of Sixth Symphony is rare example of perfection. Every phrase appears, resounds and ends with soft coherence. And even if we would find somebody who can’t understand sound painting effects, emotional substance of this music should be build the inkling of future happiness. This kind of attainment is always dependent of the orchestra highest artistry but person determining the final vision of the work is a conductor. And Karajan was always personality with clear creative vision of final work and complete skills to achieve his aim.

In discography of Herbert von Karajan one can find almost every great composition from the history of orchestral music, but his privileged position was based on master interpretations of greatest nineteenth century symphonies. His cycle of Beethoven’s symphonies recorded in 1961 and 1962 was internationally acclaimed and in next decades published in many series of Deutsche Grammophon. This edition was released in series Accolade in 1978 for English market and marked conductor’s position in Great Britain.

Ricardo Muti – Beethoven – Symphony No. 7

Nine symphonies by Ludwig van Beethoven belong to the group of highest accomplishments in the history of European musical culture. Therefore every one composition from this collection is played constantly anywhere in the world. The symphonies are not the cycle. Every one has it’s own idea and unique character, sometimes it is obvious, sometimes enigmatic and all are bonded by person of great composer. Consequently it is hard to point the best interpretation. After hundreds and thousands of performances, Beethoven’s symphonies are still a real challenge for artists. One of great conductors who recorded unforgettable Beethoven’s renditions is Ricardo Muti. He recorded complete cycle with Philadelphia Orchestra which he was leading for twelve years 1980-1992. Among many later recordings, early recording from 1979 deserved the special place it occupies on the record shelf. This is debut recording with the orchestra, has great idea of the work and incomparable sound. It was published under Angel and EMI labels.
During the 1970s when Muti was principal guest conductor of The Philadelphia Orchestra, naturally he was also the Philly’s featuring artist, both on concert events and recordings. This position is commonly treated as a kind of qualifying period and after Eugene Ormandy in 1980 officially retired, Muti succeeded him as Musical Director for next 12 years. Ricardo Muti is great conductor in the style of old masters of the baton. He understands the weight of artistic responsibility when working with full symphonic and performing big works for thousands of listeners. His career can be seen as he is the same kind of personality as Arturo Toscanini. He is not finishing his job until piece of art is completed and self-referenced.

Ricardo Muti – Beethoven – Symphony No. 7 (1979)

One can have totally different idea of interpreting some opus, but when listening to his interpretation it is hard to avoid the impression this is the only well-founded attitude towards the work. Seventh Symphony is rhythmically strong, swinging and emotionally pronounced work. While many conductors try to calm down natural expression of this work, in his 1979 recording Ricardo Muti gives perfect example of interpretation following composers ideas. And this is not the same interpretation as included in recorded in forthcoming years the nine symphonies complete. Sound is much more natural and still every nuance is greatly audible.

The recording session took place in historic place called the Met Church, former place of the Metropolitan Opera House in Philadelphia. Opened in 1908 opera house seated 4200 patrons every one of whom had perfect sight to the stage and was biggest concert hall in the world. In first 3 dacedes it was opera house, later it was used as a hall for various entertainment undertakings, cinema and sport venues,  as ballroom and since May, 1954, it was used as a church.
Today building located at 858 North Broad Street, the major arterial street of the Pennsylvania capital, is used by Holy Ghost Headquarters Revival Center at the Met, consecutive religious institution which tries to raise founds for renovation of the historic building. The legendary hall has near-perfect acoustic conditions. In 1978 and 1979 EMI used The Met Church for recording with The Philadelphia Orchestra marking records as „The new Philadelphia Sound”. In 1979 orchestra started recording using digital technology and this changed the approach to acoustic matters. Change doesn’t mean made obsolete. Listening 32 years after recording The Philadelphia Orchestra sounds astonishingly modern and alive. The sound space effects are more natural than from any studio processing. And maybe this is why vinyl records have still their power of making listeners happy.

Rubinstein – Beethoven: 5 Piano Concertos

Artur Rubinstein, legendary interpreter of nineteenth century music recorded complete of five Beethoven’s piano concertos three times. And every time for RCA Victor Company. First complete set of Beethoven’s concerti artist recorded in 1958 with Symphony of the Air conducted by Joseph Krips became great artistic success. Second rendition of Beethoven’s concerti cycle artist recorded in 1970 with Boston Symphony Orchestra conducted by Erich Leinsdorf. For the last time complete of five concerti Artur Rubinstein performed five years later, in 1975 with London Philharmonic Orchestra lead by Daniel Barenboim. He also recorded some piano sonatas and violin sonatas with Henryk Szeryng. 

Artur Rubinstein’s connection with Beethoven’s piano works has its reasons. He studied at the turn of the century. These times Beethoven was valued as musical genius beyond every compare. And this was main reason for regular presence of his music in concert programs where it was played with romantic touch and emphasized emotions. Just the same as music of romantic composers, Chopin, Brahms, Liszt and Rachmaninoff. Rubinstein was naturally the type of romantic virtuoso focused on dramatic and visionary elements of musical work.

Rubinstein – Beethoven: 5 Piano Concertos (1970)

Cycle recorded in 1970 is quite different from earlier pianist renditions. Great success of more than decade earlier recordings indicate Rubinstein as best interpreter when RCA projected this monumental edition. Boston Symphony Orchestra and Erich Leinsdorf, resident conductor of the orchestra in sixties also were the meaningful choice. Soloist and orchestra sound surprisingly solemn and profound. According to well grounded cliché Boston Symphony was most classical orchestra in America. And this 4 LP set is next prove of versatility and emotional capacity of classical style.
Such attitude was understandable in 1970 – during recording sessions to commemorate internationally celebrated Beethoven Year in 200 anniversary of composer’s birthday. Complete five concerti are diversified, first two have more classical touch, what sometimes lead to playing them in typical Mozart concerti manner. In this performance Concerto C Major is more like forecast of closing whole cycle Concerto E-flat Major. Artists build stable construction of exact phrasing, in some points more symphonic than concertante. Second Concerto has more classical touch, especially in Rondo, what means softly and more precisely finished phrases and harmonic passages, but is still enough distant from Mozart’s style.
Third concerto is dramatically determined. There were some connections with light brilliant style Rubinstein showed in his 12 years earlier recording. In 1970 recording such stylistic tendencies are hard to find. Erich Leinsdorf, who in the same time recorded complete Beethoven’s symphonies, in concerti sized up with symphonic tradition of great Vienna composer. The effect are astonishingly profound and intellectually proved performances. In Piano Concerto No 4 G Major this symphonic manner is even more readable. Conductor is leading orchestra consequently to objective rendition and this attitude gives soloist almost unlimited interpretative possibilities. Emotions of Concerto G Major op. 58 are related to Fourth Symphony B-flat Major op. 60 which was premiered at the same evening at Prinz Franz Joseph von Lobkovitz home. Closing whole cycle Concerto E-flat Major op. 73 is once again a serious dealing with classical form and romantic impressionability. This performance is the master interpretation for perfect concerto. And Emperor Concerto is undoubtedly one of very few of this kind in the history of music.

Artur Rubinstein – Beethoven’s Piano Concerto C Minor

Composing his third concerto for piano, Beethoven was probably passing through the most difficult moments of his life. Advancing deafness and unstable disposition made him feel increasingly isolated. Extreme emotions are clearly readable in this work, from triumphant hope to the depths of despair. Composed in 1800, it was premiered three years later with the composer himself as a conductor and soloist. And still the three years period he had for corrections was not enough. According to memoirs Ignaz von Seyfried, the score was incomplete and soloist part was nearly empty. Almost entire piano part during the first preformance Beethoven played directly from his memory. It was probably the kind of work creator has to live with – reminiscences of Mozart’s Piano Concerto C Minor KV 491, which was long time inspiration for Beethoven, can be reason for such delay. Later composer scored his work and wrote his own cadenza to first movement. There were many alternative cadenzas wrote for this Concerto by Johannes Brahms, Clara Schumann, Carl Czerny, Franz Liszt, Gabriel Fauré and  many others.

There are great recordings of this concerto – Martha Argerich, Claudio Arrau, Daniel Barenboim, Alfred Bendel, Emil Gilels, Glenn Gould, Wilhelm Kempf, Sviatoslav Richter and Krystian Zimerman are the best of the best among pianists recorded Beethovens Third. Probably most esteemed and best known is Artur Rubinstein. His phenomenal and inspired performance of this concerto recorded with Symphony of the Air conducted by Joseph Krips was published in 1958 by RCA Victor Read Seal label.
The history of this orchestra is very interesting itself. In 1937 the NBC founded the orchestra for weekly transmissions. To train the orchestra board hired Artur Rodziński, conductor and orchestra builder. He trained NBC Symphony for Arturo Toscanini, Pierre Monteux and many guest artists. After Toscanini had retired NBC Symphony in 1954 was disbanded. Musicians tried to preserve the orchestra and called new ensemble Symphony of the Air. For the first season musicians hired for the leading conductor Leonard Bernstein and took part in his first television appearances. Orchestra remained active till 1963 recording and airing numerous great performances with Fritz Reiner, Leopold Stokowski, Bruno Walter, Kyrill Kondrashin, Thomas Beecham, and Josef Krips.

Artur Rubinstein – Beethoven’s Piano Concerto C Minor  (1958)

Artur Rubinstein was born in Łódź in 1887. As a four years old boy he was already a prodigious child. Since Joseph Joachim heard him playing piano, he became protégé of legendary romantic virtuoso. Later young pianist was studying in Warsaw and Berlin. After his debut in Berlin Philharmonic in 1900, Artur Rubinstein became student of Karl Heinrich Barth, who was pupil of Ferenc Liszt, who himself was pupil of Carl Czerny who in turn had been taught by Ludwig van Beethoven. Lineage connecting Rubinstein with Beethoven makes clear the mystery of his congenial interpretations. By the way, the same Barth’s class was attended by Wilhelm Kempff, who also was great interpreter of Beethoven’s works. 

For the first time Rubinstein recorded Concerto No 3 C Minor op. 37 in 1944 with NBC Symphony Orchestra under Arturo Toscanini. Then 14 years later Artur Rubinsteion recorded this Concerto with Symphony of the Air and Joseph Krips as a part of bigger undertaking of production series of albums with complete concerti cycle. And this recording is phenomenal documentation of artists possibilities in late fifties. It has romantic enthusiasm and classical calmness. Sometimes pianist sounds light and balanced the way more classical than other interpreters. In this case pianist and orchestra are united by superior idea of the work. And such classical connection is not a coincidence because Beethoven himself gave in Third Concerto some formal solutions known from decade earlier concertos composed by Mozart.

Herbert von Karajan – Beethoven’s Fifth Symphony

It’s hard to exaggerate when speaking about weightiness of Beethoven’s Fifth Symphony. The whole series of nine symphonies was revolutionary achievement as well as great accomplishment of late classical and pre-romantic era. And every symphony in the series is unique on its own. Nevertheless this is Symphony C Minor op. 67 which was the exceptional and most shaking one from the very beginning. It marks top moment in Beethoven’s career. Developed from simple 4-note motif, build upon mathematically perfect process, Fifth Symphony invokes deepest motions of human consciousness. Maybe this is the reason for such favorable reception of this work. But maybe the direct cause is Fifth’s flexibility and receptivity, even for extreme interpreting ideas. This could explain why it has highlighted position in repertoire of every symphonic orchestra and conductor. 

Herbert von Karajan recorded Beethoven’s Fifth many times. The first internationally recognized recording was 1948 album with Wiener Philharmoniker. But there is no doubt the best results Herbert von Karajan had achieved with Berliner Philharmoniker, the orchestra he was resident conductor for the 35 years. For the first time, the nine Beethoven’s symphonies Karajan recorded with Berliner Philharmoniker in 1961 and 1962 and it was probably most esteemed rendition of the complete set in next two decades. In 1976-1977 he again seized up with symphonies, this time in new technology of multidimensional sound. Third time he recorded Beethoven’s symphonies in eighties, on a series of digitally mastered soundtracks from video production.

Herbert von Karajan – Beethoven's Symphony No 5 (1977)

Every edition of the Beethoven’s set was sensational and became a milestone in growing fame of Karajan and his orchestra and every edition has it’s own place in recording history. The 1977 recording of the Fifth Symphony is brilliant example of conductor’s creative intensity. Karajan averts traditional interpreting pattern. Against solemn and sometimes gloomy interpretations of introduction with fate knocking motif, he opens this symphony with warm passion like he was going to say there’s no fate but our will. He is building Allegro con brio like he was first who knew the meaning of con brio indication. Basing on strong contrasts first movement is enough lively and stormy to create narrative dominant and to open in recapitulation the whole space we can see as affirmation of composers conviction about the idea of indeterminate human freedom.

After such exposure, second movement begins in elegiac mood which is clearly turned against the first part disposition. Nostalgia alters into determined, self-convicted remembrance of first episode, connected by the same motif of four notes with accent on fourth. And in the end of Andante con moto it carries the solemn certainty of ideas catch in previous movement. Third movement is brilliant continuation of narrative premises. Dramatically determined, rhythmic motif and contrasting fugato with joyous, almost rustic chase of strings are two episodes marking base for scherzo developing into final Allegro. Which balanced relief and triumphant fanfare. It is really hard to find rendition with such mighty strings. String quintet sound is huge and this makes Karajan’s Fifth even more powerful and alive than many other interpretations.

Karl Böhm – Beethoven’s 5th Symphony C Minor op. 67

   One of most acclaimed European conductors in second half of 20th Century was undoubtedly Karl Böhm. Born in Graz he started studying law, and just after received doctor degree, he turn to musical studies in Graz conservatory. In 1921 Bruno Walter engaged him to Bavarian State Opera in Munich. Later he worked with orchestras in Darmstadt, Hamburg and in 1934 he become the head of Semper Opera in Dresden, where he replaced Fritz Bush, who was dismissed as anti-nazi opposition. After the war and two year denazification ban he was active in Vienna Philharmonic, Salzburg Festival and Staatskapelle Dresden. Debut in Metropolitan Opera in 1957 opened new chapter in his career. For the next two decades he became most credible interpreter of classical period symphonic and opera works. 

Beethoven 5th Symphony in Karl Böhm Ausgabe

   Recorded in 1970 Beethoven’s 5th Symphony became one of his best achievements. There are many qualities causing this rendition is an obligatory position in Beethoven’s catalogue.  In predominant part of Allegro con brio he can be seen as too conservative, raising solid construction in steady tempi and consequent dynamics he is telling us about Beethoven’s music enough to stay focused but nothing more than it was already said. But in recapitulation he intensifying expression and bursting out with Manichaean vision where can be no place for hesitation. This make Andante con moto flowing softly with such subtle energy.
   Charming and calm second part finds reflection in Allegro, where light articulation helps to animate fugato theme. It looks like Böhm is stopping emotions for the moment when Finale explodes in triumphal exposition. Total control makes extreme expression didn’t force classical phrase. Vienna Philharmonic Orchestra is sounding classical and light. And this is obviously the secret of the artistry.

Eschenbach, BSO & Ozawa – Beethoven's Emperor Concerto

Among many musical projections some don’t even have anything unusual but still are nice and enchanting. Even pieces of minor importance can be revealed in surprising light. But it is worth to remember the great works give artist more chance to realize any vision they need. There are dozens of perfect performances of every great 19th century composition and Fifth Piano Concerto E-Flat Major op. 73 (also known as Emperor) by Ludwig van Beethoven undoubtedly is the one of most inspiring works in classical catalogue. And as the pure consequence of its value, Emperor Concerto is played by almost every notable pianist.

Between great renditions, one of the best and totally underestimated is modest recording made in 1974 by Christoph Eschenbach with Boston Symphony Orchestra led by Seiji Ozawa. Born 1940 in Breslau (now Wrocław, Poland), heavily experienced in his childhood, Christoph Eschenbach was studying and developing his musical career as pianist and conductor. Numerous successes he achieved as a pianist, winning competitions, concerting and recording with the best orchestras. In 1964 he signed a recording contract with Deutsche Grammophon. Being concerting pianist he started conductor apprenticeship with George Szell. His mentor was Herbert von Karajan.  Today he is prominent personality in musical world. He is known mainly for his conducting skills as a leader of orchestras, anyway thank to recordings we can recognize him also as the master interpreter of the piano music.

View of Heiligenstadt on Emperor Concerto cover 

Eschenbach’s interpretation is more profound in style and more stable in construction than vast majority of others. In it’s formal credibility it can compete with famous recording of Emperor Concerto by Glenn Gould and Leopold Stokowski. Christoph Eschenbach is achieving this effect by accuracy of phrases and precise graduating dynamics over the span of the whole work. The side effect of such assumption is elevation of opening cadenzas. Orchestral exposition has its peasant joyous enthusiasm while piano came with more solemn second exposition. What is happening later is a consequence of this contrariety. Transformations in development lead to reprise with series of cadenzas where orchestra and piano are consolidating and gathering strength.

Because he is consistently balancing proportions between precision and expression, the second part Adagio un poco mosso is more elegiac than dreamy. Still strong, even in pianissimo it is soulful vision of the middle part. Concluding Rondo is opposite to the first part. This time roles of soloist and orchestra swung aside. The piano is joyous and vigorous and orchestra gives him foundations and support. Again comparing to Gould’s recording, Eschenbach and Ozawa are accenting perfectly sixth to eighth, while Gould and Stokowski loosing accent, let themselves fall into straight waltzing. And this is why without doubts I am choosing this recording. Boston Symphony Orchestra sounds like one instrument and Seiji Ozawa with Christoph Eschenbach are the pillars of perfect lineup. Soulful and perfect rendition of piano concerto that is one of the best in history of music.

Concert of the Century at Carnegie Hall

Maybe the worst moments in the history of Carnegie Hall came in the 1970s. Since first decades of 20th century many things were changed – cinema, radio, television, popular culture and mechanical reproduction of sound made many forms of social activities obsolete. Many were convinced Carnegie Hall waits for the fate of many similar institutions and its bankruptcy is inevitable. The idea of collecting founds for help to the most remarkable musical institution in New York came from Isaac Stern. Great violinist called together his friends, the best musicians of this time, to commemorate the past and to help revitalizing the Carnegie Hall by giving special presentation in its auditorium.

Celebrating the 85th Anniversary of Carnegie Hall on May 18, 1976, musical society with Carnegie Hall Endowment Found produced great concert event with participation of great musicians. Artists invited to this project were in close relations with the place and its history. In program of this concert listeners can hear and see Leonard Bernstein with the Members of the New York Philharmonic, Dietrich Fischer-Dieskau, Vladimir Horovitz, Yehudi Menuhin, Mstislav Rostropovich, Issac Stern and The Oratorio Society directed by Lyndon Woodside. Also Martina Arroyo has been invited, but the star had to cancel her appearance due to accident. 

Celebrating The 85th Anniversary of Carnegie Hall

This special event, advertised The Concert of the Century, was recorded live and published in CBS Masterworks series (79 200). Two records, leaflet with lyrics of Schumann’s Dichterliebe and poster in red gatefold cover were the hit in following season of 1977. There was also a special edition of this album, printed in limited issue of 1000 numbered copies with large photos signed by artists and biography of every soloist, the program of the concert and essay on history of Carnegie Hall – all in red calf portfolio and marbled slipcase. In 1978 this album won the Grammy Award as Best Classical Album of the year. It was the third prize in this category in the career of Thomas Frost, producer of this album.
Special program assorted for this celebration include a number of works that became the base for individual and collective exposition. And everyone can find here something enjoying to himself. Beethoven’s „Leonore” Overture No. 3 in solid sound and natural expression of New York Philharmonic Orchestra conducted by Leonard Bernstein was the single symphonic piece in this program. Strong and emotional Pezzo Elegiaco from Piano Trio A Minor op. 50 by Peter Tchaikovsky was performed by Vladimir Horowitz, Isaac Stern and Mstislav Rostropovich. Also Rachmaninoff's Andante from Cello Sonata G Minor Op. 19 (Rostropovich and Horowitz) was example of perfect playing.
The cycle of songs Dichterliebe Op. 48 Robert Schumann composed for the lyrics by Heinrich Heine. This is one of most exacting romantic song cycles. And Dietrich Fisher-Dieskau maintains it with purity and lightness. His conception is clear and his voice sounds perfect in pair with accompanying him Vladimir Horowitz. Also Bach’s Concerto D Minor for Two Violins BWV 1043 with Yehudi Menuhin, Issac Stern and Leonard Bernstein playing harpsichord and conducting orchestra can satisfied the connoisseur. But what gives the listener the vision of the whole evening? When after Tchaikovsky’s Pater Noster sung by The Oratorio Society directed by Lyndon Woodside, in performance of Alleluia from Handel's oratorio The Messiah the whole collective of soloists engaged in this evening joined the choir. And even if it looks like an occasion to listen to Horowitz, Bernstein and Stern singing along, it is worthy to remember this recording as an perfect example of promoting a social activity.