Search - Ludwig van Beethoven, Karl Böhm, Berlin Philharmonic Orchestra :: Beethoven: Sinfonie Nr. 5 c-moll, Op. 67

Hearty

David Saemann | 01/13/2008

(5 out of 5 stars)

"According to members of the Metropolitan Opera Ochestra, Karl Bohm had the foulest tongue of any maestro there. He was so insulting to the New York Philharmonic during his one guest appearance there that the orchestra nearly went on strike for what was a Pension Fund benefit concert. I bring this up because rage was an important factor in Bohm's music making, and what one hears on this Beethoven Fifth more than anything else is rage and tension. It is thrilling, with a healthy sense of the architecture of the piece. There are many great recordings of the Fifth, including Furtwangler on EMI, Ashkenazy on Universal, and the last Klemperer on EMI. This performance is in that category. The Seventh is somewhat less inspired. It is very similar to Bohm's later, more recommendable version with the Vienna Philharmonic, but with somewhat cloudier sound engineering and a little less grace in the orchestra's phrasing. But for the Fifth, this is a disc that commands to be heard. The mono sound in the Fifth is also quite good, with just a little too much distance from the mikes."

Bohm's Beethoven from the Fifties, recommendable mostly to h

Santa Fe Listener | Santa Fe, NM USA | 07/14/2006

(3 out of 5 stars)

"In the ranks of great Beethoven conductors, I wouldn't say Karl Bohm has much chance for inclusion. Bohm has his fans, however, and one gives him a bad review on Amazon at one's peril. But there might be inexperiened listeners who haven't made up their minds yet, so here goes. This 1958 Sym. #7 is in good analog stereo. The first movement moves along like a traditional middle-European reading of no special distinction except that Bohm gets a rich, full sound from the Berlin Phil. Otherwise, you can't tell the difference between this and any decent provincial reading from an uncelebrated condcutor.



The Allegretto starts off with a light touch, and considering the date, Bohm chooses a tempo that's not too slow. But we quickly hear that he has no ideas to offer about phrasing or emotional depth--this is just one bar following another. The Scherzo goes at a modreate pace without much vitality. The finale can be described in the same words.



The 1953 Fifth Sym. has some historical significance as Bohm's first LP for DGG. The mono sound is quite good for its day, certainly miles ahead of Toscanini, yet how one longs for the great Italian maestro! Bohm's first movement is vigorous, with expert balances and a heroic sonority from the Berliners. But as with the Seventh, we are in the land of conventional musicmaking without much hope of originality or inner fire. The Andante con moto is rahter heavy the Scherzo is devoid of mystery, the finale lacks fire.



As he aged Bohm's Beethoven became staid, so one can say that these two performances are among his best efforts. The Fifth shows more life than the Seventh and therefore is the reason for buying this CD if that's what suits your fancy."

Great 5th and ultra superb 7th

M. A. Scott | Kansas, USA | 04/27/2009

(5 out of 5 stars)

"Disregard what Sante Fe Listener says and pay attention to Mr.Richman because both of these symphonies are excellent. The fifth is played and interpreted well but the sound quality isn't to good. But for 1953 mono sound it's very acceptable and after a few minutes your ears will adjust. I would say that the 5th is maybe in the top 10% of all the versions out there.



I think that this 7th is the best I've ever heard and is even better than his 1970's version with the VPO. I think this one was recorded in about 1959, and to me, this has superb sound quality that sometimes you don't even get in the 21st century. Mr.Richman should be listened to more than Sante Fe Listener because Sante Fe just knocks the best recordings of classical music all the time. I'm out!!!"