Beethoven: Symphonies Nos. 5-8
23.32
Beethoven: Symphonies Nos. 5-8
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Stephen O. SproutReviewed in the United States on October 10, 2014
Very good!
PedroReviewed in the United States on December 17, 2022
Buy this used and listen to Ormandy/Philadelphia giving the "Philadelphia Treatment" to LvB's symphonies 5-8, and then listen to the widely-available, inexpensive 9th on Sony Great Performances. If you like this approach to Beethoven -- gorgeous, rather than revolutionary -- you will surely love 1-4, and in that event do splurge for the well-remastered Sony Japan set of all 9 in great sound. It is refreshing, joyous, irresistably beautiful, and the sonics are fabulous. But there is something mischievious about playing the percussive, revolutionary Beethoven in this way. Some people will hate it, and think it is all wrong. Some people will find it perfectly correct and treat its beauty merely as a substantial bonus. Some will love it and find it represents a refreshing approach in a crowded field of "me too" Beethoven symphony sets. I fall in that last camp. And I still think it's a bit mischievous, which only makes me enjoy it more. (If you want a sample, No. 5 is on streaming services buried as the last 4 tracks of a Sony UK “Retrospective Recordings” compilation entitled “Beethoven.”)
W. ChilesReviewed in the United States on July 9, 2010
Having read a glowing review of Ormandy's 8th in the American Record Guide's thorough Beethoven overview, purchased this budget release to hear for myself how satisfying Ormandy's Beethoven performance was. The fifth is also quite good though bested by so many others such as Karajan's, Bernstein's, Szell's et. al. The 8th however was as superlative as the ARG reviewers agreed. This was one of the world's finest orchestras in the 50s and 60s. when I came of age in the late 60s most critics were in the thrall of George Szell's Cleveland Orchestra recordings and for good reason. I felt however, that the orchestra though precise, was cold in timbre and lacking in a full sounding brass section. Ormandy's Philadelphia Orchestra fills in quite nicely in that department with some delectable woodwind solos the likes of which you never hear in today's homogenized orchestras with their rotating chairs in solo departments. His performance here is taut, full of varying colors and relaxed and genial enough to match the humor and grace of Beethoven's creation. I now prefer this to Szell's or Bernstein's 8ths. Beautiful performance. I regret all the ugly things I ever said about Ormandy. He was a versatile recording artist. We could use more like him now.
Huntley DentReviewed in the United States on February 21, 2007
It seems plausible to me that someone who loves Ormandy's middle-of-the-road style and the gorgeous playing of te Philadelphia Orch. could induce a trance to make his Beethoven sound great. Objectively, however, it isn't. Everything here is competent and well played. There's no spark of inspiration, no thunder, no revolutionary fervor. Beethoven has moved to the suburbs and acquired a mortgage. This isn't fresh-breaking news. Sony has relegated Ormandy's flood of recordings to their budget lines (not that other artists better than he aren't joining him there), rarely offering him the dignity of a remastering. There's good reason for that; Ormandy was an enormously popular conductor with the general public who wasn't uniformly esteemed by his peers--there were exceptions, o f course--any more than Arthur Fiedler was esteemed, to name another enormously popular figure. I hate to splash cold water on anyone's head trip, but this is far from first-rate or inspired Beethoven.
Alan MajeskaReviewed in the United States on August 15, 2005
These recordings of Beethoven's 5th, 6th, 7th and 8th Symphonies by Eugene Ormandy and the Philadelphia Orchestra are a good example of how the best recordings by an American orchestra and conductor are overlooked in favor of those by bigger media names: Karajan (3 DG and 1 EMI cycle), Bernstein (Sony and DG cycles), Norrington, Gardiner, Sawallisch and Solti (2 Decca cycles) all come immediately to mind. Ormandy's recordings of Beethoven 5 and 8 are among the best ever, if not THE best since Furtwangler. Ormandy is moderate and not into theatrics: he reminds me of Bruno Walter/Columbia Symphony in these works. Like Walter, Ormandy does NOT take the repeat in I or IV of Symphony 5. The Philadelphia strings serve Beethoven's music beautifully, creating their golden sound under Ormandy's leadership. We should all be thankful Columbia recorded Ormandy/Philadelphia in the 1950s and 60s for posterity. Ormandy's Beethoven 6 and 7 are not quite on the plane of 5 and 8, but they are very good. 6, "Pastoral" is especially beautiful, and I prefer it to either of Karajan's 1962 or 1982 recordings. 7 has slower tempos than some, and is maybe less effective than Ormandy's other Beethoven recordings. Why Sony doesn't package all 9 of Ormandy's Beethoven Symphonies in one budget priced box is beyond me. Perhaps with the new Sony/BMG merger, and the release of some of their back catalog, a box of Ormandy's Beethoven will become reality: we can all petition Sony to consider this.
aprosdoketonReviewed in Italy on January 15, 2018
Eugene Ormandy è passato alla storia soprattutto come un grande colorista, interprete ottimale per il repertorio delle scuole nazionali slave e nordiche. Anche come direttore beethoveniano, peraltro, ha all’attivo benemerenze tutt’altro che indifferenti: basti pensare che la sua discografia comprende i concerti con Serkin, il concerto triplo con il trio Stern e una delle più belle edizioni della Missa Solemnis. E di tutto rispetto, anche se meno nota e non sempre agevolmente reperibile, è anche la sua incisione delle nove sinfonie, realizzata nei primi anni Sessanta, di cui il nostro album presenta la tappa centrale (dalla Quinta all’Ottava). Dalla bacchetta di un colorista riesce naturale attendersi i risultati migliori nella Pastorale: che è in effetti iridescente e vellutata, e non sfigura accanto alle più suggestive “Pastorali americane” di quella generazione, targate Bernstein, Szell e Walter. Specie la scena al ruscello e il finale sono davvero di una fluidità e di una trasparenza mirabili. L’autentica sorpresa, però, è trovare quasi lo stesso clima nella Quinta, dove, in luogo della consueta forza d’urto, predomina un’espressività soffusa e quasi carezzevole, che finisce a tratti per gettare una luce inedita sulle stesse gerarchie dei rapporti tematici: non c’è forse versione dove il secondo tema del primo movimento tenda ad acquisire altrettanto risalto. La dinamica e la timbrica sono più che mai variegate, ma l’agogica è abbastanza regolare: i rubati vengono riservati quasi in esclusiva alle insinuanti volute iniziali dello scherzo. Fra i momenti in cui più si fanno avvertire i carismi del grande concertatore, segnaliamo perlomeno l’assolo dell’oboe alla fine dello sviluppo del primo tempo, etereo e rarefatto ai limiti dell’irreale; la magica nitidezza dei pizzicati nella ripresa dello scherzo; e la singolare morbidezza della transizione dall’esposizione allo sviluppo nel finale. La stessa concezione produce esiti ancor più suggestivi nella Settima, tanto grandiosa nella visione d’insieme quanto delicata nei dettagli, dove la larghezza dei tempi, combinandosi con la solare trasparenza della concertazione e l’affettuosa morbidezza del fraseggio, dà luogo a una sorta di “lirismo analitico” che, senza parere, mette in risalto dettagli inediti non solo sul piano timbrico, ma perfino su quello strutturale: ad esempio è una delle versioni dove, nel primo movimento, si percepisce più nettamente la presenza di un secondo tema (cfr. 6’00: si tratta in realtà di un inciso accessorio derivato dal motivo principale). Concepita soprattutto all’insegna della brillantezza eufonica e della simmetria architettonica, l’interpretazione tende a smussare i contrasti, e lo si nota soprattutto nello scherzo, dove la contrapposizione tra il presto e il trio – principale nodo problematico di questo capolavoro complesso quanto divertente – viene ridotta ai minimi termini, affrontando anche il trio a un tempo piuttosto rapido: ma senza soffocarne l’espressività, com'era accaduto ad altri interpreti anche sommi (vedi Toscanini). Esemplare anche l’Ottava, perfetta sintesi di equilibrio (nelle grandi linee) e verve (nei dettagli): da antologia soprattutto i tempi centrali, per la nitidezza di linee dell’allegretto e la fluidità del minuetto. Ottava a parte, Ormandy taglia praticamente tutti i ritornelli previsti, compreso quello del primo tempo della Quinta che quasi tutti osservano (in compenso osserva quello dell’Eroica che quasi tutti tagliano, ma con ciò esuliamo dai contenuti del nostro album). I due CD, corredati da brevi note di Jay M. Balenkof (in inglese, tedesco e francese), appartengono ad una vecchia collana divulgativa. Auspichiamo ovviamente che la Sony si decida presto a rieditare l’integrale, la cui sede naturale sarebbe nella collana Masters dove già figurano i formidabili cicli di Bernstein, Walter, Szell, Leinsdorf e Giulini.