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Beethoven: Symphonies 1-9 & Overtures (Remastered HD)
Herbert von Karajan
Classical - Released March 24, 2014 | Warner Classics International
Hi-Res
Booklet
The Karajan Official Remastered Edition is a series of remasterings, from the original master tapes, of the finest recordings the Austrian conductor made for EMI between 1946 et 1984 including Karajan's first — and probably most thrilling — recording of the complete Beethoven Symphonies, made in the early 1950s (1951-1955) with London's Philharmonia Orchestra recently founded by Walter Legge. The recording of the Ninth Symphony is available here in stereo for the very first time, taken from original, unreleased tapes.
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Beethoven: Symphony No. 4, Op. 60 & Leonore Overture, Op. 72
George Szell
Classical - Released July 20, 2018 | Sony Classical
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Lugano Concertos (Œuvres de Beethoven, Mozart, Poulenc, Prokofiev, Schumann, etc.)
Martha Argerich
Classical - Released January 1, 2012 | Deutsche Grammophon (DG)
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5 de Diapason
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Beethoven: Symphonie No. 9
Berliner Philharmoniker
Classical - Released January 1, 1958 | Les Indispensables de Diapason
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Schumann, Beethoven, Dvorak, Mendelssohn, Ravel...
Leonard Bernstein
Symphonic Music - Released June 25, 2018 | Les Indispensables de Diapason
Distinctions
Diapason d'or
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Beethoven: Symphonies Nos. 1, 4 6 & 7 (Remastered 2021)
The BBC Symphony Orchestra
Classical - Released October 1, 2021 | Andromeda
Booklet
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Beethoven & Liszt: Complete Symphonies
Yury Martynov
Classical - Released October 13, 2017 | Alpha Classics
Booklet
This set brings together the five separate discs containing Franz Liszt’s transcriptions of Beethoven’s nine symphonies performed by the pianist Yury Martynov. Reducing these complex works for piano solo was an enormous challenge for Liszt, who nevertheless succeeded in recreating their prodigious character and their incredible power. ‘An event on a period piano, thanks to which we rediscover the colours... of the orchestra’ (Pianiste): the piano combines the whole orchestra, sometimes even with vocal soloists and chorus, bringing their voices together in a single instrument. The energy and the textures of the symphonies are laid bare and magnified in the interpretation of Yury Martynov on a Blüthner piano dating from 1867 and an Érard piano of 1837, both from the collection of Edwin Beunk: the Russian pianist reveals ‘details usually obscured in orchestral performances, which come to light thanks to his meticulous phrasing and colouring of every bar’ (The Guardian). © Alpha Classics
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Beethoven: Piano Concertos
François-Frédéric Guy, Orchestre philharmonique de Radio France, Philippe Jordan
Classical - Released October 18, 2010 | naïve
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Beethoven, Chopin & Others: Piano Works (Live)
Sergio Fiorentino
Classical - Released March 19, 2021 | APR
Booklet
Sergio Fiorentino’s career began auspiciously with successes both in competition and on the world’s stages, including a Carnegie Hall debut in 1953, but a plane crash in 1954 affected him badly and momentum was lost. He recorded prolifically for British budget labels in the late 1950s and 1960s, but his concert profile was never fully to recover. Fiorentino’s 1993 German concerts marked a return to the stage two decades after the pianist’s disillusionment with the performer’s life had led him to concentrate on teaching. These resulting live recordings, which revealed a pianist in the grand romantic tradition, were to astound the critics and relaunched Fiorentino’s career in the studio and on stage for a few glorious years, until his death in 1998. © APR Recordings
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Beethoven, Mozart & Others: Piano Works
Yvonne Lefébure
Classical - Released November 5, 2021 | Profil
Booklet
Yvonne Lefébure (1900-1986) was one of the most important French pianists and piano teachers of the 20th century. From a very young age she demonstrated real musical talent. When she was only 6 years old she studied the piano with Marguerite Long (1874-1966), initially in a private school, known as the Conservatoire Femina-Musica, then in Marguerite Long’s preparatory classes for the Conservatory. Yvonne Lefébure gave her first recital aged 12. Her earliest concert performances contained demanding works such as the B minor Piano Sonata by Franz Liszt or Robert Schumann’s Etudes symphoniques. Ultimately this gifted pianist took lessons with Alfred Cortot (1877-1962), one of the most important and indeed most influential personalities of musical life in the 20th century. Her most important studies with Cortot took place in his conservatory classes for advanced students, a group she joined in 1911 and from which she was awarded a first prize in 1912. Yvonne Lefébure had further private lessons with Cortot particularly in the period 1919-1939, when she was one of the most important teachers at the Ecole Normale de Musique. Later she went on to lead a masterclass at the Ecole Normale de Musique. From 1952 to 1967 she was Professor at the Paris Conservatory. Yvonne Lefébure was an outstanding soloist, chamber musician and concert solo artiste: by listening to this album listeners can get an impression of her talent for themselves. © Profil
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Beethoven: Variations Diabelli - Schubert: Fantaisie Wanderer
Laurent Cabasso
Classical - Released October 10, 2011 | naïve classique
Distinctions
4F de Télérama
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Beethoven: 9 Symphonies
Leonard Bernstein
Symphonies - Released January 2, 1980 | Deutsche Grammophon (DG)
Hi-Res
Booklet
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The Complete Beethoven Piano Concertos
Garrick Ohlsson
Classical - Released May 12, 2023 | Reference Recordings
Hi-Res
Booklet
Distinctions
Gramophone Editor's Choice
Musical careers last longer than they used to, and here, it is difficult to detect any weakening of the long-impressive technique of pianist Garrick Ohlsson, 74 years old, when this album was recorded in the summer of 2022. The feat is especially impressive in that all five of the Beethoven concertos (plus the Overture to The Creatures of Prometheus, Op. 43, with no piano) were performed live within a single week. Ohlsson is backed by the Grand Teton Music Festival Orchestra under the direction of veteran conductor Donald Runnicles, who points out that he and Ohlsson had very little discussion about interpretation prior to the performances. It is here that Ohlsson's expertise is evident. He doesn't blaze any new paths in these works, but one has the feeling that he holds the performances, to borrow a phrase from John Le Carré, like a thrush's egg in his hand. His readings are simple in the best way. Sample the arresting opening of the first movement of the Piano Concerto No. 4 in G major, Op. 58; it is direct, yet there are micro shapings that bespeak long familiarity. In fact, it is in the first two concertos, where the lengthy expositions make it less possible for Ohlsson to control the flow of events, that are less effective. The partnership between Ohlsson and the orchestra, though, is lively throughout, and Runnicles gets excellent results from what is likely essentially a pickup group; the orchestra is moderately sized and agile. Superb live recording from Reference Recordings, discussed in detail in the booklet, is another draw.
© James Manheim /TiVo
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Mozart's Mannheim
Freiburger Barockorchester
Classical - Released May 19, 2023 | Deutsche Grammophon (DG)
Hi-Res
Booklet
Several recordings have explored the relationship between Mozart and the city of Mannheim, which he visited several times. This Deutsche Grammophon release by the Freiburger Barockorchester and conductor/violinist Gottfried von der Golz may be the best of them. The annotations refer to how Mozart basked in the high regard in which he was held in Mannheim and to how impressed he was with the famed court orchestra there. However, after hearing this release, the listener may be tempted to go even further and assert that the music of Mannheim exerted a strong influence on Mozart in the late 1770s. The entire first half of the program here consists of world premieres, and all of them sound Mozartian. Why? Most of them point toward the big-boned movement structures Mozart loved, even if they don't expand them as far as Mozart would later in his career. Consider the first movement of Christian Cannabich's Symphony No. 55 in C major, with its long passages that move only slowly off the home key; one can hear any number of Mozart movements as proceeding from this idea, and one also wants to hear some more of the numerous and almost completely unplayed symphonies of Cannabich. Even less known are the Mannheim composers Georg Joseph Vogler, Christian Danner, and Carl Joseph Toeschi, and their contributions are eminently listenable. Mozart wraps the program up with a recitative and aria and the unnumbered Symphony in C major, K. 208, assembled by the composer from other music; it absolutely fits in here. The performances are idiomatic, and the sound is excellent. A valuable contribution from von der Goltz and company that landed on classical best-seller charts in the spring of 2023.© James Manheim /TiVo
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Beethoven: Diabelli Variations
Mitsuko Uchida
Classical - Released April 8, 2022 | Decca Music Group Ltd.
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Gramophone: Recording of the Month
The late Beethoven recordings of pianist Mitsuko Uchida have been career makers, and it is cause for celebration that she has capped them with the 33 Variations on a Waltz by Diabelli, Op. 120, a work that perhaps poses deeper interpretive challenges than any of the late sonatas. The Variations often show a kind of rough humor, and a performer may pick up on that, or the player may deemphasize the humor and seek out the epic qualities of the Piano Sonata No. 30 in E major, Op. 109, and Piano Sonata No. 32 in C minor, Op. 111. Uchida does neither. The outlines of her usual style, high-contrast and a bit dry, are apparent, but she does not let them dominate her reading. What Uchida realizes is that the abrupt transition from humor to the deepest existential ruminations is part and parcel of Beethoven's late style, and she works to hone the particular character of each Beethoven variation. Her left hand, as usual, is strikingly powerful, and this brings out many striking details (consider the stirring variation 16). The trio of slow minor variations toward the end are given great seriousness but are not in the least overwrought; Uchida achieves an elusive Olympian tone through the final variations. There is much more to experience here, for each variation is fully thought out, but suffice it to say that this is one of the great performances of the Diabelli Variations.© TiVo
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Ludwig van Beethoven: The Complete Piano Sonatas
Annie Fischer
Classical - Released April 15, 2001 | Hungaroton
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Radu Lupu - Complete Decca Solo Recordings
Radu Lupu
Classical - Released January 1, 2010 | Decca Music Group Ltd.
Booklet
Distinctions
Diapason d'or -
The Qobuz Ideal Discography
It takes only 10 discs to contain the complete solo Decca recordings of Radu Lupu, one of the great pianists of the late 20th century. It's also amazing that these few recordings stretch over a quarter of a century, from 1971 to 1995, making Lupu one of the most infrequently recorded of the great pianists; even Argerich and Michelangeli have outdistanced him. Yet even that is not the most amazing thing about this collection; it is the performances themselves, some of which are among the greatest ever made. Has any pianist ever topped Lupu's heroic account of Brahms' F minor Sonata, or his poetic readings of the composer's late piano works? Has any ever equaled, much less surpassed, his deeply inward performances of Schubert's Moments musicaux or his two sets of Impromptus? Has any account of Beethoven's "Moonlight" Sonata ever glowed brighter, or any reading of the "Waldstein" Sonata ever been more ecstatically serene? And has any pianist ever caught the uncanny mixture of the playful, the romantic, and the diabolical in Schumann's Kreisleriana? Anyone interested in great piano playing should avail themselves of these superlative performances at their earliest possible opportunity.© TiVo
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Beethoven: Symphony No. 9
Berliner Philharmoniker
Classical - Released December 18, 2020 | Berlin Philharmonic Orchestra
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Booklet
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Beethoven: The Complete Symphonies
Gewandhausorchester Leipzig
Classical - Released June 30, 2017 | Accentus Music
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Booklet
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Beethoven : Piano Concertos 1-5
Mitsuko Uchida
Classical - Released December 6, 2019 | Berlin Philharmonic Orchestra
Hi-Res
Booklet
Recorded over the course of four concerts in Berlin in 2010, Sir Simon Rattle and “his” Berlin Philharmoniker successfully punctuate their complete collection of symphonies with these five concertos. While these were recorded before the symphonies, you can identify a distinct chamber music-like tonality, with an orchestra whose dimensions have been clearly reduced compared to the traditional size of the renowned Berlin ensemble. This integral work is first and foremost an orchestral delight thanks to the lyricism of the wind section and the silky characteristics of the strings. Far from being simply a support act to the soloist, the Japanese pianist Mitsuko Uchida, the orchestra instead seems to lead the operation with a speedy rhythm and an inimitable sense of musical rhetoric. Mitsuko Uchida almost appears to play modestly, never wanting to hog the spotlight, in a constant dialogue with the conductor. From the bonhomie of the first two concertos through to the Fifth (wrongly named the Emperor) which paved the way for the more romantic concertos, via the Fourth with its sublime Andante con moto which raises some metaphysical questions, this intimate performance cements this Beethovenian collection in its rightful era, lest we forget that these concertos were written in the first decade of the nineteenth century, in the midst of a triumphant Viennese classicism at a time when Joseph Haydn was writing his final few masterpieces and Napoleon’s Grande Armée was bombarding Vienna. With such a sonic perspective and a sound recording which never lets the piano become intrusive, these concertos which are often performed like works written fifty years afterwards, strike an instrumental balance and recover their true musical essence, which had slowly been beginning to disappear. © François Hudry/Qobuz
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