How intriguing! American conductor Robert Treviño has dedicated his debut release with Ondine to Beethoven’s symphony cycle. This is the first time the Finnish label has visited these landmarks of Western symphonic culture with a traditional Scandinavian orchestra, namely the Malmö Symphony Orchestra, which will celebrate its centenary in 2025. With a rather faded palette of sound-colour and a smooth legato, this is undoubtedly a traditional version of the nine symphonies that transports us back to an era of discographies from Herbert von Karajan and Otto Klemperer. But by no means does it belong in the past…Treviño has worked closely with the likes of Leif Segerstam, David Zinman and Michael Tilson Thomas, the two latter conductors having, incidentally, made many interventions of their own in the Beethovenian symphonies as each attempted to produce worthy reinterpretations. Tilson Thomas drastically reduced the number of musicians in his complete cycle for CBS, whilst David Zinman based his work on Jonathan Del Mar’s Barenreiter edition which restored many of the lost accents and phrases that had been altered from one hundred and fifty years of, at times, rather unscrupulous interpretations. Here, Robert Treviño’s interpretations are lyrical and rich, precise as regards polyphony and mindful of the need to find a balance rather than overstress the text. Treviño ensures that each section finds its proper place and doesn’t get lost in the overall composition, creating dialogues with a chamber-like aesthetic. The unusual “concertato” at the beginning of the last movement of Eroica is the prime example of this. © Pierre-Yves Lascar/Qobuz

Recorded between 1964 and 1968, Paul Kletzki's respected cycle of Ludwig van Beethoven's symphonies on Supraphon rightly should be classified as a historical item for specialists, rather than as a recommended option for anyone seeking a great (and great sounding) modern set. Kletzki was an admired and popular conductor, noted for working with both European and American orchestras, and his interpretations of Beethoven are intelligent and insightful, regarded by some reviewers as among the finest of their time; the performances are still valuable for their musicality and significance among mid-20th century offerings. However, these recordings predate the movement for historically informed performance practice, so fans of late Classical and early Romantic period style will find this set of little interest, and only traditionalists will be enthusiastic about it. These analog versions don't compare well with the best contemporary digital recordings, and the sound of the Czech Philharmonic Orchestra is a bit too homogenized and at times too muddy in this remastering to make the music fully enjoyable. Although the instruments can be made out clearly enough, some of their upper partials seem to have been eliminated in the reduction of tape hiss, and the ensemble's overall sound seems a little dulled in tone as a result. Artistically, there is much to appreciate here, but this box set faces serious competition from later and better sounding alternatives. © TiVo

Since they first began releasing compact discs in early 1999, the London Symphony Orchestra's homebrew labels -- LSO and LSO Live -- have been pioneers in the independent label field and a powerful model for other orchestras to follow. The youthful LSO has always been enterprising and progressive: since its conception in 1904, its administrative structure has been -- and continues to be -- one of innovative self-government. This disc presents the results of live concerts from November 2005 with venerated guest conductor Bernard Haitink. It is tempting to assume that Haitink, in his late seventies, is stuck in the older, more heavy-handed performance traditions of the previous generation. Indeed, as his earlier recordings of both Beethoven's Seventh Symphony and the Triple Concerto with the Royal Concertgebouw demonstrate -- though they are nowhere close to the scope of Karajan or Klemperer in grandiosity, weight, or forcefulness -- they were certainly not lighthearted in any sense. It is refreshing to see that sometimes people can change their ways -- Haitink's work here, akin to the more typical performance practices of today, comes through as eminently more translucent, lucid, and dance-like than his previous efforts. While conductor and orchestra create a silky and agile string sound, there are still a few less-than-stellar moments, primarily in the first movement. The very opening chords sound too clipped, and in general there is angularity where there should be line and continuity. On the other hand, the shaping of the delicate second movement is quite lovely and includes a rich, cascading dynamic emphasis: very sensuous -- if a bit overdone. Since they are not bound by the conglomerates that dictate what superstars go where, the LSO is able to feature some of its own outstanding talent: LSO concertmaster Gordan Nikolitch and principal cellist Tim Hugh join pianist Lars Vogt for the Triple Concerto. Hugh's sound is vocal, warm, and compassionate but not sentimental. Nikolitch and Vogt respond accordingly, centering their energy (and intonation) around him, impressively matching his character. Overall, the group seems to breathe the music well together and the performance becomes more and more focused as time goes on. The second movement shows off Vogt's striking lyricism, while the final movement, if a bit heavy-handed and sluggish, still affords an enjoyable finish. Considering this is a live recording, the sound is excellent with minimal audience noise. If you are looking for a modern approach by an old master of two of Beethoven's most important works, look no further. © TiVo

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Under Michael Tilson Thomas' leadership, the San Francisco Symphony has become one of the leading American ensembles, and super audio recordings on the orchestra's own label are among the finest in the catalog. These live recordings of Ludwig van Beethoven's Symphony No. 7 in A major and the Leonore Overture No. 3 represent the orchestra at its best, playing with absolute clarity of tone colors, lines, and textures, and with true unity of purpose, while Tilson Thomas' interpretations are characteristically lucid, well-balanced, and buoyant. The program opens with the Leonore Overture No. 3, which Beethoven composed for the 1806 revision of his opera Fidelio, and this piece has found lasting success in the concert hall as one of the composer's most dramatic overtures. The Symphony No. 7 is also tremendously popular, and widely regarded as Beethoven's most dance-like symphony. The performance of the first movement is radiant in feeling and fleet in tempo, and the articulation of the dotted rhythms is crisp and light, so this is Beethoven with little storminess or stress. The second movement, which has been frequently choreographed and performed separately as a "greatest hit," is poised and graceful, with a continuous sense of line that belies the steady chordal writing. Tilson Thomas is always keen to bring out humor and fun wherever he finds it, and there is no lack of either in the brisk Scherzo and the rambunctious Finale, which offer some of the most exciting playing these musicians have committed to SACD. The multichannel sound is remarkably deep and spacious, and the orchestra has terrific presence, with little incidental noise from the audience.© TiVo

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