Wichtiger Hinweis

Add download to your cart

Ludwig van Beethoven: Symphony No. 4 & No. 5

95493 - Ludwig van Beethoven: Symphony No. 4 & No. 5

aud 95.493
please choose the quality
currently not available

“My first encounter with Beethoven goes way back. Already as a child I wanted my parents to give me the scores of the Beethoven symphonies... I could read music before learning to write and do arithmetic. I read the scores in bed and under my desk at school... These first impressions were...more

"Große Musikerpersönlichkeiten faszinieren oft dadurch, dass sie das schon Bekannte in neuem Licht erscheinen lassen - was auch hier gelungen ist." (WDR3 Hörproben)

Informationen

“My first encounter with Beethoven goes way back. Already as a child I wanted my parents to give me the scores of the Beethoven symphonies... I could read music before learning to write and do arithmetic. I read the scores in bed and under my desk at school... These first impressions were colossal - they were indelible and have remained with me ever since.“ (Rafael Kubelik)

audite continues its series with Rafael Kubelik and the Bavarian Radio Symphony Orchestra, a series which has won several prizes. Two symphonies of Ludwig van Beethoven are being released as live recordings for the first time.

Beethoven’s Fourth has always been somewhat overshadowed by the revolutionary Eroica and the weighty, fateful Fifth; it has never been as frequently programmed as have these others. Unjustly so, for Rafael Kubelik’s interpretation reveals the Fourth to be an enormously multi-layered composition. This impression already begins with the first movement’s extremely tense, exciting introduction. It is able to develop its key effect for the work by persisting consequently in the slow Adagio and remaining “sempre pianissimo“ except for a few outbursts. It becomes clear, when comparing the work to the Fifth, that both symphonies are “typical“ Beethoven in different ways, with enormous expressive depth and complex formal structure. In both works, each thematic development and harmonic progression is of significance in the overall dramaturgy.

Kubelik and the Bavarian Radio Symphony Orchestra make the most of the composed contrasts and extremes in each of these works. In live recordings made in the years 1979 (Fourth) and 1969 (Fifth), they convince the listener once more with their customary perfection and thrilling musical vitality.

Reviews

Scherzo
Scherzo | N° 183, Enero 2005 | Jesús Dini | January 1, 2005

Sendas grabaciones en vivo, históricas, datadas en Bonn (BeethovensaalMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Sendas grabaciones en vivo, históricas, datadas en Bonn (Beethovensaal

CD Compact
CD Compact | n°183 (enero 2005) | Jesús Dini | January 1, 2005 Beethoven

Sendas grabaciones en v'ivo, históricas, datadas en Bonn (BeethovensaalMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Sendas grabaciones en v'ivo, históricas, datadas en Bonn (Beethovensaal

American Record Guide | 6/2003 | Haldeman | November 1, 2003

Around the time this Symphony 4 was recorded in October 1979, I saw this same ensemble strict unison bowing and all, deliver a very robust Dvorak 8. IMehr lesen

Around the time this Symphony 4 was recorded in October 1979, I saw this same ensemble strict unison bowing and all, deliver a very robust Dvorak 8. I was struck by the discipline and intensity of the musicians, but I don’t recall the unrelenting sobriety that is so dominant here. I share my affection for Szell’s Cleveland recording of Beethoven 4 with my colleague Steven Richter, and if that should supply a touchstone, it also offers an antidote in the Cleveland’s joyousness, rhythmic freedom, and unfailing beauty. By comparison, Kubelik and his Bavarians are more like portly gentlemen shipping wine and thinking too hard. This is not the Fourth I want.
If you would like to know how this conductor and orchestra played Symphony 5 on November 20, 1969, the sound of the remastering is good. The performance is straightforward, nicely played, somewhat wearisome and hence outclassed. Along with Reiner’s terrific RCA, Carlos Kleiber on DG makes a first choice for whiplash energy, while I’d direct those preferring an emphasis on weight and grandeur to the recent Barenboim on Teldec.
Around the time this Symphony 4 was recorded in October 1979, I saw this same ensemble strict unison bowing and all, deliver a very robust Dvorak 8. I

Gramophone
Gramophone | October 2003 | Rob Cowan | October 1, 2003 Kubelik takes the Stage

Some years ago I was involved in a discussion concerning Wilhelm Furtwängler's potential artistic heir. Who might he be? There was no lack ofMehr lesen

Some years ago I was involved in a discussion concerning Wilhelm Furtwängler's potential artistic heir. Who might he be? There was no lack of candidates. My suggestion, for the following reasons, was Rafael Kubelik. Both were composers; both preferred an old-fashioned orchestral layout (violins divided, etc) and achieved weight of sonority by allowing a chord to fall naturally rather than slamming it shut. Both favoured flexibility within the bar, an often orgiastic excitability and, most important in this particular context, an overall preference for live performance over recording.

For example, compare Kubelik's 1975 DG studio recording of Beethoven's Fourth Symphony with the Israel Philharmonic with the live Bavarian RSO Audite version of four years later. The IPO account is taut and incisive, with an explosive fortissimo just before the coda (at 5'52", i.e. bar 312) that sounds as if it has been aided from the control desk. Turn then to the BRSO version, the lead-up at around 4'25" to that same passage (here sounding wholly natural), so much more gripping, where second fiddles, violas and cellos thrust their responses to tremolando first fiddles. The energy level is still laudably high but the sense of intense engagement is almost palpable. Again, with the Boston recording of the Fifth, handsome and well played as it undoubtedly is (and with the finale's repeat intact, which isn't the case on Audite), there is little comparison with the freer, airier and more responsive live relay. I'm thinking especially the slow movement, so humble and expressive, almost hymn-like in places – for example, the Bachian string counterpoint from 4'27''. Also, the Boston recording places first and second violins on the left: the Audite option has them divided, as per Kubelik’s preferred norm.

Audite’s Tchaikovsky coupling is an out-and-out winner. Kubelik made two studio recordings of the Fourth Symphony (with the Chicago SO and Vienna PO), both set around a lyrical axis, but this live version has a unique emotive impetuosity, especially in the development section of the first movement. The Andantino relates a burning nostalgia without exaggeration, whereas the scherzo – taken at a real lick – becomes a quiet choir of balalaikas. The April 1969 performance of the Violin Concerto was also Pinchas Zukerman's German début and aside from Kubelik's facilitating responsiveness, there's the warmth and immediacy of the youthful Zukerman's tone and the precision of his bowing. Both performances confirm Kubelik as among the most sympathetic of Tchaikovsky conductors, a genuine listener who relates what he hears, not what he wants to confess through the music.

Much the same might be said of Kubelik's Mahler, whether for DG or the various live alternatives currently appearing on Audite. In the case of ‘Das Lied von der Erde’ there is no DG predecessor, but even if there was, I doubt that it would surpass the live relay of February 1970 with Waldemar Kmentt and Dame Janet Baker, so dashing, pliant and deeply felt, whether in the subtly traced clarinet counterpoint near the start of ‘Von der Jugend’ or the way Baker re-emerges after the funereal processional in ‘Der Abschied’, as if altered forever by a profound visitation.
Some years ago I was involved in a discussion concerning Wilhelm Furtwängler's potential artistic heir. Who might he be? There was no lack of

Musica | N° 147 - ottobre 2003 | Alessandro Zignani | October 1, 2003

Ecco: dire che questo rilievo estetico, con Kubelik, diventa una chiave di lettura sull'intera crisi della Sinfonia classica, equivale a definire la sua Quinta monacense uno dei vertici dell'intera discografia beethoveniana.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Ecco: dire che questo rilievo estetico, con Kubelik, diventa una chiave di lettura sull'intera crisi della Sinfonia classica, equivale a definire la sua Quinta monacense uno dei vertici dell'intera discografia beethoveniana.

klassik.com | 05.09.2003 | Andrea Hampe | September 5, 2003 | source: http://magazin.k... Erlebnismusik als laues Schicksalslüftchen

Rafael Kubelik wird zu Recht in einem Atemzug mit den ganz großenMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Rafael Kubelik wird zu Recht in einem Atemzug mit den ganz großen

www.ClassicsToday.com
www.ClassicsToday.com | 01.09.2003 | David Hurwitz | September 1, 2003

You always can count on Rafael Kubelik to deliver performances that areMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
You always can count on Rafael Kubelik to deliver performances that are

Classica
Classica | juin 2003 | Stéphane Friédérich | June 1, 2003

Ces Symphonies sont extraites de deux concerts datant respectivement deMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Ces Symphonies sont extraites de deux concerts datant respectivement de

Diapason
Diapason | juin 2003 | J.-Ch. H. | June 1, 2003

Kubelik et Beethoven se sont au moins rencontrés pour une «Missa solemnis» inoubliable (Orfeo) et pour des symphonies chez DG, gravées avec desMehr lesen

Kubelik et Beethoven se sont au moins rencontrés pour une «Missa solemnis» inoubliable (Orfeo) et pour des symphonies chez DG, gravées avec des orchestres différents le Philharmonique d’Israël pour la 4e et le Symphonique de Boston pour la 5e. En comparaison, ces concerts munichois déçoivent. L'Adagio qui ouvre la 4e sonne plus attentiste que mystérieux, le finale jamais ébroué compte les battements du métronome. Un orchestre atone, dont Kubelik ne laisse émerger aucun détail des bois ou des cuivres qui puisse pimenter le discours, ennuie; il lasse encore plus dans une 5e de bois, où à force de vouloir éviter toute grandiloquence, l'oeuvre se délite jusque dans un Allegro conclusif asséné à la prussienne, tenu, métrique, sans projection, avec çà et là quelques concessions au changement de tempo qui rendent le tout plus incohérent encore.
Kubelik et Beethoven se sont au moins rencontrés pour une «Missa solemnis» inoubliable (Orfeo) et pour des symphonies chez DG, gravées avec des

Pizzicato
Pizzicato | 5.2003 | Steff | May 1, 2003 Blutarmer Beethoven mit Kubelik

Diese beiden Beethoven-Symphonien weisen Rafael Kubelik als Traditionalisten aus, der es zwar versteht, die Werke makellos abspulen zu lassen, dabeiMehr lesen

Diese beiden Beethoven-Symphonien weisen Rafael Kubelik als Traditionalisten aus, der es zwar versteht, die Werke makellos abspulen zu lassen, dabei aber auch vergisst, sie zum Leben zu erwecken. An guten bis hervorragenden Beethoven-Einspielungen herrscht derzeit wirklich kein Mangel und man braucht nicht auf Furtwängler, Toscanini oder Karajan zurückzugreifen, um diese Sinfonien als routinierte Konzertmitschnitte ohne jeglichen Repertoirewert zu entlarven.
Diese beiden Beethoven-Symphonien weisen Rafael Kubelik als Traditionalisten aus, der es zwar versteht, die Werke makellos abspulen zu lassen, dabei

WDR 3
WDR 3 | 06.03.2003 | Thomas Jakobi | March 6, 2003

Eine neue CD mit Beethoven-Sinfonien – da stellt sich natürlich gleichMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Eine neue CD mit Beethoven-Sinfonien – da stellt sich natürlich gleich

Crescendo
Crescendo | 03/2003 | Tom Reinhold | March 1, 2003

Das Label Audite hat die verdienstvolle Aufgabe übernommen, den großenMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Das Label Audite hat die verdienstvolle Aufgabe übernommen, den großen

Merchant Infos

Ludwig van Beethoven: Symphony No. 4 & No. 5
article number: 95.493
EAN barcode: 4022143954930
price group: BCB
release date: 1. March 2003
total time: 70 min.

News

date /
Typ
title
Rating
Sep 23, 2019
Review

Musica
Antidivo della bacchetta (la precarietà della sua tecnica gettava nel panico le...
Mar 7, 2005
Award

Klangqualität: 4/5 - Ludwig van Beethoven: Symphony No. 4 & No. 5
Dec 4, 2012
Review

CD Compact
Beethoven
Aug 31, 2006
Review

Scherzo
Sendas grabaciones en vivo, históricas, datadas en Bonn (Beethovensaal 1979)...
Mar 7, 2005
Review

Gramophone
Kubelik takes the Stage
Mar 7, 2005
Review

Diapason
Kubelik et Beethoven se sont au moins rencontrés pour une «Missa solemnis»...
Mar 7, 2005
Review

American Record Guide
Around the time this Symphony 4 was recorded in October 1979, I saw this same...
Mar 7, 2005
Review

Classica
Ces Symphonies sont extraites de deux concerts datant respectivement de 1979 et...
Mar 7, 2005
Review

www.ClassicsToday.com
You always can count on Rafael Kubelik to deliver performances that are...
Mar 7, 2005
Review

klassik.com
Erlebnismusik als laues Schicksalslüftchen
Mar 7, 2005
Review

WDR 3
Eine neue CD mit Beethoven-Sinfonien – da stellt sich natürlich gleich die...
Mar 7, 2005
Review

Pizzicato
Blutarmer Beethoven mit Kubelik
Mar 7, 2005
Review

Crescendo
Das Label Audite hat die verdienstvolle Aufgabe übernommen, den großen...

More from Ludwig van Beethoven

More from this Genre

...