LSO 海汀克(Bernard Haitink)/贝多芬:交响曲全集[Beethoven: Symphonies Nos.1-9]
Beethoven: Symphonies Nos.1-9
London Symphony Orchestra, Bernard Haitink
Ludwig van Beethoven (1770 - 1827)
Leonore Overture No.2
Twyla Robinson Soprano
Karen Cargill Mezzo-soprano
John Mac Master Tenor
Gerald Finley Bass
London Symphony Chorus
Gordan Nikolitch Violin
Tim Hugh Cello
Lars Vogt Piano
贝多芬:第一＆五号交响曲 Beethoven:Symphony No.1＆5 / 海汀克 Bernard Haitink
Beethoven: Symphonies Nos.5, 1/ Haitink
贝多芬曾对门生辛德勒说：「命运就像这样子敲门！」第五号交响曲著名的四个音符形成了串连整首交响曲重要的基本元素，穿梭在各个乐章间。整首交响曲由痛 苦、挣扎、搏斗到奋斗、胜利，宛若贝多芬一生的写照。贝多芬於30岁那年才创作了第一号交响曲，虽仍残留海顿与莫札特等古典时期的影子，但是乐曲中所透露 出来的语汇对於当时的听眾而言已经相当震撼。除此之外，管乐器的应用也比两位前辈更佳活跃。
贝多芬:第四＆八号交响曲 Beethoven:Symphony No.4＆8 / 海汀克 Bernard Haitink
Original Release Date: September 12, 2006
Number of Discs: 2
Label: LSO Live
Copyright: 2006 London Symphony Orchestra Ltd
Total Length: 6:37:25
Review by James Leonard [-]
Beethoven's nine symphonies -- what can one say? The greatest body of orchestral works ever composed? Probably. The most performed body of orchestral works ever composed? Certainly. The most recorded body of orchestral works ever composed? Absolutely. Not only has virtually every conductor recorded a Beethoven cycle, some of them have gotten to record it multiple times: Abbado, Bernstein, Solti, Karajan, and Haitink, among others. What does this proliferation tell us? Usually nothing about the music that hasn't been heard before, but sometimes something about what the conductor thinks about the music. These performances with the London Symphony Orchestra recorded in 2005 and 2006 tell what Bernard Haitink thinks about the greatest body of orchestral works ever composed. And what does Haitink think? Pretty much nothing that hasn't been thought before. His tempos are neither too fast nor too slow, but straight down the moderato. His dynamics are neither too loud nor too quiet, but right in the mezzo. His textures are clear and lucid. His colors are blended and smooth. His interpretations are solid and sincere. But what does Haitink tell us about what he thinks about Beethoven's symphonies? Pretty much nothing except that he is an experienced conductor with a superb baton technique who keeps his opinions to himself. The London Symphony's playing is enthusiastic but too often ragged around the edges for comfort. LSO Live's recording is transparent but the perspective seems to shift from work to work -- sometimes the strings are too far away, other times the brass are too close.
By John Kwok HALL OF FAMEVINE VOICE on December 30, 2006
Format: Audio CD
My review of this 6 CD set is based primarily on the individual CDs I've heard, but having heard some snippets of the SACD version, then I must say that this is the version to purchase of Haitink's critically acclaimed Beethoven symphony cycle; the September 2006 performance of the entire cycle with Haitink conducting the London Symphony Orchestra at Lincoln Center's Avery Fisher Hall earned ample praise from New York City-based music critics, merely emphasizing just how wonderful this new recorded cycle is, ranking alongside those from Abbado, Zinman and Rattle as among the best recent Beethoven symphony cycles. However, unlike these earlier, though relatively recent, recordings, this one has the best sonic qualities via the Hybrid SACD format. And it is also important to note that distinguished conductor Bernard Haitink has cleverly rethought his approach to Beethoven, offering fresher, lighter textures that sound more reminiscent of Haydn's and Mozart's symphonies, than more melodramatic, almost Wagnerian, versions which audiences have been accustomed to, due to the likes of Furtwangler, Karajan and Solti. Moreover, the London Symphony Orchestra has rarely sounded better, playing with ample conviction and sterling musicianship, eagerly adhering to Haitink's swift tempi and his emphasis on lighter textures within these scores. Among the highlights of this set are those performances recorded on disks One, Four, Five and Six.
Bernard Haitink's latest Beethoven symphony cycle may lack the passion and excitement found in other recently recorded cycles using the Jonathan Del Mar-edited Barenreiter Edition of these symphonies, but I don't think that these are apt criticisms of this recording (Disk One) of a fine account of the Beethoven Third Symphony and a superb performance too of the second Leonore Overture (The most passionate, exciting version I have heard yet remains Claudio Abbado's revelatory, quite dazzling interpretation, among the highlights in his latest Beethoven symphony cycle with the Berliner Philharmoniker. And yet, I might add that Abbado doesn't observe the repeats in the first movement, while I believe Haitink does in this recording.). However, I suspect that not only will it not be dismissed by most classical music critics and fans, but instead, it will find ample praise in some circles. Haitink offers a fine, often fascinating, account of Beethoven's 3rd Symphony which pays ample homage to period instrument practice and is blessed with exemplary playing from the London Symphony Orchestra (Indeed, I find this version far more interesting than his critically acclaimed Philips recording from the 1970s - or is it 1980s - with him conducting the Royal Concertgebouw Orchestra.). Haitink's latest traversal favors rather brisk tempi, with the only disappointment being the second movement's "Funeral March", which doesn't seem as appropriately dour as others I've heard lately, most notably Abbado's. However, unlike a previous reviewer, I don't regard this as a fundamentally flawed aspect of this performance, but rather, a unique interpretation offered by this venerable conductor; moreover, I think the London Symphony Orchestra offers inspired performances from its winds, horns and strings from the opening notes of the riveting first movement to the very end of the last.
Of the two symphonies on Disk Four, I have a slight preference for Haitink's account of the 6th Symphony, since he excels in emphasizing the light textures and period instrument influences of this score, in some respects more so than either Abbado or Zinman in their critically acclaimed accounts. For example, I don't find the "swiftly flowing brook" noted muscially in the second movement to be as brisk as another customer reviewer has complained. Nor do I shed tears for a less melodramatic "storm" 4th movement, or the beautiful elegy to nature which is the symphony's fifth movement; instead I am thrilled with the superlative playing by London Symphony Orchestra musicians within the wind, horn and string sections, and Haitink's consistently brisk tempi (But I will concede that he does slow his tempo a bit in the fifth movement, rendering it as if it was a hymn in praise of nature's beauty and innate goodness.). Of course I also enjoy the London Symphony Orchestra's fine playing of the 2nd Symphony, but there is nothing here which truly distinguishes this version as being markedly different from those I've heard with Abbado, Zinman or Rattle conducting. Without question, I am confident that this fine CD will earn ample praise and interest from long-time fans of Beethoven's symphonies, conductor Bernard Haitink and the London Symphony Orchestra.
I was literally speechless when I finished listening to this splendid LSO Live recording (Disk Five), amazed by these brilliant recordings made from live performances of both works back in late November, 2005 at the London Symphony Orchestra's Barbican concert hall home. Not only has Bernard Haitink led the London Symphony Orchestra in a brisk, quite exciting, account of Beethoven's Symphony Number 7 in A Major, but his latest recording ranks alongside those by Claudio Abbado and the Berliner Philharmoniker and Carlos Kleiber and the Wiener Philharmoniker as among my favorite recordings of this symphony (Like Abbado, Haitink has used the relatively new Jonathan Del Mar-edited Barenreiter Edition of the 7th Symphony.). Moreover, this may be the best balanced recording I have heard of this symphony, since the sound quality was such that I thought I was listening somewhere in the midst of the orchestra, even while listening from a pair of cheap headphones attached to my compact Sony CD player.
Haitink's latest recorded account of the Beethoven 7th Symphony is quite literally light years removed from his critically acclaimed Philips recording with the Royal Concertgebouw Orchestra. The opening movement (Poco sostenuto - vivace) is as brisk as Abbado's latest account, with superlative playing from the winds, horns and strings. The second movement (Allegretto) sounds like a brisk funeral march (This leads me to wonder why Haitink chose not to emphasize the funeral atmosphere of the 3rd Symphony's second movement in his LSO Live recording, since he does such a fine job here.). Haitink's conducting and the London Symphony Orchestra's performance of the third (Presto) and fourth (Allegro con brio) movements may be the best I have heard for this symphony; with regards to the fourth movement, Haitink's version doesn't sound nearly as rushed as Abbado's, even though Haitink's account seems to be nearly as swift.
This LSO Live recording of the Beethoven Triple Concerto is one of the best I have heard, with exceptional playing from former LSO concertmaster Gordan Nikolitch, former LSO principal cellist Tim Hugh, and pianist Lars Vogt. Theirs is a riveting, exciting performance that is amply supported by the London Symphony Orchestra under Haitink's baton; moreover, the chemistry amongst the three soloists is quite superb as if they had played together for years (which is true for Nikolitch and Hugh), and nor do I hear any rushed entrances by any of these soloists (This is in stark contrast to a live performance I had heard a few years ago at Avery Fisher Hall with Mutter, Harrell and Previn as the respective soloists, failing to keep in time with the New York Philharmonic under Kurt Masur's baton.). Instead, there is much virtuoso "give and take" amongst violinist Nikolitch, cellist Hugh and pianist Vogt, as they exchange melodies and variations in each of the concerto's three movements (A very long Allegro followed by a brief Largo and concluding in a spirited Rondo alla Polacca, which is one of the first major instances of Polish music being used as a source of inspiration in a work composed by a major composer like Beethoven.).
I have yet to hear, but am most confident - based on reviews I have read elsewhere, including here at Amazon.com (EDITORIAL NOTE: Please look at my customer review of this symphony which is posted elsewhere.) - that the crowning achievement in Haitink's latest Beethoven symphony cycle is a truly magnificient account of the 9th Symphony (Disk Six). Haitink has offered a vivid, dramatically intense interpretation that couples successfully the light orchestral textures of period instrument practice which we've become accustomed to from the likes of Norrington, Harnoncourt and others with the sonice forces of both the London Symohony Orchestra and the London Symphony Chorus. In this truly revelatory account, Haitink has steered well clear of ponderous, almost brooding, tempi and orchestral textures favored by, for example, Karajan, relying instead on a quite literal reading of Jonathan Del Mar's edited score for a brisker, livelier performance.
Distinguished conductor Bernard Haitink and the London Symphony Orchestra's splendid LSO Live traversal of Beethoven's symphonies was recorded by LSO Live from live concert performances at London's Barbican concert hall in November, 2005 (2nd, 3rd, 6th & 7th symphonies) and April 2006 (1st, 4th, 5th, 8th & 9th symphonies). Those who prefer brooding, melodramatic Beethoven will be disappointed with these performances, since they adhere closely to the period instrument techniques espoused by the likes of Nikolaus Harnoncourt and Sir Roger Norrington, which means that they sound stylistically closer to recent recordings with Sir Simon Rattle, Claudio Abbado, and David Zinman conducting respectively, the Wiener Philharmoniker, Berliner Philharmoniker and Tonhalle orchestras. If you happen to be a Beethoven traditionalist, then I'm certain you'll find more pleasure in distinguished recordings by Walter, Karajan, Bohm and Bernstein which are still available. Otherwise, I think you might agree with me that Haitink has successfully reconceived his interpretation of Beethoven's scores, based now on the scores edited by the late Jonathan Del Mar in the recently published Barenreiter Edition. In other words, this splendid Beethoven symphony cycle will be one that will be prized by both fans and critics alike for years to come (EDITORIAL NOTE: This splendid Beethoven symphony cycle deserves its 2006 Grammy nomination for best classical album of the year.).
Bass Vocals – Gerald Finley (tracks: 6-1 to 6-4)
Cello – Tim Hugh (tracks: 5-5 to 5-7)
Chorus – London Symphony Chorus (tracks: 6-1 to 6-4)
Chorus Master [Director] – Joseph Cullen (2) (tracks: 6-1 to 6-4)
Composed By – Ludwig van Beethoven
Conductor – Bernard Haitink
Edited By [Audio] – Ian Watson (3), Jenni Whiteside
Engineer [Balance] – Jonathan Stokes, Neil Hutchinson
Liner Notes [Profile] – Lindsay Kemp
Liner Notes [Programme Note] – Andrew Stewart (2)
Liner Notes [Translation] – Claire Delamarche, Elke Hockings, Mari Prackauskas
Management [Chairman] – James Warbis
Mezzo-soprano Vocals – Karen Cargill (tracks: 6-1 to 6-4)
Orchestra – London Symphony Orchestra*
Photography By [Cover / Sleeve] – John Ross (8)
Piano – Lars Vogt (tracks: 5-5 to 5-7)
Producer – James Mallinson
Soprano Vocals – Twyla Robinson (tracks: 6-1 to 6-4)
Tenor Vocals – John Mac Master (tracks: 6-1 to 6-4)
Violin – Gordan Nikolitch (tracks: 5-5 to 5-7)
Symphony No 3 recorded live on 21 and 22 November 2005, at the Barbican, London. Includes 5.0 Multichannel mix.
Lenore Overture No 2 recorded live on 16 and 17 November 2005, at the Barbican, London. Includes 5.0 Multichannel mix.
Symphony No 4 recorded live on 19 and 20 April 2006, at the Barbican, London. Includes 5.1 Multichannel mix.
Symphony No 8 recorded live on 24 and 25 April 2006, at the Barbican, London. Includes 5.1 Multichannel mix.
Symphony No 5 recorded live on 24 and 25 April 2006, at the Barbican, London. Includes 5.1 Multichannel mix.
Symphony No 1 recorded live on 29 and 30 April 2006, at the Barbican, London. Includes 5.1 Multichannel mix.
Symphony No 6 recorded live on 21 and 22 November 2005, at the Barbican, London. Includes 5.0 Multichannel mix.
Symphony No 2 recorded live on 26 and 27 November 2005, at the Barbican, London. Includes 5.0 Multichannel mix.
Symphony No 7 recorded live on 16 and 17 November 2005, at the Barbican, London. Includes 5.0 Multichannel mix.
Triple Concerto recorded live on 26 and 27 November 2005, at the Barbican, London. Includes 5.0 Multichannel mix.
Symphony No 9 recorded live on 29 and 30 April 2006, at the Barbican, London. Includes 5.1 Multichannel mix.
Barcode and Other Identifiers
Symphony No 3 In E Flat Major, Op 55 'Eroica' (1803)
1-1 Allegro Con Brio 17:50
1-2 Marcia Funebre: Adagio Assi 14:22
1-3 Scherzo And Trio: Allegro Vivace 5:54
1-4 Finale: Allegro Molto 11:07
1-5 Leonore Overture No 2 (1805) 15:01
Symphony No 4 In B Flat Major, Op 60 (1806)
2-1 Adagio - Allegro Vivace 11:19
2-2 Adagio 9:06
2-3 Allegro Vivace 5:38
2-4 Allegro Ma Non Troppo 6:47
Symphony No 8 In F Major, Op 93 (1812)
2-5 Allegro Vivace E Con Brio 9:08
2-6 Allegretto Scherzando 3:54
2-7 Tempo Di Menuetto 4:24
2-8 Allegro Vivace 7:25
Symphony No 5 In C Minor, Op 67 (1807-08)
3-1 Allegro Con Brio 7:35
3-2 Andante Con Moto 8:36
3-3 Allegro 4:54
3-4 Allegro 10:18
Symphony No 1 In C Major, Op 21 (1799-1800)
3-5 Adagio Molto - Allegro Con Brio 9:40
3-6 Andante Cantabile Con Moto 6:52
3-7 Menuetto & Trio: Allegro Molto E Vivace 3:19
3-8 Adagio - Allegro Molto E Vivace 5:46
Symphony No 6 In F Major, Op 68 'Pastoral' (1807-08)
4-1 Erwachen Heiterer Gefühle Bei Der Ankunft Auf Dem Lande (Allegro Ma Non Troppo) 11:39
4-2 Szene Am Bach (Andante Molto Mosso) 11:48
4-3 Lustiges Zusammensein Der Landleute (Allegro) 4:59
4-4 Gewitter, Sturm (Allegro) 3:32
4-5 Hirtengesang - Frohe, Dankbare Gefühle Nach Dem Sturm (Allegretto) 9:37
Symphony No 2 In D Major, Op 36 (1799-1802)
4-6 Adagio Molto - Allegro Con Brio 13:06
4-7 Larghetto 10:43
4-8 Scherzo & Trio: Allegro 4:00
4-9 Allegro Molto 6:39
Symphony No 7 In A Major, Op 92 (1811-12)
5-1 Poco Sostenuto - Vivace 13:25
5-2 Allegretto 7:41
5-3 Presto 9:05
5-4 Allegro Con Brio 8:30
Triple Concerto In C Major For Piano, Violin And Cello Op 56 (1803-1804)
5-5 Allegro 17:40
5-6 Largo 5:01
5-7 Rondo Alla Polacca 13:13
Symphony No 9 In D Minor, Op 125 'Choral' (1823-24)
6-1 Allegro Ma Non Troppo, Un Poco Maestoso 15:36
6-2 Scherzo: Molto Vivace 13:50
6-3 Adagio Molto E Cantabile 14:12
6-4 Presto - Allegro Ma Non Troppo - Vivace - Adagio Cantabile 24:33