Although the classical catalog contains countless recordings of Beethoven's symphonies, which added almost a month still new, and it is the 5th and 7th Symphony enjoy among performers very special popularity, Carlos Kleiber's contributions are simply a must for anyone who with classical music even a little busy. This is still quite full, although the productions are already 30 years old. There are milestones in the long history of Beethoven reception that practically beyond any comparison, because they are unique and yet not extravagant. Carlos Kleiber was his life not a producer of mass-produced, his discographic legacy is comparatively narrow. This had to do with the fact that the artist only a work of small eternity the record confided when he listed it countless times and finally was able to identify with his interpretation hundred percent. Beethoven's Fifth, an unfortunately over overused plant, of which the Swiss composer Arthur Honegger once said after he had now heard about two hundred times, it was for him only sound is born under Carlos Kleiber's baton virtually new. Voices are heard and also byplay that you think you've never heard. The work is placed under an almost unbearable tension, and I've never heard the song of triumph of the final in such ebullient wobble. I'm pretty sure: This interpretation would even Honegger leave again listen attentively. The Seventh is of absolutely of the same size, the appearance of the Vienna Philharmonic, especially the strings in the second movement is, of a gloss and a precision unparalleled. It is striking that the conductor chooses the pizzicato conclusion of the second set, just like his father Erich in the old recording with the Concertgebouw Orchestra Amsterdam. The finale of the Seventh heard anywhere on rushes as the many other conductors, despite the lively tempo - unfortunately - is the case. "Carlos Kleiber and the Vienna Philharmonic joined the inspiration of a concert play with the precision studio excessive detail work," it says in the text supplement this issue. So that the nail is hit on the head.
The sound of the recordings of 1974 (no. 5) and 1975-76 (no. 7) is full and ostentatiously, the "Original Image bit Processing" the DGG has against the original editions still worried for a considerable improvement. A particularly significant edition in the series of the "original", which will be further enhanced by a valuable contribution by Peter Cossé in the textbook. A monument to Beethoven, a CD for the Panel Mount Olympus, an album for the deserted island, a must for any classical music friend!
