Beethoven：Symphonies 5 & 7
- Is Discontinued By Manufacturer : いいえ
- 製品サイズ : 14.2 x 12.6 x 1.19 cm; 104.04 g
- メーカー : Deutsche Grammophon
- EAN : 0028947163022
- 商品モデル番号 : 1992398
- オリジナル盤発売日 : 2003
- 時間 : 3 時間 36 分
- レーベル : Deutsche Grammophon
- ASIN : B00007KMOX
- ディスク枚数 : 1
これまでに作曲されたもっともポピュラーな、もっとも好まれている交響曲である第5番の模範的な演奏と長いことされてきたこの盤、ここには情熱、厳密さ、ドラマ、抒情的な美しさ、そしてまず出だしの音からして人を興奮させる第1楽章のうねるような激情と、すべてがそろっている。カルロス・クライバーはその際立って優れたキャリアのなかでレコーディングをあまり行っていないが、レコード化されたものはほとんどすべて格別の出来である。もしこの交響曲のレコードをお持ちでないなら、ぜひこの1枚を買うべきだ。これには第7番の非常にすばらしい演奏もついている。こちらは第5番ほどには人を感動させないが、見事な演奏のひとつであることは間違いない。クラシック音楽があり、クラシック音楽のクラシックなレコーディングがある。これぞまさしくクラシックだ。（David Hurwitz, Amazon.com）
But why were our totemic leaders (like Karajan, Böhm, Furtwängler, Haitink, Jochum, Maazel and Wand) not able to penetrate what we all thought was a fairly simple score? Another similar barrier might help answer this question. Look at Beethoven's Missa Solemnis and we find a similar story. The only conductor to get under the skin of this work was a non-typically Beethoven conductor, Nikolaus Harnoncourt who miraculously achieved the deep insight that was missing. (But sadly he died just afterwards).
The truth probably is that the scores of the great works never really reveal what the composer was after. No wonder then that conductors who think that their job is to interpret the score miss the possibility of playing what the composer intended, not what he wrote.
What would Carlos have gone on to achieve had he not died young (that is young for a conductor, who tend to live long lives)?
One thing I did pick up from a dissenting voice is the acute and accurate observation that Kleiber and his sound engineers "cheat" during the transition from the Scherzo to the finale in the Fifth: the end of the third and the beginning of the fourth movement come from different takes and sound-worlds and as such represent a bit of jiggery-pokery whereby the impact of the crashing chords is artificially manufactured. Listen carefully and you'll hear it - but it works very well as a recording, even if it couldn't be done live.
Otherwise, these are terrific performances, an amalgam of recordings from 1974 and 1976 which has stood the test of time. The Santa Fe listener reports that even in blind listenings, his auditors all agreed that Kleiber had created something special in both accounts. Some reviewers have complained that the second movement of the Seventh is too brisk but to me it's all of a piece with a thrilling piece of symphonic theatre, energised and compelling in its approach. It is true that there are comparably fine versions from Szell, Reiner, Bernstein and Karajan which are not very different from these and all part of a grand tradition of rendering unto Beethoven both the grandeur and the almost manic propulsiveness the music demands, but the point is that this pairing will prove deeply satisfying to the vast majority of lovers of Beethoven's symphonies.
I hadn't revisited them for some time before today, this 25th December, when after a splendid lunch I settled myself in an IKEA Poang easy-chair in my conservatory with a cigar and a glass or two of Sancerre and listened contentedly while contemplating our twinkling Christmas tree, tastefully decorated in red and gold. I grant you that such circumstances and environment predisposed me to be highly receptive to genius of Carlos Kleiber and the Vienna Philharmonic but nothing I heard could do other than enhance my blissful state of mind.
Under Kleiber's magisterial baton, the horns are virtuosic, just bordering on hysteria in their attack, the strings whirl like incandescent dervishes and the woodwind caress the ear like Ulysses' Sirens - yes, dear reader, I rather enjoyed it.
This one is no exception and should be part of any true music connoisseur's collection.