The perfect Beethoven Symphony Cycle

There is of course no definitive performance of anything. I remember years ago when Klemperer's EMI recording of the 9th came out at least one critic (I think Gramophone's) considered it the last word, why I didn't know then and still don't. The bass, for example, is a complete let down - just compare him to Weingartner's Richard Mayr. It might be easier to make a list of recordings to be avoided than to come up with a definitive list but I wouldn't want to try that one either. Life's too short.

I am glad to learn that I am not the only music lover with a penchant for the old guard of conductors in this repertoire. I usually keep my music taste to myself for fear of being castigated by the powerful 'authentic' lobby but ready to 'come out' when among friends.

For completeness, I think one should not forget Paul Kletzki's cycle with the Czech Philharmonic. They were (and are) a cracking band with an inherent inner sense of rhythm (or pulse) which is important for the successful execution of these symphonies. Listening to them inevitably brings a smile to the face, such is the 'rightness' of the performances.

My favourite cycle is completed by Casals in symphonies no 6-8 for sheer joy and playfullness and Ferenc Fricsay in the 9th for a never unfailing grip on proceedings, transparency of textures and Fernhoer:

1. Casals, Kletzki

2. Klemperer, Carlos Kleiber (Orfeo)

3. Klemperer (I prefer the stereo version to the more famous 1955 mono)

4. Kletzki, Carlos Kleiber

5. Kletzki, Klemperer

6. Casals, Klemperer

7. Casals, Karajan (VSO)

8. Casals

9. Fricsay, Szell

But maybe this is not a very scientific approach.

You mean that his  success was in the opera house, mainly annoying the Nazis?

There are so many examples of Klemperer in the theatre from Legge including two recordings that have proved, over the past half-century or so, difficult to equal, namely, Fidelio and Die Zauberflote.

I think that Legge planned, belatedly because he thought the 'Ring' wouldn't sell, a recording of Die Walkure but it was not to be.

Fidelio was a studio recording (Zauberflote too). The capture of the live performance from Covent Garden is the greater performance - proving my point, I think. Legge insisted on selecting almost a completely new set of soloists for the later recording, much against Klemperer's wishes. But how can a studio recording, assembled take-by-take over days or weeks, not following the natural sequence of the work, but rather artists' schedules, capture the white heat of inspiration of a complete performance of a work?

Well, in order to choose one conductor for all symphonies I don't see how this couldn't be Furtwängler, vastly superior to anybody else, despite the poorer sound quality compared to more modern recordings. But he is just on a different planet. Only Bruno Walter equalles him in the Sixth Symphony, and gets just a notch below Furtwängler in the Seventh, as well as in the so-called minor symphonies (First, Second, Fourth, Eight). After this, I would say Klemperer, especially in the Eroica. Karajan is a good fourth: his Eroica, Fifth and Ninth are great. But all this Kleiber-mania ... I keep listening to his Sixth and Seventh only to find them "just" polite. Toscanini really suffocates Beethoven, just listen to his Fifth or Ninth, rushing from one musical phrase to another without breathing, depriving the music of the solemnity and poetry these symphonies deserve. I would regard all other conductors mentioned in this Forum as minor incidents in the history of conducting.

Well, I was only expressing my personal opinion, of course. I am anyhow curious to know why, besides Furtwängler, Klemperer, Karajan and Toscanini, nobody mentioned Bruno Walter among the great ones.