ベートーヴェン: 交響曲全集 ［5CD+Blu-ray Audio］＜限定盤＞

60年代の意気揚々たる全曲録音を最高の音質で!

カラヤン没後25周年 に新規リマスター音源+ブルーレイ・ディスクで限定盤(479-3442)として発売されたCD+BDセットが、キャップボックス仕様の通常盤として蘇りました。
1961&62年、ベルリン、イエス・キリスト教会で収録されたステレオ録音リマスター盤。
ブルーレイ・オーディオには2003年のSACDによる交響曲全集発売時にも特典版として封入された交響曲第9番のリハーサル音源も収録。
カラヤン&ベルリン・フィルの良好な関係が感じられる意気揚々たる演奏が、最新のテクノロジーを駆使したリマスターによって更に迫力を増して圧倒的な感動の坩堝へ聴き手を誘います。
ユニバーサル・ミュージック/IMS

Herbert von Karajan recorded Ludwig van Beethoven's complete symphonies four times, first in the 1950s with the Philharmonia Orchestra on EMI, then on three more occasions with the Berlin Philharmonic for Deutsche Grammophon. Karajan's 1963 cycle with Berlin is highly regarded by fans for its consistent interpretations and energetic and emotional playing. Collectors usually rate this set higher than the 1977 and 1985 recordings, also with Berlin on DG, which have been criticized for being somewhat more mechanical in performance and clinical in sound quality. That said, Karajan's Beethoven is decidedly a product of the mid-20th century, following conventions that tended toward homogenization of orchestral colors, broad pacing, and an exaggerated sense of the heroic, particularly in the Third, Fifth, Seventh, and Ninth. Before the advent of the movement for period performance practices and the wide use of original 18th and 19th century instruments, Karajan's recordings were widely accepted as the gold standard for Beethoven, though the historically informed interpretations by John Eliot Gardiner, Roy Goodman, and Christopher Hogwood have, by way of comparison, made most of the mainstream versions of Beethoven seem heavy and stodgy. Listeners who grew up with Karajan's recordings will appreciate this set, though they are likely to own it already.