Collecting classical records can be a daunting prospect: the current catalogue contains over two dozen versions of many of the most popular works. How is one to judge which is the best to buy? The classical DJs (should I call us "hosts"?) of CFUV have decided to help you in this. This is the first in a (hopefully not too) occasional, series of articles in which we each discuss our personal recommendations for the best version (or versions) of particular pieces of music.
Inevitably this is a personal matter: my favourite recordings may not necessarily be yours, and I have my own personal blindspots. You will not, for example, find me discussing opera or song or music prior to J.S. Bach; any suggestions I might make in these areas would be based on the opinions of others, not from a personal love of the music involved. The works I shall choose to discuss will tend to be my own favourites, those of which I have the most different recordings, which I would least want to do without.
This will be true for each of the individual presenters and writers of these articles. Nor will we necessarily agree with each other: there are two good reasons why these reviews will be written individually rather than collectively - the impossibility of getting more than two classical DJs together in the same place, and our dislike of the sight of blood.
There are, of course, various magazines which review new recordings, but on the whole I tend to disregard those which contain 10 pages of reviews buried amongst 150 pages of advertisements and equipment reviews. The only ones I would personally recommend are the English publication "Gramophone" (monthly) and the US publication "Fanfare" (bi-monthly). Both of these have their pros and cons, their reviewers have their quirks and it can sometimes take a while before you know which reviewers opinions you are likely to agree with and which not. Both are available at A&B Sounds and Sinfonia in Victoria (can I say that Ed.?).
Those who have listened to my Thursday morning show, 'It Doesn't Have to be Digital' (if you can think of a better name tell me), will be aware that recording quality does not rank at the top of my own list of criteria of a great recording. I shall try to point out the limitations in sound quality of any recordings I may recommend, but the performance is the main thing.
So, all that understood, I hope that this article, and subsequent ones, will be of some assistance to the purchaser faced with a rack containing 15 recordings of Beethoven's 'Eroica'. I do not promise to discuss every version, only those with which I am sufficiently familiar to pass an opinion. The only promise I make is that nothing I recommend will be a complete turkey. I shall also attempt to stay within the bounds of what is currently available. I shall start, as I did my show, with that most basic of basic repertoire, the nine symphonies of Beethoven.
These seminal works can bear a great deal of interpretive weight, and, therefore, there cannot ever really be a single "best" version of any of them. Be that as it may, I shall at least attempt to narrow the field for you. There are, of course, a number of complete surveys of the symphonies, by a single conductor and orchestra; some of these are available boxed and some not. I shall discuss these first and then the separate symphonies.
First off, the bargain of the year must be the CD-reissue of the 1962 Karajan/BPO set (DG). The second of his four complete cycles, this ranks as possibly the best of them all. There are individual performances that he improved upon in his 1977 cycle and some that were worse, but it has all the assets of this conductor: consistency, great orchestral precision and beauty of tone, and it is well recorded although the bass is perhaps a little diffuse. But the best thing about this box is the price: list price is evidently around $38 but you can get it in A&B Sounds for $28.95 - for 5 CDs this is unbeatable. This is the set I grew up with and I was glad of the opportunity to replace my 25-year old LPs at a bargain price. Karajan's 1950 Philharmonia cycle has just been reissued: some prefer it to the others, but it is in mono. His 1977 cycle is available on DG's mid- price Galleria label; fine performances, especially the 9th. Avoid his 1982-3 digital set: it is the most expensive and least well recorded.
Other complete surveys: Klemperer's stereo set from 1956-61 (EMI) should still be around. Some of these performances are more successful than others (as, indeed, is the case with all of the complete cycles). The recordings are good without being spectacular. Tempi tend to be on the slow side and this can initially be off-putting. Adjectives usually used to describe these versions include 'granite-like', 'gruff' and 'unyielding'. Fair enough; another plus of this set: the 1950s Philharmonia was one of the all-time great orchestras.
Bruno Walter's 'Indian Summer' cycle from the late 1950s and early 1960s (CBS) is also still in the catalogue as far as I know. These are warmly performed and recorded: Walter's love for the music shines through every bar. A fitting memorial to a great musician.
There are a number of other modern cycles around, including those by Haitink, Muti, Abbado, Weller. These tend to be well-recorded but a bit faceless. I do not claim to have heard all of them, but those performances I have heard did not persuade me to seek out the others.
"Authentic" performances: (tread carefully, for you tread on my prejudices!) I shall not pass judgement here on the trend towards performing Beethoven on "period" instruments, let me just say that I believe that the performance must still have something to offer as an interpretation, not just for its "interest". Some versions are enormously enjoyable, some should have been left in the recording studio. There are 3 complete "authentic" cycles available. The best of these is undoubtedly that by the London Classical Players under Roger Norrington (EMI). Interestingly enough, it is the smaller scale works (symphonies 1, 2, 4, 6 and 8) which fare best although none of the nine are absolute clunkers. The 9th does, however, contain some very controversial tempi indeed, particularly the (not-so) slow movement and parts of the choral finale.
Of Christopher Hogwood's cycle with the Academy of Ancient Music (Decca London) I am only familiar with some performances; while these were not bad they didn't strike me as outstanding either. I am unlikely to spend the time or the money to become familiar with the rest of hus cycle in the light of reviews I have seen and his at-times dreadful recordings of the late Mozart symphonies.
The third "authentic" cycle is by the Hanover Band led by various people (Nimbus). The earlier recordings (including a dire 5th symphony) seem to epitomise what people find objectionable in period-instrument performances. Scratchy string playing, wonky woodwinds and strange over-reverberant recording. I cannot summon up the enthusiasm to investigate the later recordings, particularly at full-price. For an "authentic" cycle, stick with Norrington.
Historic recordings: aha, now this is a different kettle of fish. By historic I mean, in general, recordings made in the pre-stereo era, i.e. before the late '50s. If you have never heard any of these, then I suggest you listen to some examples on my show before purchasing something which you may find unlistenable. You should also be aware that some countries, Italy in particular, have very lax copyright laws compared to ours. This means that certain, usually cheaper, historical CDs have not been taken from the original masters but from sources of a dubious nature, and the transferring of the music, usually from 78s, may have been done with less care than is necessary. I shall mention a couple of these but you must be aware that you take a risk in buying them.
Unfortunately, of course, many of the greatest pre-LP recordings are not currently available: Weingartner's 1930s VPO cycle, for example, has been out of the catalogue for some years and the 1940 Mengelberg/Concertgebouw set was briefly available on CD but seems to have disappeared again.
Two historic cycles, however, are available - those by Furtwaengler and Toscanini. Neither was recorded as a cycle (this is essentially an LP-era phenomenon) and neither set necessarily shows the conductor at the peak of his powers but both are important documents.
The Toscanini set with the NBC Symphony Orchestra (just reissued on 5 mid-price RCA CDs) suffers somewhat from a dryish sound - partly from the acoustics of NBC's infamous studio 8H where Toscanini liked to record. The performances date from the late 1940s and early 1950s (Toscanini retired in 1954 and died in 1957). Personally, I believe him to be a somewhat overrated conductor, particularly in North America, where he seems to have been marketed by RCA & NBC as the last word on classical music. Furthermore his influence on subsequent generations of conductors has, it seems to me, been largely for the bad, but that is properly the subject of another article. Highlights of the set are the 5th, 7th and 9th symphonies. I am unfamiliar with the 'Eroica' in this set -from 1949 - the last LP incarnation was issued with a later Carnegie Hall performance. Be warned: the 2nd symphony is a 'portmanteau' of two performances, from 1949 and 1952! I am also particularly unenchanted by his 'Pastoral', it sounds, as a player in the pre-war New York Philharmonic once remarked, as if he 'just couldn't wait to get to the storm': this is the countryside viewed from inside an air-conditioned limousine.
The Furtwaengler set - shared between the Berlin and Vienna Philharmonic Orchestras and available on separate mid-price EMI CDs - also has its ups and downs. In particular the 2nd and 8th symphonies are taken from poorly-recorded live performances in 1948. The benefits, however, outweigh the disadvantages and there are particularly fine versions of the 1st, 'Eroica', 4th, 5th and 7th symphonies. The 6th is a little slow and not to all tastes - although it remains my all-time favourite version. The 9th is the legendary 1951 performance recorded live at the reopening (after the war) of the Bayreuth festival. Regular listeners may be aware that I consider Furtwaengler the greatest conductor of the century (with the possible exception of Mahler, who unfortunately died too early to leave any records) and I make no apologies for selecting so many of his recordings as historic first choices. Some people disagree, finding him wayward; if you get the chance to listen to at least one of his recordings first then do so.
So to individual recordings of the symphonies.
Recommendations: my vote for the greatest ever recording would go to Furtwaengler's 1944 Vienna recording. This has amazing electricity and a real sense of danger in the ebb and flow of the tempi, particularly in the first movement. Unfortunately, it is virtually impossible to find now; there is a French EMI LP, possibly still available on import, although I have not seen it for some years: if you should spot a second-hand copy somewhere, don't hesitate - snap it up. There is also a CD transfer on the 'Priceless' label, but other CDs from this source would suggest that the transfer is from less-than-immaculate sources and carelessly done. The 1952 Furtwaengler VPO studio recording is also a great performance, easily available and coupled with a fine No.1 There is also a wonderful 1952 live Furtwaengler performance on the Italian 'Virtuoso' label which can sometimes be found for around $9.99 at chain stores - you have to keep looking though; this does seem to have been fairly well transferred, considering the source.
The 1953 Toscanini version no longer seems to be in the catalogue, which is no great loss, and the 1949 is only available in the complete set. His 1938 version - possibly available on import - is generally reckoned the best. The marvellous 1955 version by the Vienna Philharmonic Orchestra conducted by Erich Kleiber is now also available on CD (Decca London). In the early '50s there was talk of the mythical conductor Toscwängler, the man who would combine the razor's-edge precision of Toscanini with the intellect and spirituality of Furtwaengler. If anyone came close to filling this rôle it was, to judge by this recording, Erich Kleiber. Of stereo versions, Klemperer's 1961 version displays all his virtues: toughness and a concern for architecture above all else; this is coupled with a 1955 early-stereo orchestral version of the 'Grosse Fugue' which is worth the price of admission alone.
I haven't heard Bernstein's 1960s New York recording - now reissued at mid-price (CBS) - but it is generally rated higher than his 1980s Vienna (DG) remake, fine performance though that is. I think this would be next on my personal list to purchase. Walter's 1959 recording is also outstanding, coupled with a stirring 'Coriolan' overture. For a really controversial version, try the 1978 LAPO/Giulini recording (DG). His first movement tempo (over 20 minutes as opposed to between 15 and 18 by other conductors) takes some getting used to, but this is certainly a different performance and beautifully played.
As far as "authentic" performances are concerned, the Brüggen live recording with the Orchestra of the 18th Century (Phillips) wins hands down as far as I'm concerned. This seems to be one of the few period performances that doesn't treat the music as an academic exercise, but knuckles down to the task of coming to grips with a great piece of art.
Recommended versions: Furtwaengler's 1943 performance is now available on a DG CD and as part of a 10-CD set of wartime performances: not for the casual collector, but vital for those interested in historic recordings. His 1952 studio version is also as good as any, and, again, surprisingly well recorded for its age.
The most exciting modern recording I know of is a live performance by the Bavarian State Symphony Orchestra, conducted by the mercurial Carlos Kleiber, son of Erich (Orfeo). Unfortunately, as with his other Beethoven recordings, this performance is offered alone on CD and is thus no bargain; also the performance does tend to be somewhat unrelenting, however there is no doubt that this is great music-making and those who respond to it will consider the price money well-spent. Karajan's 1962 recording is another safe recommendation, as is Norrington's authentic version, coupled with a fine 5th symphony.
My choice for historic recordings would go to Furtwaengler, whose 1954 recording is now available, at mid-price, with a blinding 7th (see below). There is also a 1943 live Berlin recording available (DG), which is, if anything, even better. Erich Kleiber's 1955 version, with the Concertgebouw, is also extremely fine and is coupled with an equally good 'Pastoral' (Decca London).
Among modern recordings once again Carlos Kleiber sweeps the field with another uneconomic version. This time with the VPO he offers another intense, indeed electrifying, recording, again occupying an entire CD. If DG would recouple this studio version with the 7th it would be the best modern Beethoven CD in the catalogue. Anyone listening, Polygram? Once again Karajan's 1977 version is the best of his three.
Quite my favourite version of this is the 1952 VPO/Furtwaengler recording, but its slow tempi, particularly in the first two movements, are not to all tastes. Erich Kleiber's version would be my other historic recommendation. There is an Italian CD (see warning above) of Toscanini's 1937 BBC SO recording, on the World Classics "label". This is certainly pirated, as the recording belongs to EMI and will, presumably, appear on their "Great Recordings of the Century" series eventually.
My favourite stereo recording is not much newer, Bruno Walter's 1959 Columbia Symphony version. This symphony is exactly suited to the glowing mellowness of Walter's last recordings and is a sheer delight from beginning to end. Klemperer's stereo version also has rather slow tempi, particular in the 'Shepherds Merrymaking', where the Shepherds seem a little lethargic, but there is no denying the affection in Klemperer's interpretation.
My favourite authentic version would again be Norrington's. The rather fast tempi, particularly in the first movement, throw a whole new light on the internal balances of the work, and the extremely realistically recorded tympani (played with hard-headed sticks, of course) had my dog on his feet and barking at the supposed thunder.
Toscanini's pre-war New York version seems to be out of the catalogue at the moment, fine as it is, and his 1937 BBC SO reading, recorded live in London, is only available as part of an LP-set with his BBC studio recordings of the 1st, 4th and 'Pastoral' in the same year. A pity, as these versions are in every case finer than the post-war NBC SO recordings. EMI should reissue these on CD as soon as possible.
Carlos Kleiber's hat-trick of great, if expensive, stereo recordings is completed with the 7th - once again with the VPO (DG). Compared to Toscanini's pre-war version for it's excitement, it is the only recording I know which truly brings out the wonderful stereo effects between the first and second violins in the coda of the finale. A glorious effect, entirely lost in those recordings which utilise the British (and North American) tradition of seating all the violins together on the left.
Again I have to plump for Furtwaengler as first choice: unfortunately, the greatest single performance I have ever heard, recorded in Berlin in 1942, is only available on, yes, one of those Italian CDs (World Classics again). I have not heard this transfer, as I possess a private French Furtwaengler Society issue. The original recording, on early tape technology, was not exactly hi-fi to begin with, but, if you're sufficiently interested, it's probably worth the $9.99. This is the recording I played over the air in May. The most famous recording is probably Furtwaengler's from 1951. This was another live recording, made at the re-opening of the Bayreuth opera house after the war; it was felt that only an artist of Furtwaengler's stature could purge the venue of its Nazi associations. This recording has never been out of the catalogue since its original over 35 years ago - a tribute to its greatness.
Of modern recordings, I prefer Karajan's 1977 version to that of 1962 although there are those who disagree. All seem to agree, however, that his digital 1983 version is a lemon: most of all for its poor recording quality. Karl Böhm's 1981 recording, his last before his death, is extremely fine, although he does adopt rather slow tempi in the last movement.
Two recent releases which I have yet to hear, are those of Bernstein, recorded in East Berlin on Christmas Day 1989 (DG), and a live recording by Kubelik with the Bavarian Radio Symphony Orchestra (Orfeo) as part of a series to celebrate the orchestra's 40th birthday. The Bernstein is primarily, of course, a recording of an event and is unusual in that the word "Freiheit" (freedom) has been substituted for "Freude" (joy) in the choral finale. This recording will, by the time you have read this, have been televised on KCTS channel 9: if you watched it you will have formed your own opinions. Kubelik is a somewhat under-rated conductor: he recorded a much-praised Brahms cycle in the 50s and a complete Mahler cycle in the 60s. This Beethoven 9th has received excellent reviews, comparing it in stature to those of Furtwaengler and Toscanini. Worth a listen.
The version by Roger Norrington, usually the safest "authentic" recommendation, has drawn a lot of attention since its first release. It's certainly different - his slow movement, for example, is almost twice as fast as Furtwaengler's: more Andante than Adagio. He also adopts some odd speeds in the finale, and, while the accompanying booklet offers very convincing arguments for them, the proof of the pudding is in the eating, and I find them ultimately interesting rather than engrossing.
These would be my personal recommendations, then. There are other versions I personally would not wish to be without, but these are either so idiosyncractic as to be generally unrecommendable (Weingartner's 1926 recording of the 9th., with the finale sung in English!) or unavailable at the moment, or both. If you should disagree violently with anything I have said, write to Offbeat. Otherwise, happy collecting!
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Postcript to the above, which was originally written November 1990.
The 1961 Concertgebouw/Monteux (Philips) is also very fine, with exceptionally fast tempi for a conductor well into his 80s. There is a Leningrad PO/Mravinsky live recording from 1960 on a Hunt import CD, coupled with a Tchaikovsky 5 and Shostakovitch 5. Mravinsky is one of only 3 conductors to have presided over the same orchestra for 50 years (Concertgebouw/Mengelberg and OSR/Ansermet being the others). Not your standard interpretation, but a great performance from one of the century's great (unsung) conductors. I can't imagine living without any of these!
Toscanini's 1953 Carnegie Hall recording has now been issued on CD (RCA), but I still don't like it. Gunter Wand's new recording for RCA has garnered some rave reviews, but I haven't heard it yet.
There are some interesting historical recordings around too: the 1935 VPO/Weingartner and the 1927 Berlin Staatsoper/Fried (disciple of Mahler), if you care for that sort of thing (which I most certainly do). I listened - out of a sense of duty for a radio programme I am engaged on - to the 1952 Toscanini. I thought I merely didn't care for it much; now I realise I hated it. I actually put on the 1942 Furtwaengler finale afterwards to take away the taste. This (like his 1953 Eroica) seems to sum up for me all that was wrong with Toscanini during the last years of his life: hard driven and inflexible - and his soprano shouts during the final quartet.
One final note for the historically - and "authentically" - minded. According to Sir Donald Tovey, Beethoven changed a word of Schiller's Ode: in the manuscript of the 9th symphony, but in none of the printed editions, the end of the first stanza read "Was die mode frech (not streng) geteilt" (Which custom has impudently, rather than sternly, parted). To my knowledge the only recording to feature this change is Jascha Horenstein's 1950s VSO recording. This is, I believe, now available on some obscure (possibly) Italian label - Tuxedo. Even on my battered old Vox LP copy, you can quite clearly hear the difference: it's also a very fine performance in other regards. And all that fuss they made about Lenny changing "Freude" to "Freiheit". As a brief aside, it was Horenstein who - in 1956! - recorded the first complete Brandengurg Concerti on period instruments; one of the viola da gamba players was a certain Nikolaus Harnoncourt. Which reminds me....
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Here follows a review of a couple of recent(ish) significant recordings.
Beethoven: 9 Symphonies. Margiono, Remmert, Schasching, Holl, Arnold Schoenberg Choir, Chamber Orchestra of Europe, conducted by Nikolaus Harnoncourt. Teldec 2292-46452-2 (5 CDs).
Oh Brave New World, that has such issues in it!
Actually, the discs reviewed herein appeared in Victoria just before Christmas (how very convenient), but past the Offbeat deadline for January, so I'll treat them as brand new releases. Nikolaus Harnoncourt is widely considered to be one of the fathers of the "authentic" performance school, which seems to dominate the field of baroque, classical and even early romantic music today. Nevertheless, he is no dogmatist, and his recordings of Haydn symphonies have been made with a full-sized modern-instrument orchestra (the Royal Concertgebouw). And very contoversial some of his Haydn has been.
The notion of a complete set of Beethoven symphonies conducted by Harnoncourt, therefore, is an intriguing one: what kind of instruments would he use? how large an orchestra?
In the event he uses a chamber orchestra of about 50 players, all of them, save the trumpets, playing modern instruments. The results are, to say the least, splendid. All the symphonies were recorded live; Nos 1-8 in 1990 and No. 9 in 1991. There is scarcely any discernable audience noise, and the extra tension resulting from live performances makes the effort well worthwhile.
By using these forces, Harnoncourt seems to get the best of both worlds: the sound of modern instruments, which many people - myself included - still prefer, coupled with the vitality and precision of a small orchestra and the wonderful rasping tone of the trumpets. The conductor's rationale for using natural (i.e. valveless) trumpets is that modern trumpets have to be played too loud in order to get the martial tone which Beethoven intended. I, for one, am convinced.
What Harnoncourt achieves, however, in this set is precisely what was always claimed for, and somehow never quite managed by, the recent Beethoven recordings by other "authentic" specialists, for example Roger Norrington and Christopher Hogwood. That something is the impression, in the listener's mind, of hearing the music afresh, almost as if for the first time.
This is not to suggest that something of the kind completely escaped the Norringtons and Hogwoods, rather that Harnoncourt conveys it almost entirely by musical, as opposed to musicological, means. This set is fine enough to set beside any from the stereo era, and I certainly wouldn't say that of any other recent complete recordings.
If you want some concrete examples: try, as I invariably do, the Eroica. The first movement is fast, to be sure, but Harnoncourt doesn't lose sight of its importance: this is, after all, one of the greatest symphonies ever written. The second-movement funeral march, too, loses none of its gravity or fire.
Or try the Seventh symphony. In this work, particularly in the finale, Harnoncourt shows his unerring sense of the long-line in Beethoven; he never loses sight of the end of the movement for the sake of moment-to-moment detail, as so many others seem to. Perhaps this sense of line is heard at its best in the finale of the Choral Symphony, which receives its finest performance in years, with splendid - and, for once, well-balanced - vocal contributions. It has to be admitted, however, that occasionally, in the early movements, the tension does sag a little at times.
The Eighth symphony is also quite superb, perhaps the very finest stereo recording I know. I would have said finest ever, but see below. If there is one symphony which really doesn't quite take to the Harnoncourt treatment, it is the Pastoral. While this performance is very enjoyable, it all seems just a bit too rushed, and the thunderstorm is not really alarming enough.
Those slight, and they really are slight, quibbles aside, I would have to say that this is probably the single most recommendable stereo set of the Beethoven Symphonies. It is not cheap - if you want cheap then get the 1962 Karajan set - but it is not expensive either. Retailing at around $65 for 5 CDs (and, incidentally, a splendid booklet), plus tax - of course! - $13 per disc puts this set firmly into the mid-price area, and it is considerably cheaper than many a full-price set, most of which are neither as well played, nor as well recorded as this.
I suppose the main difference between Harnoncourt and the other recent pretenders to the Beethoven throne, is that while they may be very fine musicians (and musicologists), Harnoncourt is undoubtedly a great one. Very highly recommended.
Beethoven: Symphonies Nos 1, 3, 6, 8. Vienna State Opera Orchestra, London Philharmonic Orchestra, conducted by Hermann Scherchen. MCA Classics MCAD2-9802 (2 CDs).
Hermann who? I can hear you saying. Older readers - I mean much older - will remember Scherchen's name: he was one of those conductors who, during the 1950s especially, recorded enormous amounts of the standard repertoire, often with second rate (or worse) orchestras and inadequate rehearsal time, for budget labels which are n longer with us. Frequently even the orchestras operated under a nom-de-disque for contractual reasons; in this particular recording the LPO masquerades under the soubriquet "Philharmonic Symphony Orchestra of London".
Why am I even bothering to review this then? Firstly, because those issues I have managed to obtain, usually in second-hand stores, by Scherchen have always had something to say, even when the actual execution was less than perfect. Secondly, I can remember the fuss certain reviewers made about this pair of CDs when they were first reissued in the US: in 1988 - why has it taken over 3 years for them to appear in Canada, MCA?
So, was it worth the wait? And how! As usual with any set like this, I turned to the Eroica first. With over 30 different recordings in my collection of this one symphony, a new one has to rather special to make much of an impact. I could hardly believe my ears at this performance. While the "authentic" school may like to think it invented fast tempi in music of this era, it ain't necessarily so. Scherchen takes the first movement of the Eroica faster than anybody else I have ever heard. Not only that, he makes the tempo work: a truly amazing feat of concentration. And, he includes the exposition repeat: more evidence that recent "advances" may not be as recent, or as much of an advance, as some would have you believe. Perhaps even more amazingly is the fact that Scherchen make this same speedy approach work in the Sixth; despite a tempo faster than Harnoncourt's, this Pastoral somehow never seems rushed. How does he do it? I'm still trying to work it out.
Perhaps the highlight - among many - of this set is the Eighth Symphony. This recording is the reason I had to qualify my praise of Harnoncourt's version: only days after being knocked out by that recording, I acquired this one which is, to my mind, arguably the greatest ever of this much underatted work. As Beethoven himself said, the Seventh is one of his "great" symphonies, but the Eighth (written at the same time) is the better work. With this version one can, perhaps for the very first time, understand what he meant.
I should point out a few small (to my mind) drawbacks to this set. The recording date from the 1950, Nos. 1 and 8 being from 1954 - and in mono; Nos. 3 and 6 are from 1958 and are in stereo; the recordings themselves are good for their age, but not outstanding; there is a fair amount of tape hiss, but that is inevitable in material of this age, the tapes begin to deteriorate after three decades; finally, some of the playing is a little rushed, or sloppy: as I said, conductors like Scherchen (Horenstein is another good example) just didn't get to conduct the best.
These minor considerations should not, however, deter you. If you are serious about Beethoven then you owe it to yourself to hear this set. Oh, did I forget to tell you the price? Around $17 for 2 CDs. Indispensible.
Two remaining points: firstly Scherchen's famed recording of Mahler's "Resurrection" symphony (coupled with number 1) is also about to reappear in this series - watch this space for a review. Secondly: Scherchen recorded all nine Beethoven symphonies in the 1950s: what happened to the other 5, MCA?