Prokofiev: 7 Symphonies / Lieutenant Kije

This is a wonderful CD set of Prokofiev's 7 symphonies (and for a good price). The recording is excellent: wonderful high fidelity sound, daring dynamics and astounding clarity in every detail. I love Prokofiev and deeply admire his traits: Great craftsmanship, imagination, orchestration, and on top of it all, his ability to combine traditional elements, harmonies and melodies (including a Russian folk flavor) with "modern" composition techniques and XX century dissonances. He has the best of both worlds and I think he achieves this mixture with a particular flair and mastery.Ozawa's conducting seems to me flawless, filled with vigor, sparkling, and sometimes daringly passionate. As for other recordings of these symphonies, I'm only familiarized with Ormandy's versions of the first and fifth symphonies.Ormandy's versions are spectacular (though far older) and it is hard to imagine anyone being able to outmatch them. Ozawa's version of the first symphony is quite slower. It is, never the less, a very beautiful interpretation. It amazes me all the details one can hear in this recording that in Ormandy's version are lost because of the fast tempo. However, Ormandy's fast tempo makes the whole performance so exciting (without losing its beauty, humor, etc) that it makes you feel this symphony was intended to be played that way, even if it was not.Ozawa's interpretation of the fifth symphony is also wonderful, and the tempos do not seem so contrasting this time (with Ormandy's). But enough of comparisons.As for the other less known symphonies (second, third, fourth, sixth and seventh), now I can tell why the first and the fifth are so popular. No matter how ingenious or brilliant the composer, the public in general, even nowadays, seems to have trouble with dissonance, atonality and the complexities the XX century musical "language" was able to reach. I personally do not condemn this "language", and I'm often able to enjoy it, but I admit it often gets a bit overwhelming, even for someone like me. I say this because I have been exposed to this "modern language" since my college years as a composition student and later as a professional. Some of its manifestations I have learned to admire through the years. But some I have learned to reject, mainly from intuition.In the case of these Prokofiev's symphonies, I will try to summarize my impressions, though I'm aware there are music history experts and connoisseurs that may give a better insight than mine. Please also be aware that for some of the symphonies these are first impressions. They might change when I get to listen to the ones I'm not familiar with more often.The first symphony seems to be a celebration of the classical past, filled with joy, humor, and a touch of modern audacity that distinguishes it from anything Mozart or Beethoven might have dared to write (specially in the whimsical but delightful modulations).The second symphony is brilliant for many reasons (counterpoint, textures, theme development through variation) but besides having an almost grotesque beginning (maybe cynical?), it often gets very anxious and nasty in terms of dissonance and tension. Prokofiev seems to be strongly emphasizing to us that he is making a big departure from the neoclassicism of the first.The third symphony gets worse. It is sometimes majestic in a terrible way, but it has a pathos that reaches the world of despair and horror. It does have some kind of a splendor, but I'm afraid this is the splendor of a cataclysm or a great disaster.The fourth seems to relax a bit, but the struggle is there. The more lyrical and relaxed passages of these two last symphonies seem to me only an illusion: They are not meant to give us a real consolation from the pathos that has been revealed to us.Ah! but then we get the fifth. In the first movement of the fifth Prokofiev seems to be recalling the romanticism of the 19th century (with a particular splendor and ominous pomp) but there is also a shadow of maturity and tension that speaks of the 20th century. Then surprise! In the second movement (and the fourth) we reach an oasis. These two movements have the wit and flavor of the classicism of the first symphony, but also (and I think for the first time in the symphonies) a delightful Russian folk flavor that Prokofiev handles with mastery. The third slow movement is to me the real middle landing point (taking the first symphony as a starting point) that will lead us to the sixth and seventh symphonies. This third movement starts with a sweet romantic melody, but don't be fooled, it dissolves into a hair rising theme played by the strings (in a daring range) that seems a contradiction in itself: It is lyrical, beautiful, but there is a hint of the phantasmagorical in it, and also, I would dare say, a great sense of loss.The sixth symphony goes back to the world of struggle we find on the 2nd, 3rd and 4th.And then Walla! The seventh symphony is a delightful recapitulation of the neoclassical flavor of the first, but with a new maturity. The form seems more complex in general; the humor and the theme treatment seem more daring and whimsical than ever. I feel some of the clarity of the classical form has been lost (on purpose) to give way to a new freedom. It is also a paradox, because he seems to be celebrating the innocence of classicism, and at the same time, defying it in a quite graceful way.I still find that Prokofiev's ballet Cinderella is my favorite of his works (more than Romeo & Juliet, another remarkable ballet). But there is something he achieves in that fairyland world of Cinderella; a contrast of the satirical and the sublime that I find so irresistible. This contrast is also achieved in his symphonies, but in Cinderella it sparkles with a matchless flair. These symphonies are, never the less, great works, showing us a very valuable (and often splendorous) window into Prokofiev's inner world.

This is by the far the best Prokofiev complete symphonies set out there in the market. I also have the NAXOS Prokofiev - complete symphonies, piano and violin concertos set (National Symphony Orchestra - Theodore Kuchar, Polish National Radio Symphony Orchestra - Antoni Wit) which is also very good (more soul and Russian like touch in the interpretation and orchestral playing although it is not a Russian orchestra); The NAXOS set does suffer from a glassy reverberated sound; but I cannot deny the power of the lyrical and expressive interpretation of the NAXOS set (I have reviewed that set as well). On the topic of this DG set by Seiji Ozawa with the BPO - the recording clarity is great, but I did need to equalize the sound to get rid of the over amped treble (brass, shrill string). The sound balancing/engineering has this shrill metallic shrieking quality and I need to dumb it down by dropping the higher frequencies on my equalizer, and amping the mid frequencies a bit to get rid of the slightly brassy studio quality and get a more live recording type quality. Once this is done, this CD set sounds amazing.Symphony 1 is one I've over-listened to, that I normally do not find it exciting any more but under Seiji Ozawa, it still caught my attention. The high points of this set for me are the readings of symphony 2, 5, 6 and 7. These symphonies show amazing innovation and daring by Prokofiev. Especially the 2nd with it's motor rhythms and intended organized cacophony in the first movement of the work. Seiji Ozawa's tempo is spot on. If the tempo would have been played a tad slower, it would have lost the drive and thrust that needs to be generated for the symphonies to work. The BPO play technically brilliantly. I can sense though that the Berlin philharmonic does not play with that slightly Russian touch that is present in the NAXOS compilation. But the NAXOS set suffers from a glassy sound full of reverberation - resulting in reduced acoustic tonal clarity. Also the NAXOS set does not have as accomplished an orchestra as the Berlin Philharmonic. Musical content wise - Symphony 3 and 4, quality wise seem pedestrian to me. Prokofiev used his operatic and ballet music to create 3 and 4 respectively. Since this was modified material and not music originally designed for the symphony, I get a forced feeling - music edited to artificially suite a symphonic format but does not evoke symphonic excitement in me.This set also contains the lieutenant Kije suite. But first and foremost, this is a great set with spectacular readings of Prokofiev's 5 awesome symphonies (1,2,5,6,7) and the average (3,4). All of these are conducted with the right tempo, orchestral clarity and played with accomplished technical brilliance by the Berlin Philharmonic. This is a must have on your Prokofiev CD shelf.

I am only going to discuss the SIXTH symphony. I like the entire set very much but it is the Sixth performed here that is unique in my hundreds of classical CD's. I have several sets of Mahler symphonies. Some I like better than others, every set has strengths and relative weaknesses. I expect subtle, interesting differences in interpretation. The thing is, I have never heard a performance, live or recorded of Prokofiev's Sixth that I even LIKE and yet Ozawa's recording here is one of my favorite symphonic performances, period. It's like night and day to most others, exciting, engrossing, melodic, challenging, and most of all , coherent. I'll keep listening to new performances, live and recorded but this Sixth (and this set) is the one to beat. Ok, I lied. About the whole set-- I love it! Prokofiev for the ages.UPDATE: Now, years later, I've listened to three other sets. This isn't just my favorite, Ozawa's set is the only one that I ever want to hear again. Every other set was by conductors who I normally like/ love. I really dislike their Prokofiev performances. It's unique in my 1,000 CD collection for me to feel this way. Ozawa never loses the melodic thread. That allows Prokofiev to "sing" in all his discordant glory. Two geniuses, one a composer the other a conductor. One happy listener -- me.

I simply don’t understand why there has been so much criticism of this set of the complete Prokofiev symphonies. I’d been put off purchasing by negative comments made by established critics and punters alike. I should have listened to this magnificent set far sooner and trusted to conductor and orchestra.So, let’s establish some parameters. This is a beautifully recorded set of performances. The Berlin Philharmonic sounds resplendent throughout and Ozawa draws out all the drama and tension in abundance, never losing sight of the music’s pungent rhythmic drive and innate lyricism. Frankly, these recordings are simply as beautiful as they are thrilling!While No 1 begins at a measured pace it lacks nothing in character. Its vitality, boldness and swagger is a constant, resulting in a very exciting performance!The second symphony is one of Prokofiev’s boldest inventions. Cast in two halves, the ‘Allegro ben articolato’ could so easily become pure mechanism. Ozawa generates a superb performance in which the powerful textures are brilliantly layered allowing us to hear Prokofiev’s vivid orchestration in technicolour. The unwieldy architecture is very skilfully handled, and with sumptuous strings, tight percussion and resplendent brass, one is left in awe. Has the set of variations that follows ever been so beautifully realised? I doubt it.No 3 literally bristles with energy and its phantasmagorical music is realised to full effect, while the Berlin strings bring an exceptional lustre to the 2nd movement Andante. This is Prokofiev at his most modern, and one really appreciates how this symphony preempts so much music that has come since.We only get the revised version of No 4. That’s a pity, of course. But this edition is similarly magnificently performed.There is a supremely powerful account of the mighty fifth symphony, and the Berliners give as fine a performance for Ozawa as they did for Karajan. Indeed, the skill of this great orchestra is to marvel at, and they give character and power a plenty. And when those sweeping melodic lines take wing, there’s no other orchestra to better them! And for devotees of the great Karajan/Berlin recording (which I also adore), this is better recorded.This is a dark and magnificent performance of No 6. The vivid colours are boldly painted and once again, we can marvel equally at Prokofiev’s invention as we can the orchestral playing. Such a thrilling and moving performance of this magnificent work.The seventh symphony is, in many ways, Prokofiev’s most direct, with echos of ballets such as Cinderella. Its simplicity of material and orchestration (all caught up with the mad and frustrating Soviet politics of its day) demands orchestral playing of the highest standard, which it most certainly gets. And with a clear sense of line and architecture, this performance enthrals and delights.We also get a most dramatic yet beautiful paced performance of the Lt Kijé suite, with glorious singing from Andreas Schmidt. An unusual touch, and most welcome.So, a most beautiful and inspiring set, and I know of no better - and I have several complete sets (all fêted with praise from national/international critics - and all good). If I were to keep only one set it would be this Ozawa/Berlin, because it is just so magnificent in all respects. And take no heed of all that drivel about the Berliners not ‘getting’ this Russian repertoire. They totally get it, as does Ozawa.

Very fine set of Prokofiev symphonies from Seiji Ozawa. I had read unfavourable reviews of this set, but after listening to it on Spotify I got convinced that this deserves high praise indeed, so I ordered it. And I have not been disappointed. Compeared to my other complete set with Neeme Jarvi and The Scottish National Orchestra, I find myself turning to Ozawa again and again. Recommended!

Sound quality goodGood value for money

Queste sinfonie nella fluida direzione di Ozawa offrono un ascolto ricco e gradevole, a volte coinvolgente, per chi ama i drammatici contrappunti di Prokofiev.La registrazione della Deutsche Grammophon è impeccabile.

Tras el complejo que tenía por poseer solamente la integral de Weller (Decca), decidí adquirir otra. Esta reunía todas las ventajas (incluso el precio, factor que para mí, lo siento, es decisivo para comprar un artículo para mi disfrute personal, aunque no para hacer un regalo a un amigo). Me falta escuchar al Teniente Kijé. Me gusta el sonido Ozawa desde que lo conozco y el estuche es irreprochable en ese sentido. Tiene muy buena crítica esta integral y la merece. Sin embargo no me agrada demasiado la versión de la 1ª sinfonía. No sé si se debe a estar acostumbrado a otras versiones (Giulini, Karajan, Previn...).