Why, with all the Beethoven Fifths and Sevenths in the catalog, did DG decide to issue Karl Böhm's early-'70s recordings with the Vienna Philharmonic? With recordings by Carlos Kleiber, Ferenc Fricsay, Claudio Abbado, Herbert von Karajan, and a clutch of others, why reissue Böhm's? First released as part of DG's 17-volume Beethoven Edition, Böhm's Fifth and Seventh are sure, supple, and strong, always superb and sometimes sublime. His Fifth is powerfully argued in the opening Allegro con brio, deeply felt in the following Andante con moto, and heroically triumphant in the closing pair of Allegros. His Seventh is wonderfully lyrical in the opening Vivace, profoundly moving in the following Allegretto, and forcefully, even ferociously, driven in the closing Presto and Allegro con brio. Böhm's recordings easily out-class Karajan's bright but empty efforts, are surely in the same class as Abbado's brilliant and dynamic recordings and Fricsay's coruscating and rhythmic recordings, and are almost in the same class as Kleiber's ecstatic and joyful recordings. Perhaps DG didn't want to compete with its recently remastered and reissued Kleiber recordings and perhaps it didn't diminish the Abbado or the Fricsay recordings or dull the Karajan recordings. Whatever the reason, Böhm's recordings haven't been available in the United States for decades and older listeners will welcome them back. DG's stereo sound is lush and rich. ~ James Leonard, AMG

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