Beethoven Symphonies - best perf + sonics on CD

That's a good question Rok2id. Brownsfan would you, or anyone else for that matter, happen to know the idiosyncrasies of the differing media formats concerning 'SHM', SACD, Redbook. etc...? It seems like these catalogue descriptions might confuse people into thinking that they are getting more of something or may be getting something different from what is actually in the CD.

Goofyfoot, It is a real dilemma. Here I sit, with my recently purchased DG SACD remasters, for the most part thrilled with the artistic merit, but recognizing that the recordings leave much to be desired. Certainly, they aren't bad at all for 1962 vintage recordings, --but, well, its still mostly about the artistic merit. I've heard 1-8 now, and guess what? The 3rd and 4th rise well above the rest with respect to recording quality. The very ones that are offered as SHM remasters. What to do?
Is it possible that the SHM reputation is based on astute cherry picking, or are they going to take this already excellent DG effort on the 3rd and 4th to a new level.

Apparently, the Universal Japan remasters of the Kempe Strauss are available, and expensive. Some of the reviews on other releases in the Universal Japan EMI catalogue have not been favorable. These are not SHM recordings. Again, what to do?

Rok2id, if you go to the acoustic sounds website, any of the SHM offerings give a brief description. That would be the sum total of what I know.

Brownsfan,
certainly these engineers who are remastering in the SHM format have little time 'for wasting where with fools' as I would guess that there's an abundance of good material for them to choose from. They seemingly aren't dumb enough to release something that won't live up to that $60.00 a disc price tag. I don't know what the Japanese labels are required to pay for the original tapes and for the rights to release the material but I would assume that it isn't cheap and so it's a professional decision to limit what they're willing to work with.

The artistic merit alone is enough reason for someone interested in the art of classical music performance to purchase the entire set. For example, I have William Backhaus remasters from around 1918 including the first full recording of the Grieg piano concerto and I couldn't begin to tell you how much I value those CD's.

The DG 3 and 4 sound like they shine in the face of what was initially a difficult set of conditions. After what you've told me however, I would probably pass on the recent box set only because I have other recording antiquities that I am mildly more interested in but I would certainly treasure a good 3rd and 4th be it either on the DG label or on the Japanese label.

As far as forking over cash on CD's, the reality sometimes creeps in when I'm looking at a slow work month and the bills are piling up. This is where I am now, so internet window shopping has become a regular past time. I am rather curious however why these Japanese label reissues are so limited with respect to which websites will even make them available.

Rok2id,
I rarely take reviews on Amazon seriously though admittedly some are substantial. I often post on and read from the Gramophone website and as much as I respect that magazine and its staff, I need to put things from Gramophone in there proper context.
Honestly, I've found the help at the Harmonia Mundi store at Opera in Paris to be the most helpful and second to that, the SATURN help in Köln. As for internet selection and reviews, I mostly value ArkivMusic.com.
It has taken me years to know where and how to get information and when or when not to take it too seriously. However of all of the sources that I value the most, I would have to credit my lesson instructors, music theory teachers, music history teachers and/or conservatory professors in general, as they have given me the ability to think for myself.