Ludwig van Beethoven, The London Symphony Orchestra - 3 Tercera Sinfonia ;Heroica; (Vinyl, LP, Album)
During the Enlightenment and the Romantic period, the figure of Prometheus was often used to illustrate themes of current interest. The brief fugato in the development section of the first movement of the symphony bears a motivic relationship to the Danza eroica in the score of Prometheus. Christian Thielemann has been principal conductor of the Staatskapelle Dresden since autumn and artistic director of the Salzburg Easter Festival since He previously was general music director of the Munich Philharmonic from to His first major appointment was as principal conductor at the Deutsche Oper am Rhein, where he spent three seasons prior to his appointment as general music director of Nuremberg Opera.
Arranger Jean Henri Ravina Arranger Xaver Scharwenka ]]. Vienna: Universal Edition , n. Plate U. Arranger Franz Ludwig Schubert New York: G. Schirmer , Musikalische Werke. Plate F.
I-IX B. Originally scanned at about pi, converted to dpi monochrome. Arranger Franz Liszt — Neue Liszt-Ausgabe. Serie 2, Band 17 Budapest: Editio Musica , Plate Z. London: Augener , No. Arranger Colin Peter Snuggs. Beard, Mr.
By browsing this site you accept cookies used to analyze web traffic, improve and personalize our services and marketing, and for social activity. I used to think there was a certain rough-and-ready quality to this Seventh, but I no longer find it so.
Quite the opposite. Casals' rivals now sound too polished and urbane to me, most of them. I wish I had been at the recording of the Eighth, too, because as everyone else has noted, it's a gem -- ebullient, full of life and character, not to mention the genuine passion that marks great Beethoven readings. In both symphonies one laments that better recording equipment wasn't used.
The venue was a covered screened-in shed, and in person the sound was tight, loud, and dry. A good deal of that still comes across, but Sony's digital version is listenable enough, so long as the absence of "air" and hall resonance doesn't bother you. To this day, Casals' Beethoven Eighth is my touchstone for a great performance.
See all reviews from the United States. Top international reviews. I hadn't heard either of these performances for thirty years at least, and even then, only the Seventh in stereo. It's fascinating to read these reviews after rehearing them. The UK LP issue of the Seventh arrived in the early s, preceded by some years with an enthusiastic Observer review of the actual performance 9I think, by Andrew Porter - this was in the days of Klemperer - which didn't quite hide a note of astonishment that Casals, whose conducting I think had least been heard in London at a performance of his own "El Pessebre", which was generally reviewed with polite disappointment, could triumph in Beethoven at his then advanced age.
With respect to Ralph Moore I can't agree with the notion of an old man's child-like simplicity - the Casals who played chamber music with the authority of the Archduke performance of was no innocent, but a master who knew precisely what he was doing, and these performances are not second childhood. There are other ways of ageing. That was how he continued. He isn't often credited - for example in the solo Bach suites - with refining interpretation over the years, even though there is a famous story of a pupil who went to him in the late forties or early fifties with a prepared performance of a Bach suite in which he had taken great care to reproduce Casals's nuances from the late s 78s.
Casals rejected what he heard, explaining to the pupil that he now played with far fewer personal touches and simply tried to be faithful to the score. What you get is the notes, perfectly and rigourously played, until the TV editors intervene to expunge the finale repeats, and you realise the design is suddenly incomplete, and how subtly Casals had varied and enriched the preceding movements. The deceptive simplicity of this, and his Beethoven symphonies, is actually very hard-won, and this disc also no doubt reflects the long rehearsal periods the Marlboro Festival offered.
Casals didn't waste his time. A pathetic funeral march , replacing the ordinary slow movement, is followed by a vigorous scherzo; this leads to a variation finale, based on a theme from his Creatures of Prometheus ballet and full of contrapuntal development.
The cheerful Symphony No. The Fifth , like the Eroica , a visionary work, is unified by the famous four-note motive that permeates all four movements in one form or another. The scherzo and finale are joined, and an explosion of C major in the last movement is celebrated with three trombones possibly their first use in a symphony , piccolo , and contrabassoon. The whole has a unity of character that reflects a deeper rhythmic unity. The relaxed human and poetic qualities of the Pastoral set it apart from the Fifth and from the demoniac Symphony No.
The small scale of the first three movements of the Symphony No. Its minuet is a subtle parody of the Classical minuet of Mozart and Haydn. This reading of the 9th has Slower tempi in each movement than I am normally used to hearing leading to more spatial clarity - instrument intonation and differentiation is outstanding; though the slower tempi creates a slight drag.
The first movement of Bethoven's 9 normally feels like a ride in a rocket to me taking off and going higher and higher. In my mind's eye I can see myself succeeding at everything when I hear this movement. It does not feel that way with Bohm's reading. It has more of slow, solemn and majestic feel rather than a-ride-in-a-fast-rocket feel for me. The slower pace of each movement robs away that dramatic drive of movement 1, 2 and 4. Bohm's slow pace is perfectly suited to bring out the beauty of the 3rd movement.
Also to add Bohm has recorded the best EVER 6th EVER committed to disc in the 2nd compilation I refer to above both in terms of conducting art and recording quality - see my reviews of both these sets. However there are far greater renditions of the 9th than this one - case in point - Fricsay's 9th. On the other hand the 3rd is a gem by Karl Bohm. Clarity, intonation and delivery can be found in this reading as well as great synchronous playing by the Vienna Philharmonic.
If you can afford it, I highly recommend this set just for the 3rd alone. But I guess for 15 dollars, you are basically getting 2 discs of which 1 disc - the 3rd is great and the 2nd disc - the 9th is just about average. Bohm picks a moderate tempo for the 3rd Symphony, and this is typical Bohm performance: calculated, firm, and unsentimental.
This 'Eroica' shares much of the grandeur found in Klemperer's version. However, ultimately Klemperer, with his marginally slower tempi but grittier execution, produces a more granitic and "heroic" sound that is more to my liking. While not the greatest, it is a very wonderful reading, and a fine example of 'Eroica' going moderately slow.
The features that make this Ninth classic are balance, poise, and intensity. I believe Bohm, here, has found the perfect balance between Classical grandeur and Romantic emotional sensitivity.
The first mvmt. I've heard. Incidentally, as Mr. Hurwitz has pointed out, the monstrous recapitulation in major key is superbly executed, with the trumpets resounding aggressively--almost terrifyingly so. And I absolutely love how Bohm ignites the orchestra and chorus into white-hot intensity in the final Presto section and brings the whole piece to its highest emotional plateau. Again, allow me to compare Bohm to Klemperer.Jul 14, · xirobormamowecetinidemawal.coinfo: Ludwig van Beethoven: The Symphonies [Danish National Symphony Orchestra; Rafael Frühbeckde Burgos] [Dacapo: BD] [Blu-ray]: Ludwig van Beethoven, Hector Berlioz, Richard Strauss, Joaquín Rodrigo, Rafael Frühbeck de Burgos, Danish National Symphony Orchestra, Scott MacAllister: Movies & TVReviews: 9.