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January 9, 2021
[29], When Beethoven's younger contemporary Hector Berlioz heard the symphony he wrote that the slow movement was the work of the Archangel Michael, and not that of a human. en/de/fr. Robert Schumann is said to have called the Fourth Symphony "a slender Greek maiden between two Norse giants",[n 5] and it was an important influence on his First Symphony. very nice: the first part of the Coda (bars 319ff.) About | Impressum, Legal | Site Policy | Testimonials | Acknowledgements | Blog TimelineTypography, Conventions | WordPress Setup | Resources, Tools | Pictures, Methods, Hello Rolf, 125 "Choral" is the last complete symphony composed by Ludwig van Beethoven. 6 was also my favorite, after I had been introduced to it through the film Soylent Green. DG / iTunes download (2 CDs, stereo, 256 kbps); ℗ 2004Booklet: none, Karl Böhm (1894 – 1981) recorded the Symphony No.4 in 1972, as part of a complete cycle, with the Vienna Philharmonic Orchestra. Typically, the p crotchets in the horn are hardly heard, but often, the crescendo is started already in bar 222. The big plus in this recording is in the use of authentic instruments, which (together with the smaller ensemble) yields a much better acoustic balance between woodwinds and strings. In the discussion below, I deal with the recordings in alphabetic order. Overall Duration: 34’06”Rating (see above for details): 1.3 — Certainly a historic document for Furtwängler fans, but really hard to listen to, due to limitations in the technique (and the added noise from the audience). [23] The final repetition of the scherzo is abridged, and in the coda the two horns "blow the whole movement away" (Tovey). Too perfect, maybe (certainly too perfect for a truly historic performance), as the only “criticism” (along with the missing left-right dichotomy with the two violin voices)? This is part of Bruno Walter‘s (1876 – 1962) well-known mono recording cycle with the New York Philharmonic Orchestra, realized between 1946 and 1952 (Symphony No.8: 1942, the CD release also includes early recordings from symphonies No.3 and 5 from 1941). 6 in F major, Op. The CD release also includes Overtures and the violin concerto, with Isaac Stern. On top of the slowness, the interpretation is overblown, exceedingly romantic, trying to make this a monumental piece (supported by the very big orchestra, of course). Beethoven dirigeerde het stuk zelf; Louis Spohr was een van de violisten. Beethoven, Ludwig van. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa Op. Maybe at times it sounds a tad fast / pushed? Arte Nova 74321 59214 2 (CD, stereo); ℗ / © 1998Booklet: 20 pp. I’m comparing this mainly to Zinman‘s recording, and this one is really excellent, almost exactly at Beethoven’s metronome marks, yet never really pushed or rushed, but joyful, natural / “human”, with light articulation, discharging the ff notes, simply very good, indeed! Overall Duration: 35’12”Rating (see above for details): 2.3 — I would not recommend this, other than to hard-core Böhm fans…, Beethoven: Symphonies 4 & 5, Coriolan Overture, Thomas Dausgaard, Swedish Chamber Orchestra Örebro, Simax classics/ iTunes download (CD, stereo, 256 kbps); ℗ 2000Booklet: none, Since 1997, Thomas Dausgaard (*1963) is the principal conductor of the Swedish Chamber Orchestra in Örebro. Orchestra arrangement: Vl 1 — Vl 2 — Vla — Vc. Is the orchestra reaching its limits? Indeed, there are some superficialities in the articulation, and occasionally, Bernstein seems to lack the patience / strength to hold back a tiny moment in order to let an accent / sforzato, or a syncope stand out clearly. 5 in C minor of Ludwig van Beethoven, Op. 67, Sinfonia n. 6 in Fa maggiore "Pastorale" Op. Allegro vivace 1. The latter is apparently what was most popular in Beethoven’s time (and one can see several instances where this placement results in interesting dialogs / “ping-pong effects” in this symphony, so Beethoven must have thought of this setup when writing his symphony), while the former has the advantage of facilitating coordination between the two voices, and hence has advantages when a conductor wants to expose a virtuosic orchestra. [33] In 1838 the French impresario Louis-Désiré Véron called the Fourth sublime and regretted that in Paris it was not merely neglected but denigrated. [38] In a survey of all available recordings in 2015 for BBC Radio 3 the top recommended version was in this category: the Zurich Tonhalle Orchestra, conducted by David Zinman. Beethoven wrote dedicated endings for the two passes. The quiet introduction is thirty-eight bars long, and is followed by a fortissimo repetition of the chord of F, leading into the allegro vivace first subject of the main, sonata form part of the movement, described by Grove as "gaiety itself, and most original gaiety":[16], The second subject is, in the words of Donald Tovey, "a conversation between the bassoon, the oboe, and the flute. Being Bernstein’s interpretation, it is of course full of swing and momentum: quite enthralling in a good sense! DG 474 924-2 (5 CDs, stereo); ℗ 1980/2004 / © 1981Booklet: 24 pp. It’s a rather wild Menuetto — often almost boisterous: The Menuetto consists of two parts (20 + 70 bars), both with repeat signs, the Trio (84 bars) has no repeat signs: Both the Scherzo and the Trio are to be repeated at the end of the first pass, and the movement ends with an abbreviated Menuetto section of 44 bars. 1 (Beethoven); Симфонија бр. Ludwig van Beethoven's Symphony No. This can hardly be an accident and is obviously inconsequent: older scores showed acciaccaturas, newer scores change this to appoggiaturas. More recently, conductors such as Michael Gielen (1927 – 2019) or Sir Roger Norrington or  (and followers such as Zinman and Dausgaard) have proven these metronome values not only to be playable, but that they make real sense! Orchestra arrangement: Vl 1 — Vl 2 — Vla — Vc. The Symphony No. One can hear that the transparency is suffering, sometimes, second voices are “drowning”, and occasionally the tempo starts to sound pushed & rushed. As early as 1831 a British critic noted that the Fourth was the "least frequently brought forward" of the first six, though, in his view "not inferior to any". 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice.The work is dedicated to Count Moritz von Fries.. At its premiere, Beethoven was noted as remarking that it was one of his best works. [1] After this, Oppersdorff offered the composer a substantial sum to write a new symphony for him. It was composed in 1806 and premiered in March 1807 at a private concert in Vienna at the town house of Prince Lobkowitz. By today’s HIP standards, Hogwood’s orchestra is maybe rather big, with 8 + 8 violins, 4 violas, 4 cellos, and 2 double basses. 92: Oboe I - page 1 (c) by CCARH 2008 Symphony No. The rhythmic figure of the opening theme persists throughout, and underpins, the whole movement: Tovey calls the first episode (or second subject) "a still more subtle melody": The main theme returns in an elaborate variation, followed by a middle episode and the reappearance of the varied main theme, now played by the flute. Beethoven had to write to Oppersdorff apologising for this breach of their agreement. The movement is still too slow, in view of recent recordings, but at least, here, the orchestra is more equilibrated than in the recording with the New York Philharmonics. Duration: 7’06”Pretty chaotic in the strings — due to Furtwängler’s notoriously vague, unclear (“inspiring”) direction? de/en (this CD). Duration: 5’45”, exposition not repeatedUnfortunately, the exposition is not repeated (als also in his last recording, see below). I may at some point discuss Beethoven’s piano concerto op.15, where his and Christoph Eschenbach’s tempo selection (in the slow movement) is the worst and most inappropriate that I have ever heard … From my statements about Masur you will understand that I’m unlikely to add much more Karajan to my collection now! 184 to 187, rhythmic patterns for practice Example 5.3a emphasizes the third note in each sixteenth note group (written here as an eighth note tied to a dotted-eighth note), while Example 5.3b focuses on the first sixteenth of each grouping (written here as a quarter note tied to a sixteenth note). 60, is the fourth-published symphony by Ludwig van Beethoven.It was composed in 1806 and premiered in March 1807 at a private concert in Vienna at the town house of Prince Lobkowitz.The first public performance was at the Burgtheater in Vienna in April 1808.. Duration: 6’27”A fascinating interpretation — clearly the fastest one, close to Beethoven’s tempo annotation (maybe that was merely given as a mark for musicians to aim for? Duration: 9’45”As slow as Otto Klemperer‘s interpretation, but flatter, both dynamically, as well as in phrasing and articulation, and with too much vibrato. Symphony No.4 was recorded in 1986. 1998 – 2011 he directed the Radio Symphony Orchestra (RSO) Stuttgart, which he “re-educated” towards historically informed playing, without vibrato. According to the musicologist Robert Greenberg of the San Francisco Conservatory of Music: The symphony has been recorded, in the studio and in concert performances, more than a hundred times. There is a slight accelerando over the first 38 bars, but that’s not adding tension — quite to the contrary. In the result, the melody is lost, the listener is focusing on motifs & accompaniment exclusively. This is the only real HIP (historically informed playing) in this comparison — instrument-wise, at least. As usual by this stage of the composer's career, the symphony divided opinion among those who heard early performances. In parallel to the Beethoven recordings, Zinman invited conductors such as Frans Brüggen (1934 – 2014) who introduced the orchestra into historically informed playing. Duration: 11’20”Furtwängler takes this extremely slow; this may have worked for the concert audience. That has definitely already influenced this recording, too. 60 Ludwig van Beethoven", "Ludwig van Beethoven – Symphony No. It sounds fast at first (when comparing with traditional recordings, possibly with the listener’s expectations), but then one realizes that Zinman correctly takes this alla breve, i.e., in halves rather than quarter notes, and so, this sounds totally natural. I also like the extra ornaments in the clarinet in bars 82ff. Duration: 11’29”One can certainly not blame this recording for lacking tension and drive: Bernstein’s strength is his dynamic, often “sporty” direction (one can hear him jump at the beginning of the Allegro vivace! Note that the color coding for the tempo (blue = slower, green = faster) refers to the average between the recordings, not to the metronome markings in the score: The ratings should be clear (1 = lowest/gray, 3 = yellow, 5 = highest/orange) — these are meant to be my personal opinion and relative, not absolute. (Parts 2, 3) Allegro molto assai (Alla marcia) ; Andante maestoso *#332353 - … In the last movement, I prefer it over Bernstein’s earlier recording(s). We are sorry that this post was not useful for you! In 1809 Carl Maria von Weber, never an admirer of Beethoven, wrote: Other critics were less hostile, praising the composer's "richness of ideas, bold originality and fullness of power" though finding the Fourth and the works premiered alongside it "rough diamonds". 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