The ornaments in bars 223, 227 and equivalents are played as appoggiaturas, as given in Jonathan del Mar’s new Beethoven edition (Bärenreiter). The first public performance was at the Burgtheater in Vienna in April 1808. [24] The movement is in a playful style that the composer called aufgeknöpft (unbuttoned). The Trio is following Beethoven’s metronome annotation, so the tempo difference between the two sections is slightly bigger than intended by the composer. but not too much so. I like the extra clarity (transparency and intonation) provided by the vibrato-less strings; for me, an excellent recording. [6] Although Oppersdorff had paid for exclusive rights to the work for its first six months, his orchestra did not give the first performance. Also, the abundant “taa — tataaa — tataa” rhythm (semiquaver — demisemiquaver rest, demisemiquaver), e.g., in the first bars, isn’t always very accurate, tends to be “washed out” into triplets. The tempo is substantially faster than in the 1961 recording, here still very close to Beethoven’s annotation, though occasionally a bit pushed. Duration: 6’40” without applauseAn excellent interpretation; probably at the very limit of the orchestra’s abilities. Duration: 5’30”Norrington is close to Beethoven’s tempo annotations, the basic interpretation is very good. The Symphony No. 7 in A major, Op. We are sorry that this post was not useful for you! There is a slight accelerando over the first 38 bars, but that’s not adding tension — quite to the contrary. Being Bernstein’s interpretation, it is of course full of swing and momentum: quite enthralling in a good sense! Among conductors of such versions of the Fourth Symphony have been Christopher Hogwood (1986), Roger Norrington (1988), Frans Brüggen (1991) and John Eliot Gardiner (1994). 60, is a symphony in four movements composed by Ludwig van Beethoven in the summer of 1806. The Coda is excellent, avoiding unnecessary, premature ritardandi, hence really exposing Beethoven’s joke! Listening through the recordings below revealed one more thing: while it is certainly possible to play Beethoven’s tempo with vibrato, playing without vibrato (the norm up to the early 20th century) makes slow playing in this movement almost unbearable. The woodwinds are clearly better than those of the Columbia Symphony Orchestra, and as in his later recording, it is nice to see that the orchestra is given enough time for rhythmic transitions, such as around bar 280, and the transition between the scales in the various voices around bar 300 is excellent, very smooth. Bruno Walter, New York Philharmonic Orchestra(recorded 1941 – 53), Music & Arts CD-1137 (6 CDs, mono); ℗ 2004Booklet: 12 pp. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. However, Beethoven specifies 1/8 = 84 (the crotchet in the score for sure must be a mistake / typo! Tempo di Menuetto • 4. One mishap due to the live event is that in the last bars the timpani are out of tune. I’m sure people in a contemporary audience have had a good laugh about this (today’s audiences are far too serious to even notice the joke, unless they are told about it!). Title Name Translations Симфония № 1; Symphonie nº 1 de Beethoven; Symphony No. Bonn 1770 - Vienna 1827 . After the first fermata (bar 318), Bernstein misses the chance to build tension, the cello continues without interruption: too bad! [19] His metronome marking is dotted minim = 100,[20] at which brisk speed a traditional minuet would be impossible. Duration: 5’32”Good tempo, close to Beethoven’s annotation (faster than Furtwängler, Klemperer and Böhm), but with some superficialities in articulation, and the intonation isn’t always quite perfect. [42] Among conductors of more traditional recordings have been Leonard Bernstein (1980), Claudio Abbado (2000) and Bernard Haitink (2006). Symphony No.4 was recorded in 1998. Allegretto scherzando • 3. Still, Walter cares for the details, sich as the rhythmic “collisions” in bars 69ff. There are serious coordination issues in the strings. Duration: 5’45”, exposition not repeatedUnfortunately, the exposition is not repeated (als also in his last recording, see below). Beethoven Symphony No. Duration: 7’24”Carefully played, transparent, clear (for the size of the orchestra), with nice woodwinds (bassoons, clarinets), e.g., in bars 37ff. (see the score sample above) is of course correct, the transitions in bars 98f. To me, the orchestra isn’t really convincing, with occasional coordination issues. 9 in D minor, Op. So far, all symphonies are done, most of the concertos (the piano concertos are played by Boris Berezovsky), plus some other works, such as overtures, and “Die Geschöpfe des Prometheus”. 4, Mvt. Also, Zinman uses the new Bärenreiter edition, and he observes Beethoven’s metronome markings, and he also used fewer string players rather than the full orchestral apparatus. Beethoven’s Symphony No. (though clearly enhanced by the recording technician!). Enter your email address to subscribe to this blog and receive notifications of new posts by email. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Duration: 5’50”Very determined, firm, rather strict (a rather wild Minuet / dance! Best wishes, Duration: 6’29”Compared to Zinman‘s recording, the tempo is slightly more moderate, enough — along with the smaller chamber orchestra setup — to make this interpretation more relaxed (and less polished), stress-free (less of a virtuoso showpiece), without giving up the good features in Zinman’s recording: excellent transparency, acoustic balance, the added benefit of the two violin voices doing a left-right dialog: clearly the interpretation that I like most! Duration: 5’00”In view of traditional interpretations, Beethoven’s annotations are typically considered fast. Christopher Hogwood (1941 – 2014) made this recording of all Beethoven symphonies with the Academy of Ancient Music between 1983 and 1989. Bruno Walter, Columbia Symphony Orchestra(recorded 1958 – 61), Sony Classical SMM5023122 (5 CDs, stereo); ℗ 1958 – 63, 1993 / © 2001Booklet: none, With the availability of stereo recording technique, CBS wanted Bruno Walter (1876 – 1962) to re-record the Beethoven symphony cycle (realized 1958 – 1961) — and they even founded an orchestra for this purpose, the Columbia Symphony Orchestra. correctly (see the score sample above), though at this tempo the rhythm in this passage is difficult to follow exactly. As well as the tempi adopted by the performers, the playing time is affected by the decision to play or omit the. Time ( E♭ major ) is most welcome know these recordings, please let hear. 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