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Order number B 108 026
L. v. Beethoven: Symphonies No. 3 "Eroica" & No. 8
 
 
Cover L.v.Beethoven Sinfonie No. 3 'Eroica' & No. 8

CD

Price EUR 14,50
*



Download available:

Link zum iTunes Store
KlangVerwaltung Orchestra
Enoch zu Guttenberg
Recorded at FARAO Studios, 1999

booklet:
(German)
· text
· biographies

Ludwig van Beethoven: Symphony No. 3 in E-flat major op. 55 "Eroica"

Beethoven wrote most of the symphony in late 1803 and completed it in early 1804.

The symphony was premiered privately in summer 1804 in Count Lobkowitz’s castle Eisenberg. The first public performance was given in Vienna’s Theater an der Wien on April 7, with the composer conducting.


Ludwig van Beethoven: Symphony No. 8 in F Major, op. 93

Beethoven referred to it as "my little one." Unusually among Beethoven's works, the Eighth Symphony bears no dedication.

Beethoven wrote the symphony 1811 until 1812.

The first public performance was given in Vienna, in the "Redoutensaa"
on February 2nd 1814.


(Temporarily available only in German)

"Nie hat es eine weniger künstliche, eine selbstverständlichere, bei aller Gewalt der Aussage schlichtere oder – um es modern auszudrücken – sachlichere Musik gegeben als die seine. Heute, im Zeitalter der Sachlichkeit – wobei ich dieses Wort positiv meine – ist er schon deshalb aktuell wie kein anderer." (Wilhelm Furtwängler)

 
     
 
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Reviews
 

"[…] the playing is exceptional, thanks to Guttenberg's meticulous direction and the specialized skills of these top-notch musicians. The reproduction is clean and crisp, with realistic presence and color."
www.allmusic.com, Blair Sanderson, 2000

"Just in case you thought you'd heard the last of "authentic" Beethoven symphonies with John Elliot Gardiner's complete set on Archive, there are evidently legions of period ensembles licking their chops to take their shot at the Mighty Nine. Under Enoch zu Guttenberg's direction, the KlangVerwaltung make a nearly convincing argument for the style, utilizing small forces, clear textures, quick tempos and powerful timpani to arresting effect. Two sharp orchestral jabs and the "Eroica" is off like a stallion. Yet it doesn't feel rushed because the ear is constantly beguiled by Beethoven's dovetailing contrapuntal lines, rendered in vivid colors by the orchestra. This is especially so in the Funeral March - here, the highlight of the symphony - where Guttenberg invests the climaxes with an intensity not too far removed from the first movement of Mahler's Fifth Symphony."
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