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Untitled Document
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BEETHOVEN, L. van: Symphonies Nos. 3 and 8 |
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Composer: |
Ludwig van Beethoven |
Conductor: |
Hans Pfitzner, Frederik IX (King of Denmark), Arturo Toscanini, Willem Mengelberg, Herbert von Karajan, Michael Halasz, Hans Knappertsbusch, Karl Bohm, Otto Klemperer, Georg Solti, Bertrand de Billy, Thomas Dausgaard, Bela Drahos, Richard Edlinger, Constantin Silvestri, Georg Tintner, Michael Gielen, Roger Norrington, Wilhelm Furtwangler, Felix Weingartner, Herbert Blomstedt, George Szell |
Ensemble: |
audience |
Orchestra: |
Vienna Philharmonic Orchestra, Berlin Philharmonic Orchestra, Symphony Nova Scotia, Nicolaus Esterhazy Sinfonia, Berlin Radio Symphony Orchestra, Bournemouth Symphony Orchestra, Concertgebouw Orchestra, London Symphony Orchestra, Vienna Radio Symphony Orchestra, NBC Symphony Orchestra, South West German Radio Symphony Orchestra, New Philharmonia Orchestra, CSR Symphony Orchestra, Bratislava, South West German Radio Symphony Orchestra, Baden-Baden, Bavarian Radio Symphony Orchestra, Danish National Radio Symphony Orchestra, Philharmonia Orchestra, Slovak Radio Symphony Orchestra, Swedish Chamber Orchestra, Zagreb Philharmonic Orchestra, Dresden Staatskapelle, Cologne Radio Symphony Orchestra |
Label: |
Naxos |
Catalogue No.: |
8.553475 |
Format: |
CD |
Barcode: |
0730099447522 |
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Ludwig van Beethoven (1770 - 1827)
Ludwig van Beethoven (1770 - 1827)
Symphony No.3 in E flat
major, Op. 55 ‘Eroica’
Symphony No.8 in F
major, Op. 93
Beethoven wrote nine symphonies, the
first heralding the new century, in 1800, and the last completed in 1824.
Although he made few changes to the composition of the orchestra itself,
adding, when occasion demanded, one or two instruments more normally found in
the opera-house, he expanded vastly the traditional form, developed in the time
of Haydn and Mozart, reflecting the personal and political struggles of a
period of immense change and turbulence. To his contemporaries he seemed an
inimitable original, but to a number of his successors he seemed to have
expanded the symphony to an intimidating extent.
The initial inspiration for Beethoven's
third symphony seems to have come from the French envoy, Count Bernadotte, who
had been sent to Vienna in 1798, taking with him in his entourage the
virtuoso violinist and composer Rodolphe Kreutzer, to whom Beethoven was later
to dedicate his most famous violin sonata. Bernadotte spent some time in
Beethoven's company and seems to have given him the notion of composing a
heroic symphony in honour of General Bonaparte. The French had, by force of
arms, established a number of republics and had compelled Austria to
unfavourable peace terms at the treaty of Campo Formio. As First Consul it
seemed that Napoleon embodied the virtues of the republic of classical Rome, an ideal
that had a strong attraction for Beethoven.
The score of the completed symphony was
seen by Beethoven's friends early in 1804, bearing on its title page the name Buonaparte
at the top and the subscription Ludwig van Beethoven. At the news that Napoleon
had declared himself emperor, Beethoven tore the page up, leaving on his own
copy the words Sinfonia grande, with the added note in pencil Geschrieben
auf Bonaparte. The completed work was in the end dedicated to Prince Lobkowitz,
who payed 400 ducats for the privilege. A recent biographer has pointed out
that Beethoven had expressed disillusion with Napoleon before he wrote the Eroica
Symphony, but that at the time of its composition he was considering moving
to Paris. There was,
at the very least, a certain ambivalence in Beethoven's attitude to the
greatness of Napoleon's achievement and to his apparent betrayal of republican
ideals.
The Symphony No.3 in E flat major,
Opus 55, has a number of original features, including the
substitution of a funeral march for the slow movement, a Scherzo for the
Minuet, as in the D major Symphony, and a set of variations based
on a theme from the ballet Prometheus, which appears first in skeletal
form, for the finale. It is, besides, on a heroic scale, scored for pairs of
flutes, oboes, clarinets, bassoons, trumpets and drums, with three French horns
and the customary strings.
Beethoven made his first sketches for his
eighth symphony in 1811 and completed the work in October the following year,
during the course of a visit to Linz. The summer had taken him to the spa
town of Teplitz, where he was to meet the great German poet and polymath
Goethe, to little effect, while the subsequent journey to Linz was undertaken
for the officious purpose of forcing his younger brother Johann, an apothecary
in the town, to break off his irregular liaison with Therese Obermeyer, a woman
that Johann married in November of the same year. Whatever anxieties he may
have entertained at the time about his health or about members of his family,
he created in the Eighth Symphony a work of clear optimism.
The Symphony No.8 in F major, Opus 93,
is scored for the usual orchestra of strings, with pairs of flutes, oboes,
clarinets, bassoons, horns, trumpets and timpani. Of its four movements three
are in sonata form, with its tripartite division of exposition, development and
recapitulation, while the third movement Minuet is in a form that had long been
traditional.
The Eighth Symphony was given its
first performance, together with the Seventh Symphony and other works,
at a concert on 27th February, 1814. To Beethoven's chagrin it was greeted
relatively coolly, the audience favouring in particular the Allegretto to
the Seventh Symphony. He himself set higher store by the Eighth.
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