Beethoven: Symphony No. 3, Eroica- Leonore Overture No. 2 Bernard Haitink
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- Ludwig van Beethoven (1770-1827): Symphony No 3 'Eroica'
- 1I. Allegro con brio17:49
- 2II. Marcia funebre: Adagio assai14:22
- 3III. Scherzo: Allegro vivace05:54
- 4IV. Finale: Allegro molto11:06
- Leonore Overture No 2:
- 5Leonore Overture No. 2, Op. 72a15:00
Info for Beethoven: Symphony No. 3, Eroica- Leonore Overture No. 2
Beethoven took a massive stride forward in the development of the symphonic form with the 'Eroica'. Not only is the work written on an unprecedented scale, it also lays the very foundations of Romanticism in music.The symphony mirrors Beethoven's own emergence from despair and he used it to symbolize mankind's capacity for greatness. He initially dedicated the score to Napoleon whom embodied his view of greatness. However, when Napoleon crowned himself Emperor, Beethoven furiously removed the dedication from the score.
“The orchestra plays superbly, and there are plenty of indications that the conductor has taken note of recent changes in attitude to Beethoven performance, such as giving prominence to the woodwind and the timpani in a way no previous generation of conductors did.” (BBC Music Magazine)
“Haitink is now hearing Beethoven with the experience of period-instrument interpretations in mind. The snap, the bite, the punchy fortissimos … taut rhythms and mounting tension crowned the night in the Eroica” (The Times)
“Haitink's approach is softer, more malleable, less uptight, lighter on its feet than some bit still engaged with what one might call the Romantic tradition. His liveliness never draws attention to itself… Haitink offers us a thoughtful and unfussy Leonore No 2, strong and well paced... with some telling pianissimi.” (Gramophone Magazine)
“surging rhythms that explore every conceivable movement are very much a feature of Bernard Haitink's fine new recording...The LSO Live CD is even more compelling with the inclusion of the Triple Concerto, in a performance of chamber music lightness...under Haitink's vigorous baton this Cinderella work seems even more underrated. Seventy-five minutes of exceptional music” (Mail on Sunday)
London Symphony Orchestra
Bernard Haitink, conductor
With an international career now spanning six decades, Amsterdam-born Bernard Haitink is one of the most renowned conductors of our time. First engaged by the Netherlands Radio Philharmonic Orchestra in 1954, Bernard Haitink began his meteoric career in 1956 at the age of just 27, when he substituted for an ailing Carlo Maria Giulini and first conducted the orchestra with whom he would enjoy a long and highly successful collaboration: the Concertgebouw Orchestra of Amsterdam. From 1961 to 1988 he was Music Director and Principal Conductor of the orchestra – a position he initially shared with Eugen Jochum. Other positions held by him included Music Director and Principal Conductor of the London Philharmonic Orchestra (1967-1979), of the Glyndebourne Festival Opera (1978-1988), of London's Royal Opera House Covent Garden (1988-2002) and of the Chicago Symphony Orchestra (2006- 2010). Bernard Haitink is “Conductor Laureate” of the Royal Concertgebouw Orchestra, “Conductor Emeritus” of the Boston Symphony Orchestra and "Patron" of the Radio Philharmonic Orchestra. Since 1958 he has had a cordial working relationship with the Symphonieorchester des Bayerischen Rundfunks: the live recording of Mahler’s Ninth Symphony, published on the BR-KLASSIK label, was awarded the ECHO Klassik 2013 and the “Toblacher Komponierhäuschen” prize. Bernard Haitink has been a Knight of the British Empire since 1977; in 1991 he received the “Erasmus” award, the highest cultural award of the Netherlands; and in 2007 the magazine Musical America named him “Musician of the Year”. He is a Companion of Honour of the United Kingdom and a holder of the Order of the House of Orange-Nassau.