Monday, May 29, 2017
Ludwig van Beethoven: Symphony No.1 in C major – Wiener Philharmoniker, Christian Thielemann (HD 1080p)
Christian Thielemann, one of the most recognized conductors of our time, joins forces with the prestigious Wiener Philharmoniker and Unitel Classica, the world's leading audiovisual production company for classical music, in a monumental project: BEETHOVEN 9, the recording of all nine symphonies by Ludwig van Beethoven for TV, DVD and New Media: the "Beethoven cycle of the 21st century"!
Using the newest technology of our century, Unitel Classica and Austrian Television (ORF) produce this "super-cycle" in the Golden Hall of Vienna's Musikverein in HD and 5.0 Surround Sound. BEETHOVEN 9 kicked off in December 2008 with the recording of the First and Second Symphonies.
BEETHOVEN 9 brings to a new climax the longstanding collaboration between Thielemann, who enjoys a sterling reputation as an interpreter of Beethoven and the German Romantics, and the Wiener Philharmoniker, which has been cultivating the music of Beethoven since its founding nearly 170 years ago and is one of the few great orchestras to have preserved its unique sound. Unitel Classica can look back on more than 40 years of collaboration with the Wiener Philharmoniker and on its pioneering cycles of Beethoven's symphonic works with Herbert von Karajan and Leonard Bernstein.
Ο Κρίστιαν Τίλεμαν, ένας μαέστρος που δεν φοβάται να χαρακτηριστεί παραδοσιακός ή και ρομαντικός, καταθέτει το προσωπικό του όραμα για τον Μπετόβεν, σεβόμενος παράλληλα την ερμηνευτική παράδοση που καλλιεργείται στη Βιένη τα τελευταία 160 χρόνια και την οποία η γενιά της λεγόμενης «ιστορικής ερμηνείας» έχει θέσει υπό αμφισβήτηση.
«Η Πρώτη Συμφωνία του Μπετόβεν είναι το ενόργανο κύκνειο άσμα, η τελευταία συμφωνική μαρτυρία του 18ου αιώνα, που προβάλλει την απλότητα και τη διαύγεια έναντι του επερχόμενου Ρομαντισμού», γράφει ο μουσικολόγος Γιόζεφ Σμίτ-Γκαίργκ.
Όταν το έργο παρουσιάστηκε το 1801 στο Γκεβάντχαουζ της Λειψίας σήκωσε θύελλα διαμαρτυριών και το χαρακτήρισαν «έκρηξη ιδεών ενός αλλόφρονος νέου», ενώ στο Παρίσι λίγο αργότερα ο Φιγκαρό σημείωνε: «Αλίμονο στα τραυματισμένα αφτιά και στην καρδιά μας που μένει ασυγκίνητη σ' αυτούς τους περιττούς κραδασμούς». Η Πρώτη Συμφωνία ήταν ένας μπετοβενικός αποχαιρετισμός σ' εκείνη την πλευρά του βίου που δε θα ξαναγύριζε ποτέ. Και την αποχαιρέτισε με την ωραιότερη φωνή που μπορούσε να βγει από την ψυχή και το πνεύμα μιας μεγαλοφυΐας.
Πηγές: Κωστής Γαϊτάνος (Μεγάλη Μουσική Βιβλιοθήκη της Ελλάδος), Φώτης Καλιαμπάκος (Ελευθεροτυπία)
CHRISTIAN THIELEMANN CONDUCTS LUDWIG VAN BEETHOVEN
Ludwig van Beethoven (1770-1827)
♪ Symphony No.1 in C major, Op.21 (1801)
i. Adagio molto – Allegro con brio
ii. Andante cantabile con moto
iii. Menuetto: Allegro molto e vivace
iv. Adagio – Allegro molto e vivace
Conductor: Christian Thielemann
Wiener Musikverein, December 2008
Uploaded on Youtube for the Blog "Faces of Classical Music"
The year 1800 marked a watershed in Beethoven's development. On April 2 in Vienna, he made his debut as a composer of symphonies during a concert he had arranged and financed himself. Beethoven began to work intensively on the symphony in 1799, completing the work the following year. The Symphony, though enthusiastically received at its premiere, already carried portents of the composer's coming radicalism. At the time, some observers commented upon the work's prominent use of wind instruments, but few noted the First Symphony's masterstroke; it opens with the "wrong" chord – a dominant seventh of the subdominant key of F major, and not the expected tonic chord of C major. The English musicologist Sir Donald Francis Tovey dubbed this work "a comedy of manners". It is, in some sense, a skit on the deeply engrained style and vocabulary of Classicism itself, though the humor is unquestionably Beethoven's own.
The opening movement begins with the celebrated discord mentioned above, which ushers in the slow introduction, questioning and insistent. It leads to the start of the exposition, again interrogatory in character. Fanfares add a martial flavor to the music, which is offset by the more lyrically inclined second subject group. The exposition is repeated, according to Classical convention, and the development that follows is terse and far more acerbic in manner, and does not allow the same contrast between songful and martial elements. Already extremely mature and "studied", this austere development is relieved only when the recapitulation arrives, now with great forcefulness. The imitative dialogues between wind and strings are predictably Classical in style, as is the jubilant coda.
The Andante seems more subdued and relaxed, but the manner in which it preserves the latent drama associated with symphonic form is particularly subtle and entertaining. It begins with a fugal motif, derived from the rising tonic triad heard at the start of the first movement's exposition, and used so emphatically in its coda. An ingenious piece of orchestration occurs at the close of the Andante's exposition. Triplet figures in the violins and flute and off-beat accompanying chords are supported by regular drum taps, perhaps pointing forward to the start of the Concerto for violin and orchestra, Op.61, and to the closing bars of the Concerto for piano and orchestra No.5, Op.73 "Emperor".
The third movement's marking raises the question of whether Beethoven could have intended this to be a stately Haydn minuet before he increased the tempo indication. The incisive rhythmic energy suggests something wholly new, and the movement already has the manner of Beethoven's later scherzi – it is one in all but name. While a more static episode in D flat follows the main material, and the central trio section is more reserved, it is significant, surely, that several Beethoven manuscripts (including that of his Symphony No.3 in E flat "Eroica") contain similar third-movement tempo markings. Tovey likened the explosive start of the finale to the release of "a cat from a bag". The whole orchestra plays a unison fortissimo chord of G, the dominant, an effect that recalls the slow introduction of the first movement. The main motif is derived from nothing more complex than a rising scale on the tonic, but throughout the movement, Beethoven's use of scalar figures becomes increasingly obsessive, as the theme is heard in a variety of keys, and is often heard in inversion when various instruments are in dialogue. The development features a daring harmonic treatment of the scale theme, and Beethoven employs much dense counterpoint before the work ends in a positive and triumphant reassertion of C major.
Source: Michael Jameson (allmusic.com)
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