Lukas Geniušas

Lukas Geniušas
Lukas Geniušas (b. 1990), pianist – Second Prize (XV International Tchaikovsky Competition, 2015)

Friday, June 02, 2017

Ludwig van Beethoven: Symphony No.2 in D 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.

Τη Δεύτερη Συμφωνία του Μπετόβεν πολλοί την αποκάλεσαν Ειδυλλιακή. Ο ΄Εριχ Βάλεντιν λέει ότι είναι γεμάτη ευθυμία και νεανική χάρη και παρόλο που ο Μπετόβεν τη γράφει σε μια τόσο ζοφερή στιγμή της ζωής του (συνειδητοποιεί ότι χάνει την ακοή του) συνθέτει όχι μόνο ένα τόσο αισιόδοξο και ευτυχισμένο έργο, αλλά μετατρέπει και το Μενουέτο σε ένα  μεγαλειώδες εύθυμο Σκέρτσο γεμάτο χιούμορ.

Ήδη από τη Δεύτερη Συμφωνία του ο Μπετόβεν επεκτείνει τις διαστάσεις της συμφωνικής δομής, με μια μορφή πιο σύνθετη και ποικίλη,  που τη μεταχειρίζεται σαν σκέψη καμωμένη από γρανίτη, η οποία εκφράζει τη θέληση και οργανώνει τη δράση.

Η Δεύτερη Συμφωνία σε Ρε μείζονα, έργο 36, παρουσιάστηκε πρώτη φορά στη Βιένη, στο αυτοκρατορικό Theater an der Wien στις 5 Απριλίου του 1803, σε μια συναυλία  μαμούθ, ένα "monstre program" όπως την αποκάλεσε ο Φριτς Ζόμπελυ. Για την ιστορία αναφέρουμε το πολύ μεγάλης διάρκειας πρόγραμμα αυτής της συναυλίας: παρουσιάστηκαν η Πρώτη και η Δεύτερη Συμφωνία, το Τρίτο Κοντσέρτο για πιάνο και ορχήστρα, και το μοναδικό ορατόριο που συνέθεσε ο Μπετόβεν, «Ο Χριστός στο Όρος των Ελαιών», που η διάρκειά του είναι πλέον της μίας ώρας.

Πηγές: Κωστής Γαϊτάνος (Μεγάλη Μουσική Βιβλιοθήκη της Ελλάδος), Φώτης Καλιαμπάκος (Ελευθεροτυπία)



CHRISTIAN THIELEMANN CONDUCTS LUDWIG VAN BEETHOVEN

Ludwig van Beethoven (1770-1827)

♪ Symphony No.2 in D major, Op.36 (1802)

i. Adagio molto
ii. Larghetto
iii. Scherzo: Allegro
iv. Allegro molto

Wiener Philharmoniker
Conductor: Christian Thielemann

Wiener Musikverein, December 2008

(HD 1080p)

Uploaded on Youtube for the Blog "Faces of Classical Music"


Measured against the hot-wired First Symphony, the heroic Third, and the heaven-storming Fifth – all of them written between 1799 and 1808 – Beethoven's Second is a relaxed work in greater part, akin to the Fourth and Sixth Symphonies. This has prompted music listeners ever since to wonder how he could have created a work as buoyant as No.2 at a time when his worsening deafness had been diagnosed as incurable and irreversible.

The work came to term in 1802 from sketches organized the previous year. Likelier than not, it reflects several happy months in the rural retreat of Heiligenstadt, on the recommendation of an otologist. From one window in his isolated cottage he could see eastward to the Danube, and beyond. Outside, he roamed the fields and surrounding woods freely, yet his mood was "morose" according to Ferdinand Ries, the devoted pupil who visited him there.

Beethoven introduced the new symphony at Vienna on April 5, 1803, at a mammoth Akademie in the Theater an der Wien, along with the Third Piano Concerto (completed in 1800), a new oratorio, Christ on the Mount of Olives, and a repeat performance of the First Symphony from 1800. In the third movement of No.2, the word scherzo appeared symphonically for the first time, although it retained a song and trio form, and was built on the sudden juxtapositions of loud and soft, with changes in their patterns just when he'd seemed to settle on one. The scoring, however, continued to employ traditional pairs of winds and brass, timpani, and strings.

An Adagio molto introduction anticipates the soft-loud contrasts that explode like Chinese firecrackers two movements later, although the sound and shape of it recall Haydn. The exposition begins in measure 35, with a main subject of Mozartian levitation, but thereafter Beethoven asserts his own less courtly and more confrontational personality.

As in the First Symphony, he wrote the first, second, and fourth movements in sonata form. The longest of them is this A major Larghetto in triple meter, if all the repeats are observed. Finding an accommodating tempo can pose problems: largo, after all, means "broad", the slowest tempo in music. Larghetto is a diminutive form – i.e., not as slow – but how slow (or not slow) remains the conductor's call.

After Beethoven's surprises in (as well as of) the scherzo, he chortles throughout a finale marked Allegro molto, mostly at his own syncopated jokes. They begin in the first measure and don't let up till the double-bar. Many of his contemporaries were shocked, and several reviled him in print. One Viennese critic, after a repeat performance in 1804, called Symphony No.2 "a crass monster, a hideously writhing, wounded dragon that refuses to die and, though bleeding in the finale, furiously thrashes about with its stiffened tail". One should always keep posterity in mind whenever a spiky new piece tempts us to dismiss it without a trial (whereas easy-listening pieces tend to spoil as quickly as unrefrigerated seafood, and most should).

Source: Roger Dettmer (allmusic.com)













See also

Ludwig van Beethoven: The Nine Symphonies, Coriolan & Egmont Overtures – Wiener Philharmoniker, Christian Thielemann (HD 1080p)

Staatskapelle Dresden. New Year's Eve Concert 2015 – Lang Lang, Rinat Shaham, Lucas Meachem, Christian Thielemann (HD 1080p)


Richard Strauss: Four Last Songs & Alpine Symphony – Anja Harteros, Staatskapelle Dresden, Christian Thielemann


Wagner Birthday Gala – Jonas Kaufmann, Staatskapelle Dresden, Christian Thielemann (HD 1080p)


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