Sofia Gubaidulina, composer

Sofia Gubaidulina, composer
Sofia Gubaidulina

Sunday, June 25, 2017

Ludwig van Beethoven: Symphony No.8 in F 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.

Το καλοκαίρι του 1812 ο Λούντβιχ βαν Μπετόβεν βρισκόταν στο Λιντς της Αυστρίας, φιλοξενούμενος από τον αδελφό του, Γιόχαν. Εκεί συνέθεσε την Όγδοη Συμφωνία του σε Φα μείζονα, έργο 93, ένα σχετικά μικρής εκτάσεως έργο αλλά ιδιαίτερα πνευματώδες και ενδιαφέρον, το οποίο ολοκληρώθηκε, έπειτα από τετράμηνη εργασία, τον Οκτώβριο του 1812. Η πρώτη εκτέλεση της νέας αυτής Συμφωνίας πραγματοποιήθηκε στη Βιένη, σε συναυλία με έργα του συνθέτη, που δόθηκε στις 27 Φεβρουαρίου 1814, ενώ η έκδοση της παρτιτούρας ακολούθησε το 1817, δίχως πάντως να συνοδεύεται από την καθιερωμένη τιμητική αφιέρωση σε κάποιο πρόσωπο (γεγονός μοναδικό μεταξύ των εννέα Συμφωνιών του Μπετόβεν).

Πηγή: Ιωάννης Φούλιας, 2008


Ludwig van Beethoven (1770-1827)

♪ Symphony No.8 in F major, Op.93 (1812)

i. Allegro vivace e con brio
ii. Allegretto scherzando
iii. Tempo di Menuetto
iv. Allegro vivace

Wiener Philharmoniker
Conductor: Christian Thielemann

Wiener Musikverein, November 2009

(HD 1080p)

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

Ludwig van Beethoven completed his Eighth Symphony in 1812, and conducted the first performance at Vienna on February 27, 1814. The year 1812 was both eventful and productive for the very deaf but very famous Beethoven. In July, at Teplitz spa, he finally met the great Goethe (1749-1832), but was disappointed to find (in his opinion) an aging courtier who was neither a firebrand nor a fellow democrat, and furthermore a musical dilettante. In turn, Beethoven's power both as a person and as an artist impressed Goethe, but the old poet-playwright was fatigued by his high-pitched intensity and offended by a lack of manners bordering on rudeness.

Withal, Beethoven somehow made time in 1812 to compose a final Violin and Piano Sonata (Op.96), and to complete a new pair of symphonies. Nos. 7 and 8, begun in 1809 (the year of the Emperor Concerto), were related in much the way his Fifth and Sixth Symphonies had been. In 1813 he conducted the Dionysian Seventh to great acclaim, but saved the elfin Eighth for an 1814 concert where it was fatally sandwiched between the Seventh Symphony and Wellington's Victory, or the Battle of Vittoria. This last was adored by the audience in direct proportion to its awfulness, but they only sniffed at the Eighth.

Compared to the Seventh, No.8 is benign as well as brief. There are four movements, in all of which the old Classical forms are clearly delineated but somehow thrown out of balance by a constant barrage of curiously humorous distortions. Were the work not such an essentially lyrical joy, one might divine hints of the creative crisis to come for its maker. Its metronomic second movement (which is perhaps an actual tweaking of the recently invented metronome) has only 81 bars – the fewest in Beethoven's symphonic canon. The composer asked that the third movement be played Tempo di minuetto (in fact it is a Ländler), rather than at scherzo speed. The movement's heavy, graceless accents seem to poke fun at the courtly world only recently passed.The first and final movements are both written in sonata form, both marked Allegro vivace – con brio, too, in the first.

Beethoven reserved for the finale a leviathan-length coda, by then one of his musical signatures – 236 bars, only 30 fewer than the combined exposition, development, and reprise! The movement wears its complexity so lightly that its true subtlety may all too easily pass unnoticed. Sudden loud interruptions in a very remote key herald still more radical explorations in the development. Here, the main rondo theme is debated in counterpoint, with cross rhythms and unexpected harmonic twists. But the giant coda is only the last joke in a work of cloudless skies and merriment. As John N. Burk summed the work up in his evergreen Life and Works of Beethoven: "[His] humor seems to consist of sudden turns in the course of an even and lyrical flow, breaking in upon formal, almost archaic periods. It is a sudden irregularity, showing its head where all [had been] regular – an altered rhythm, an explosion of fortissimo, a foreign note or an unrelated tonality... like divine play in that pure region of tonal thinking [where] melody and invention pour forth... and fancy is furiously alive". Beethoven himself thought it one of his best Symphonies, while Robert Schumann praised its "profound humor" and wrote that the second movement particularly filled him with "tranquility and happiness".

Source: Roger Dettmer (

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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