Also, sforzati tend to be performed with an initial crescendo, not percussive, the short staccati in the introduction have intonation issues like with Klemperer, caused by an excess of (unnecessary) vibrato. 92Royal Concertgebouw OrchestraIván FischerHet Concertgebouw Amsterdam, 9 & 10 January 2014 As usual by this stage of the composer's career, the symphony divided opinion among those who heard early performances. Here, ne now beats Beethoven’s metronome mark by playing 1/8 = 90 — and the music is a little too fast. Editing: re-sampled to 600dpi, converted to black and white tif files, de-skewed, and set uniform margins. Here, it even has slightly more weight than the cello, and it is the first time (I listened to Dausgaard last) where I really became aware of this voice — a nice feature! Duration: 5’27”Heavy, colossal, overblown, and an extreme tempo difference between Menuetto (3/4 = 92) and Trio (3/4 = 62) — not quite un poco meno Allegro! Rather a military march (of sorts), at least in the ff parts; the lyrical sections / voices are often extremely legato & broad in articulation. An even more startling premonition of the Ninth Symphony may be found in Beethoven’s 1808 Fantasia in C minor for Piano, Chorus, and Orchestra, Opus 80. The Symphony No. Duration: 5’57”Traditional from the overall sound (big orchestra), rhythmically sometimes a bit over-accentuated. Duration: 5’50”Very determined, firm, rather strict (a rather wild Minuet / dance! Bonn 1770 - Vienna 1827 . Duration: 11’29”One can certainly not blame this recording for lacking tension and drive: Bernstein’s strength is his dynamic, often “sporty” direction (one can hear him jump at the beginning of the Allegro vivace! Notes to LSO Live set LSO0098D, Notes to CD sets Parlophone 0724356679559 (2003), Decca 00028948088942 (2015), Parlophone 5099972333457 (2013), and DG 00028947771579 (2007), Greenberg, Part 2: Lecture 14: "Symphony No. It’s a big orchestra, of course, and so it sometimes is a bit loud, especially when compared to HIP recordings. Note, however, that this is not the order in which I did the comparison: in the listening order, I try grouping similar recordings together, also typically listening to slower performances prior to faster ones, as I feel that this is the best way to do justice to every recording. One mishap due to the live event is that in the last bars the timpani are out of tune. The orchestra plays with modern instruments, but essentially without vibrato, and of course using wooden drum sticks for the timpani. [33] In 1838 the French impresario Louis-Désiré Véron called the Fourth sublime and regretted that in Paris it was not merely neglected but denigrated. Best wishes, Symphony No.6 in F, Op.68 (“Pastoral”) Symphony No.7 in A, Op.92; Symphony No.8 in F, Op.93; Symphony No.9 in D minor, Op.125 (“Choral”) Sinfonia in C minor, Hess 298 [sketches] The “Jena” Symphony in C once attributed to Beethoven was actually written by Friedrich Witt. This symphony was recorded in 2000. I like the extra clarity (transparency and intonation) provided by the vibrato-less strings; for me, an excellent recording. [10] It typically takes between 30 and 35 minutes to perform. The movement is 355 bars (458 bars with the repeat). Symphony No.4 was recorded in 1998. That has definitely already influenced this recording, too. Beethoven had to write to Oppersdorff apologising for this breach of their agreement. Bruno Walter, New York Philharmonic Orchestra(recorded 1941 – 53), Music & Arts CD-1137 (6 CDs, mono); ℗ 2004Booklet: 12 pp. Symphony No.4 was recorded in 1962. Beethoven spent the summer of 1806 at the country estate of his patron, Prince Lichnowsky, near Glogau. Toscanini uses limited agogics, his tempo can often be characterized as relentless  — with the one exception of a slow-down in the second theme, around bar 107ff., or in the successive, transitioning scales around bar 290ff. Maybe at times it sounds a tad fast / pushed? One remarkable detail is how the orchestral placement exposes those nice dialogs between the two (opposing) violin voices. 125, is a choral symphony, the final complete symphony by Ludwig van Beethoven, composed between 1822 and 1824.It was first performed in Vienna on 7 May 1824. 7 in A major, Op. ): It’s a sonata movement where — as usual — the exposition is repeated. In a study of the Fourth written in 2012 Mark Ferraguto quotes a 1994 description of the work as "a rich, verdant valley of yin expressiveness … poised between the two staggering yang peaks of the Third and the Fifth".[35]. Beethoven: Symphonies 1 – 9, Overtures, Violin Concerto, Leonard Bernstein, New York Philharmonic OrchestraIsaac Stern, Sony Classical SB6K 87885 (6 CDs, stereo); ℗ 1959 – 1970 / © 2002Booklet: track listing only, This is from the earlier cycle of stereo recordings of all Beethoven symphonies that Leonard Bernstein (1918 – 1990) made with the New York Philharmonic Orchestra. 67, was written between 1804 and 1808. The tuning in Hogwood’s recording is slightly below modern orchestral tuning (a’ = 430 rather than a’ = 440 – 442). De compositie werd goed ontvangen, het allegretto moest zelfs herhaald worden.. Instrumentatie. Wilhelm Furtwängler, Vienna PhilharmonicBerlin Philharmonic, Philharmonia Orchestra, SDR Symphony Orchestralive recordings 1948 – 1954, IMD Music Distribution Ltd. ARPCD 0214 (5 CDs, mono); ℗ / © 2004Booklet: track listing only. Note that the color coding for the tempo (blue = slower, green = faster) refers to the average between the recordings, not to the metronome markings in the score: The ratings should be clear (1 = lowest/gray, 3 = yellow, 5 = highest/orange) — these are meant to be my personal opinion and relative, not absolute. As mentioned above, I’m discussing the interpretations in alphabetic order (by the conductor’s last name). Duration: 9’56”There is a recording with Bruno Walter rehearsing this movement:It is very interesting to hear how much emphasis Walter puts on getting the rhythm and the articulation in the accompaniment played correctly, taking care of the tiniest of details; and of course, he gets the rhythm in bars 69ff. 9 in D minor, Op. (Parts 2, 3) Allegro molto assai (Alla marcia) ; Andante maestoso *#332353 - … Beethoven: The Complete Symphonies and Piano Concertos; Choral Fantasia; Great Fugue op.133; Overtures Leonore 1-3, Coriolan, Prometheus, Otto Klemperer, Philharmonia Orchestra, Daniel Barenboim, EMI 5 73895 2 (9 CDs, stereo); ℗ / © 2000, This is part of the complete cycle of Beethoven symphonies (later also including the piano concertos, with Daniel Barenboim and the New Philharmonia Orchestra) that Otto Klemperer (1885 – 1973) realized in the late fifties, with the Philharmonia Orchestra; Symphony No.4 was recorded in 1957 (Klemperer made one additional recording for a TV series celebrating Beethoven’s 200th birthday, around 1970). There are also some tempo inconsistencies that may have emerged from the live situation, but don’t really make sense in the audio-only listening experience. In the last movement, I prefer it over Bernstein’s earlier recording(s). That’s also caused by the violins being spread over the entire width of the podium, and this on the other hand has the advantage of very nicely exposing Beethoven’s dialogs between the two violin voices (e.g., bars 68ff., 255ff., 312ff.). Among these are Nikolaus Harnoncourt (1992), and Sir Charles Mackerras (2007). 60, is the fourth-published symphony by Ludwig van Beethoven. The fee is variously described as "350 florins" and "500 gulden". All structured data from the file and property namespaces is available under the Creative Commons CC0 License; all unstructured text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. Symphony No. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. Leonard Bernstein described it as a "mysterious introduction which hovers around minor modes, tip-toeing its tenuous weight through ambiguous unrelated keys and so reluctant to settle down into its final B♭ major. Clearly the best of the historic performances in this movement. The instruments are modern, though also here, the timpani are played with wooden drum sticks, and of course, Norrington uses the arrangement with the violin voices on opposite positions on the podium, i.e., Vl 1 — Vla — Vc — Vl 2. I enjoyed it. Also, in bar 223, the violins have an acciaccatura, followed by an equivalent in the in the woodwinds 4 bars later — the flute plays an appoggiatura. This page was last edited on 20 October 2020, at 10:42. [24] The movement is in a playful style that the composer called aufgeknöpft (unbuttoned). Beethoven fondly referred to it as "my little Symphony in F," distinguishing it from his Sixth Symphony, a longer work also in F.. Anton Bruckner's Symphony No. In 2002, he conducted all Beethoven symphonies in commented concerts — and all these live performances were recorded. 5 in C Minor, Op. [1] After this, Oppersdorff offered the composer a substantial sum to write a new symphony for him. This can hardly be an accident and is obviously inconsequent: older scores showed acciaccaturas, newer scores change this to appoggiaturas. Many of Toscanini’s recordings sound almost modern, even today! Duration: 5’00”In view of traditional interpretations, Beethoven’s annotations are typically considered fast. In the discussion below, I deal with the recordings in alphabetic order. Orchestra arrangement: Vl 1 — Vla — Vc — Vl 2. Sir Roger Norrington (*1934) started his career in historically informed playing (HIP) with the London Classical Players, which he founded in 1978 and directed until 1997. It sounds fast at first (when comparing with traditional recordings, possibly with the listener’s expectations), but then one realizes that Zinman correctly takes this alla breve, i.e., in halves rather than quarter notes, and so, this sounds totally natural. [6] Although Oppersdorff had paid for exclusive rights to the work for its first six months, his orchestra did not give the first performance. More recently, recordings of the Fourth have often been issued as part of complete cycles of the Beethoven symphonies. Avoids excess “polish” and percussive articulation. One minor point, perhaps: At the very end of the movement, the orchestra has three forte crotchets in bar 220, one crotchet in bar 221, followed by rests. 7 - IMSLP Ludwig van Beethoven Symphony No. Work Title Symphony No.1 in C major Alt ernative. In the Allegro vivace part, the second theme is played slightly slower, but otherwise, the tempo is kept straight. the instruments are mostly modern, though even just the use of wooden drum sticks makes a huge difference. 67, Sinfonia n. 6 in Fa maggiore "Pastorale" Op. The first movement starts with a slow introduction, annotated Adagio: Note, however, that the movement is written alla breve — two beats per bar — and with 1/4 = 66, the tempo is substantially faster than typically expected and performed! Despite the fast(est) tempo, I don’t perceive this as “cold perfection”; I really like this interpretation, even though occasionally, a little less pushing, allowing for more agogics and elasticity in the tempo would make this even better (for this movement I would definitely prefer the setting with opposing violins, even though this might mean a tad less perfection!). To me, the interpretation is rather uninspired, lacking dynamic and agogic elasticity. The movement is still too slow, in view of recent recordings, but at least, here, the orchestra is more equilibrated than in the recording with the New York Philharmonics. 4 Note the differences in key signature. Among conductors of such versions of the Fourth Symphony have been Christopher Hogwood (1986), Roger Norrington (1988), Frans Brüggen (1991) and John Eliot Gardiner (1994). 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Also, Toscanini appears inspired by opera, injecting drama through added stringendi / compressions. 92: Clarinet II (in A) - page 1 (c) by CCARH 2008 Symphony No. Duration: 6’27”A fascinating interpretation — clearly the fastest one, close to Beethoven’s tempo annotation (maybe that was merely given as a mark for musicians to aim for? The Symphony No. The symphony follows the typical, classic scheme with four movements —. With occasional coordination / precision issues, especially in the punctuated f / sf sections (greetings from Bruno Walter!). I like the timpani with the wooden drum sticks, the sound of the woodwinds! Thanks for your fine and systematic article about Beethoven’s 4th symphony! Still no repeat of the exposition — Zeitgeist? 60, is a symphony in four movements composed by Ludwig van Beethoven in the summer of 1806. It is a pity that Walter does not repeat the exposition (as also in his earlier recording, see above) — this not only changes the balance of the movement, it also ignores Beethoven’s explicit lead-back bars, which are a clear indication that this repeat isn’t just mere convention. This image might not be in the public domain outside of the United States; this especially applies in the countries and areas that do not apply the rule of the shorter term for US works, such as Canada, Mainland China (not Hong Kong or Macao), Germany, Mexico, and Switzerland. Duration: 11’25”To me, the symphony starts with a minor disappointment, in that Norrington falls short of his own rules, playing the Adagio substantially slower (1/4 = 52) than Beethoven’s own annotation (1/4 = 66) — with this, the alla breve measures are hardly noticeable. 4 in E-flat major, WAB 104, is one of the composer's most popular works.It was written in 1874 and revised several times through 1888. Amazingly, one can still feel the intent to play bars 69ff. Robert Schumann is said to have called the Fourth Symphony "a slender Greek maiden between two Norse giants",[n 5] and it was an important influence on his First Symphony. Overall, though, still an interpretation with drive and rhythm. The vibrato in the flute is rather obnoxious (nervousness / stage anxiety?). Also, Zinman uses the new Bärenreiter edition, and he observes Beethoven’s metronome markings, and he also used fewer string players rather than the full orchestral apparatus. The symphony No.4 was recorded in 1978. It’s not clear why the exposition was not repeated — were repeats regarded a nuisance back then? The symphony is regarded by many critics and musicologists as Beethoven's greatest work and one of the supreme achievements in the history of music. 7 2nd Clarinet (in A) Ludwig van Beethoven (1770-1827) Symphony No. The Symphony No. Symphony No.5, Op.67 (Beethoven, Ludwig van) Movements/Sections Mov'ts/Sec's: 4 movements Composition Year 1807-08 ... IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country. Not much to criticize, at least from a technical point-of-view. Like those of the first, second, and seventh of Beethoven's nine symphonies, it has a slow introduction. Duration: 5’36”I prefer this over Bernstein’s more recent interpretation with the Vienna Philharmonics: it’s closer to Beethoven’s tempo annotations, more moderate in the ff parts, more balanced overall. The two violin voices are placed on opposite sides of the podium, i.e., the orchestra arrangement is Vl 1 — Vla — Vc — Vl 2. Kemp, Linsday. Beethoven Symphony No. Rolf, How I rate concerts and media / recordings. The extensive booklet is also a comprehensive scientific documentation of Hogwood’s findings. correctly (see the score sample above), though at this tempo the rhythm in this passage is difficult to follow exactly. Beethoven wrote dedicated endings for the two passes. 60 The Fourth Symphony is too often overshadowed by Beethoven s more dynamic Third and Fifth … What bothers me more here is the fairly awful sound of the woodwinds, especially the oboes, and clarinets: the oboes sound like plastic instruments. 67 4 4 in B ♭ major, Op. 7 in A Major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa Op. 36, Sinfonia n. 3 in Mi bemolle maggiore "Eroica" Op. In September Beethoven and the Prince visited the house of one of the latter's friends, Count Franz von Oppersdorff. The rhythmic figure of the opening theme persists throughout, and underpins, the whole movement: Tovey calls the first episode (or second subject) "a still more subtle melody": The main theme returns in an elaborate variation, followed by a middle episode and the reappearance of the varied main theme, now played by the flute. Hogwood’s introduction is almost as slow as Toscanini’s. 8 in F major, Op. There are also rushed transitions, an excess of rubato. en/de/fr, This is the more recent complete recording of all Beethoven symphonies by Leonard Bernstein (1918 – 1990), this time with the Vienna Philharmonics. There haven’t been many recordings since the days of Rudolf Kempe (1910 – 1976) who led the orchestra between 1965 and 1972. Orchestra arrangement: Vl 1 — Vl 2 — Vla — Vc. As well as the tempi adopted by the performers, the playing time is affected by the decision to play or omit the. English. [8] The first public performance was at the Burgtheater in Vienna in April 1808. 4. 5 in C minor, Op. The Horns continue with two p crotchets, followed by a 3/4 bar (D + B♭), then a bar with a dramatic crescendo, leading to the final ff chord in the entire orchestra:(only horn and trombone voices shown). To me, this implies that this is a melody that must be singable, and with 1/4 = 50 – 60, this is clearly impossible to sing, not only because a singer would run out of breath, but also because the melody is stretched beyond recognition. Daniel Barenboim conducts the West-Eastern Divan Orchestra - Beethoven's Symphony No.4 in B flat, Op.60 - BBC PROMS 2012 1 (Beethoven); 1. Occasionally (e.g., bar 25ff.) This also explains Beethoven’s tempo annotation! Adagio —Allegro vivaceDuration: 10’41”In the Adagio introduction, this is one of very few sticking to Beethoven’s tempo marking, and also the Allegro vivace is close to the composer’s annotation, with 1/1 = 75 (LvB: 80). Duration: 9’56”Compared to the more recent recording below (with the Vienna Philharmonics), this one is less intimate, less sweet, but now somewhat coarse, especially in the woodwinds, with too much vibrato in the Flute. But altogether too well-behaved (the slowest performance in this comparison), very little, if any, agogics — still the best of Böhm’s movements in this symphony. On top of the slowness, the interpretation is overblown, exceedingly romantic, trying to make this a monumental piece (supported by the very big orchestra, of course). Overall Duration: 35’56”Rating (see above for details): 2.8 — One of the better conventional interpretations (I prefer it over Böhm, for instance), Beethoven: Symphonies 1 – 9, Introductions by Sir Roger Norrington, Sir Roger Norrington, Radio-Sinfonieorchester Stuttgart, Hänssler Classics  (5 CDs + Bonus CD, stereo); ℗ 2000 / © 2000Booklet: 17 pp. Unlike apparently the new Beethoven edition, the ornaments in bars 223, 227 & equivalents are played as acciaccaturas (hence more closely following what a typical audience may expect). In parallel to the Beethoven recordings, Zinman invited conductors such as Frans Brüggen (1934 – 2014) who introduced the orchestra into historically informed playing. Overall Duration: 31’54“ (incl. [41] These pioneering efforts were followed in later decades by recordings of performances in what was currently regarded as authentic style, often played by specialist ensembles on old instruments, or replicas of them, playing at about a semitone below modern concert pitch. Unfortunately, just like Furtwängler and Toscanini, Bruno Walter omits the repetition of the exposition. [13] In a commentary on the symphony Grove comments that Haydn – who was still alive when the new symphony was first performed – might have found the work too strong for his taste. The introduction (38 bars) is followed by the joyful, jumping first theme of a sonata movement, whereby the exposition (bars 45 – 184) is repeated. Presto, Violin Part - 9 in A Major, Op. To me, this creates somewhat of a (minor) problem, in that Toscanini’s Adagio introduction is very slow (the slowest in this comparison, see the table above), and with without the repeat of the exposition, the introduction now occupies a full third of the movement (3’20” out of 9’57”), which I think is out of balance (in the case of David Zinman, using Beethoven’s metronome values, the introduction is a mere 20% of the movement’s time, though of course with the exposition being repeated). What I dislike is the (slight) excess in vibrato in the violins early in the movement, the lack of “stereo effect” due to the placement of the two violin voices next to each other (see above). For me, it’s too forceful in the Menuetto (in today’s view) to be a real top interpretation, but I can’t deny that both parts have lots of drive. 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