Wagner called it the 'apotheosis of the dance'. The best recordings of Respighi’s Pines of RomeBeethovens 7th is his most rhythmic symphony. Follow Sony Classical on Facebook Follow Sony Classical on Twitter A concept album as imaginative, sensitive and philosophical as the pianist herself.
At the close of his work, Jrg Widmann seems to be intent on securing the approval of his audience with a deliberately popular gesture, something that even Beethoven was not averse to using from time to time.The audience gave the work a favourable reception and demanded that the second movement be encored. Read reviews of the latest Beethoven recordings hereMusical Hypnosis Ludwig van Beethoven’s Symphony No. Thats the same chord which that precedes the cadenza of most classical-era concertos. The movement begins and ends on the same I (6/4) chord in the winds.
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BIS supplies a vivid SACD recording, and the disciplined playing makes this release a formidable contender.Gustavo Dudamel and the Simón Bolívar Orchestra tear into Beethoven’s Seventh with tremendous gusto offering playing of intermittently impressive virtuosity. The ten greatest symphonies of all time… according to TwitterThe third movement scherzo combines dynamism with touches of unbuttoned humour while the Allegretto is warm and expressive. Inner strings offer pulsating rhythmic energy at the return of the main idea in the first allegro and accented cellos and basses bring extra urgency to the finale’s close. Both orchestra and conductor seem to be engaged on an exciting voyage of rediscovery, as if they are intent on restoring the vibrant colours of an age-old masterpiece.The result is compelling, as fervent rhythms, accented sforzandos and stark contrasts in dynamics and articulation bring a volcanic energy to the orchestration and a rawness that makes evident the revolutionary daring of Beethoven’s musical expression.From the rhythmically articulated, forward-thrusting opening bars and the miraculously quietascending string semiquavers that ensue, it’s evident that Vänskä has something individual to say about the score, and his interpretation holds your attention spellbound during each movement.There’s an amazing attention to detail with a faithful and meticulous observation of Beethoven’s markings. And many recent recordings of the Seventh acknowledge this (for example Thomas Dausgaard and Paavo Järvi) by trying to replicate the sonorities with which Beethoven was familiar in terms of modern instruments.Yet there’s still something even more dynamic in John Eliot Gardiner’s performance. Yet Chailly can also inspire moments of delicacy, with the third movement scherzo achieving an almost Mendelssohnian lightness of articulation while the string fugato in the middle of the Allegretto combines energy and dynamism with mystery.Outstanding playing from the Leipzigers and Decca’s immediate sound make this a desirable recording.Orchestre Révolutionnaire et Romantique (1995)Period performance has exercised a profound impact on our present day approach to Beethoven.
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