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Beethoven: Symphonies & Ouvertures
 
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Beethoven: Symphonies & Ouvertures

26 Mar 2012 | Format: MP3

16.49 (VAT included if applicable)
Buy the CD album for 38.20 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
1
4:50
2
8:56
3
7:07
4
3:22
5
5:55
6
12:29
7
10:49
8
3:44
9
6:24
Disc 2
1
16:59
2
13:26
3
5:39
4
11:05
5
6:53
6
7:21
7
4:10
8
2:08
Disc 3
1
6:27
2
8:12
3
4:27
4
11:01
5
10:21
6
9:42
7
5:27
8
6:43
Disc 4
1
10:37
2
12:03
3
4:41
4
3:58
5
9:23
6
8:38
7
4:01
8
4:24
9
7:14
Disc 5
1
13:09
2
8:21
3
8:29
4
9:02
5
11:01
Disc 6
1
15:21
2
13:31
3
12:31
4
6:11
5
3:25
6
10:14
7
4:06


Product details

  • Original Release Date: 24 April 2008
  • Number of Discs: 6
  • Label: Zig-Zag Territoires
  • Copyright: 2008 Zig-Zag Territoires
  • Total Length: 6:13:57
  • Genres:
  • ASIN: B007HKD3CS
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Bestsellers Rank: 108,987 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

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Most Helpful Customer Reviews

81 of 82 people found the following review helpful By Colin Fortune VINE VOICE on 3 Jun 2008
Format: Audio CD
I had not come across Immerseel and Anima Eterna -interestingly Flemish/Dutch/German (?)and Latin for the phrase "eternal soul" - until a friend recommended this set as being outstanding in many areas. It is, and they are!

Firstly, Anima Eterna have a distinctive sound. They play the symphonies and overtures at a high "Viennese" pitch that makes for a bright and exciting listening experience (A = 440). A so-called "original instrument" band (as opposed to a present-day symphony orchestra playing in an "historically informed" manner, as on the Norrington/Hansler set) they play on Nineteenth Century instruments or on copies of originals. The strings use thick gut strings and an assortment of different bows - we can assume the the players have eschewed the post Paginini school of fingering - playing for the most part without vibrato, and only using it very sparingly for specific effects. The double-basses use frets for increased accuracy of intonation and are tuned in fourths, a "modern" innovation in Beethoven's day, and they seem to be four string models (i.e. not three string) one at least of which can find the low C required. The horns are valveless, the trumpets long and the trombones small bore. Small and tight timpani are very much to the fore in the balance.

This orchestra is very small (twenty-four strings, rising to thirty-three in the Choral Symphony, for example) but plays within an acoustic that delivers more than satisfactory weight and heft, whilst at the same time being superbly attuned to the delicacy of much of Beethoven's writing.
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15 of 15 people found the following review helpful By Chyron on 3 Feb 2010
Format: Audio CD
Here is a Beethoven symphony cycle (again) on period instruments (again). So why should it stick out in the midst of dozens of other cycles ? Yet it does stick out.
These symphonies by Jos Van Immerseel and his small-scale orchestra Anima Eterna are all fresh, full of tintillating life. In fact, the orchestra is perfectly modelled on the size of the symphony orchestra in Beethoven's time, everything has been done in an effort to recreate the sound that Beethoven sought to create and that he would have heard (or wish to hear)himself. The details about the research and the production are explained in a well-written multilingual booklet included in the box.
The sounds. These symphonies are a wealth of sounds, I have never before heard the percussion so clearly and the same goes for practically every individual instrument and yet the music flows and sings with all instruments together, dynamically and harmoniously : this is pure heaven.
I'm very fond of Beethoven's symphonies and I have some two dozen complete cycles in my collection but this one went straight to the top as one of the very, very best.

These were my impressions after I bought the set some 18 months ago and they still hold, even though a few more cycles have since come to caress my senses (and enhance my space-consuming collection). Van Immerseel's cycle is still unique and my favourite for sheer refreshing beauty that captures the attention no matter how often you've heard the music before.
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22 of 24 people found the following review helpful By J. TIMMERMAN on 13 Aug 2009
Format: Audio CD Verified Purchase
Rip-snorting performances here, fast but not too much so, with lots of oomph and attention to detail. Of course with sets like this, listeners will like some better than others, as I did. Overall though these performances sound as they likely would have in Beethoven's time and that is the mark of a good period performance. Emphases on particular sections within the orchestra are often different than modern performances which makes the listening experience fresh. My favourites, the Eroica, the Seventh and Coriolan overture are exhilarating. A pity not all the overtures were included (e.g. the Leonoras) - some, perhaps not all, of those missing could have fitted without creating an extra CD. Recording quality is full and warm, the cellos and basses are especially rich and the brass is bright and clear (if occasionally a little too forward). This is passionate and exciting playing. I do recommend the similarly-exuberant and well-recorded Harnoncourt overtures CD. Likewise the Gardiner set is arguably still a rival, and there are many individual modern performances, like some of Masur's (on PHILIPS not the disastrously remixed dried-out Pentatone SACDs) and Paita's glorious Eroica, that still stand up well, but I feel as a set this one pretty well wipes the opposition off the board, both period and modern. I'll keep my other ones, but I would be happy with this set alone.
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11 of 12 people found the following review helpful By N. J. Fauvel on 20 Sep 2009
Format: Audio CD
However well you know the Beethoven symphonies, if you haven't heard Immerseel's interpretations you are missing something really special. In conception and in execution these performances are outstanding. In every movement the musicians of Anima Eterna say something new, made possible by the chamber-music-like ensemble they achieve with their modest number of strings balancing the wind and brass. The virtuosity of these players on their period instruments is outstanding. The inner clarity, textures, and colours are perhaps closer to Beethoven's own conceptions and harmonic intentions than we have heard. The generally fast speeds allow rhythm and phrasing that are perhaps closer to Beethoven's melodic intentions that we are used to hearing. No single interpretation of these sublime works will ever be definitive, but you should not miss these.
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