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Beethoven - Sym Nos 3 & 8 [CD]

Ludwig van Beethoven Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: 7.50 & FREE Delivery in the UK on orders over 10. Details
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Product details

  • Orchestra: Berlin Philharmonic Orchestra
  • Conductor: Hans Pfitzner
  • Composer: Ludwig van Beethoven
  • Audio CD (1 Oct 1999)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: CD
  • Label: Naxos Historical
  • ASIN: B00004TFS1
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 280,761 in Music (See Top 100 in Music)

1. Sym No.3 in E flat, Op.55, 'Eroica': Allegro Con Brio
2. Sym No.3 in E flat, Op.55, 'Eroica': Marcia Funebre: Adagio Assai
3. Sym No.3 in E flat, Op.55, 'Eroica': Scherzo
4. Sym No.3 in E flat, Op.55, 'Eroica': Finale
5. Sym No.8 in F, Op.93: Allegro Vivace E Con Brio
6. Sym No.8 in F, Op.93: Allegro Scherzando
7. Sym No.8 in F, Op.93: Tempo Di Minuetto
8. Sym No.8 in F, Op.93: Allegro Molto

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews
5.0 out of 5 stars Beethoven conducted by fellow composer 2 Mar 2013
Format:Audio CD|Verified Purchase
This recording was made as part of the one-hundredth anniversary commemorations of Beethoven's death. Composer Hans Pfitzner does a good job of the two symphonies, but of course these recordings are mainly of historical interest due to the sound quality. The sound is good, and remarkable considering its age, but cannot compare to today's sound quality.
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Amazon.com: 4.7 out of 5 stars  3 reviews
11 of 11 people found the following review helpful
4.0 out of 5 stars Naxos' New View of an Old View of Beethoven 3 Oct 2000
By Thomas F. Bertonneau - Published on Amazon.com
Format:Audio CD
Beethoven's "Eroica" in a 1929 performance under the baton of Hans Pfitzner, a conductor better known today as the composer of the opera "Palestrina," is, of course, an item for collectors. Except... Except that, in offering this and other archival performances as part of their "Great Conductors" series, and at a budget price, Naxos makes it an option for curious non-aficionados - music-lovers who do not assiduously pursue and acquire material transferred from 78rpm acetate-masters or primitive magnetic-tape sources. What are the "non-connoisseur" reasons for exploring this release? Let me be personal, in the hope that the subjective can, given the right articulation, become the objective. The "Eroica" fascinates me; clearly it represents a quantum-leap in the conception of the symphony. No single reading could ever possibly exhaust the deep well of this profound work. So one seeks as many views, or "soundings" rather, as possible. I suppose that I started out thirty years ago with Bernstein or maybe Bruno Walter, in stereo, naturally. Over the years, I have gotten to know a great raft of "Eroicas," moving slowly backwards along the time-line into the domains of Furtwängler, Abendroth, Knappertsbusch, and Kleiber. One thing that one learns by such musical time-traveling is how approaches change, how different the gutsy, romantic "Eroicas" of the German mid-century differ from the smoother, cooler Beethoven of recent decades. Pfitzner's is not the earliest "Eroica" on disc, but it is one of the earliest. It benefits, having been cut in 1929 (with the Berlin Philharmonic no less), from the technology of electrical recording. I want to emphasize that, as techno-enthusiasts and espousers of digital recordings very nearly indistinguishable from live performance, we suffer from a prejudice. I argue to my friends that the old records are not, in fact, "inferior" in sound, but merely different, and that it is possible to enjoy the warmth and naturalness of the old acetate masters on their own terms. Pfitzner was Furtwängler's mentor and occupied a fairly central position among German conductors in the first two decades of the century. His "Eroica" is rather fast, but it is full of fire. This type of interpretation lies at the extreme opposite pole of the "period" performances of Norrington and Hogwood; yet it is not quite in the colossal pattern of Furtwängler or Knappertsbusch. Pfitzner's contunuous modifications of tempo within each movement will at first seem odd, but with repeated auditions their logic becomes manifest. Naxos also gives us, on the same disc, Pfitzner's 1933 Eighth Symphony, also with the BPO. Give this a chance and you will never listen to modern recordings of the "Eroica" the same way again.
2 of 2 people found the following review helpful
5.0 out of 5 stars A Must Have 29 May 2005
By Bruce Kendall - Published on Amazon.com
Format:Audio CD
What an Eroica! The interpretation and the recording is first rate. I'd have to say it's as grand a recording as anything I've heard from Klemperer, Reiner, Von K, Haitink, etc. Just a luscious 3rd, in other words. The rest of the recording is highly charged, pounding, Beethovinian excitement at it's highest. Wow! Love the merge of thought and pure adrenalin! This guy knew what tempo was about! The 8th is to die for. I don't know the history, but I'd have to say that this conductor had a marked influence on most 20th C Beethoven interpreters that came after him. The tempo changes in the 8th are unlike anything I've ever heard, for instance. I'm sure some purists will object, but for a crafty, idiosyncratic take on the most often recorded composer in classical music (OK, maybe Bach and Mozart are in the lead there), I highly recommend this CD. It's in mono, sure, but the orchestra sounds splendid.

BEK
1 of 1 people found the following review helpful
5.0 out of 5 stars A unique conductor who understands meter 30 Aug 2013
By Kevin Austin - Published on Amazon.com
Format:Audio CD
I will comment on only one movement of one piece, that being the last movement of the Eighth Symphony. While the Eighth Symphony poses a number of performance issues that recur in the late quartets, such as the tonal ambiguity at the end of the second movement, the [perceived] downbeat in the last movement seems to stymy so many conductors and orchestras. Pfitzner has the orchestra play the triplet eighths as the upbeat throughout so that there is no metric shift of the downbeat during the movement.

For this insight alone, I rank this as five-stars.
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