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Beethoven: Symphonies Nos. 1 and 3 "Eroica"

Douglas Boyd , Manchester Camerata Audio CD

Price: £12.77 & FREE Delivery in the UK. Details
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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
Listen  1. Symphony No. 1 in C Major, Op. 21: I. Adagio molto - Allegro con brio 9:16£0.99  Buy MP3 
Listen  2. Symphony No. 1 in C Major, Op. 21: II. Andante cantabile con moto 7:47£0.99  Buy MP3 
Listen  3. Symphony No. 1 in C Major, Op. 21: III. Menuetto, allegro molto e vivace 4:04£0.99  Buy MP3 
Listen  4. Symphony No. 1 in C Major, Op. 21: Finale, adagio, allegro molto e vivace 5:35£0.99  Buy MP3 
Listen  5. Symphony No. 3 in E Flat Major, Op. 55, "Eroica": I. Allegro con brio16:01Album Only
Listen  6. Symphony No. 3 in E Flat Major, Op. 55, "Eroica": II. Marcia funebre, adagio assai15:14Album Only
Listen  7. Symphony No. 3 in E Flat Major, Op. 55, "Eroica": III. Scherzo, allegro vivace 5:30£0.99  Buy MP3 
Listen  8. Symphony No. 3 in E Flat Major, Op. 55, "Eroica": IV. Finale Allegro molto11:04Album Only


Product Description

Product Description

Manchester Camerata under conductor Douglas Boyd offer the latest in their critically acclaimed Beethoven cycle, a vivid live recording of the First and Third Symphonies.

Manchester Camerata have made an indelible mark with their universally acclaimed series of recordings for Avie. With this release, their fifth for the label, they continue their Beethoven cycle with live versions of the First and Third Symphonies that capture the spirit and freshness of these remarkable, genre-busting works, as well as the excitement, atmosphere and energy of the 33-piece orchestra under their Music Director Douglas Boyd.

Manchester Camerata have become one of the finest, most innovative chamber orchestras in the UK, and Douglas Boyd has proven to be an eminent Beethovenian. Conducting the composer's Fidelio at the 2009 Garsington Opera Festival, The Times noted "his grasp of Beethovenian idiom" and "pungent underlining of orchestral detail", praising the musical performance as "sublime and exultant". In addition to residencies at The Bridgewater Hall and The Royal Northern College of Music, Manchester Camerata perform extensively throughout the UK. Most recently they were heard by tens of thousands - in the Royal Albert Hall and on the airwaves - at their 2009 BBC Proms performance.

In a market crowded with Beethoven Symphonies, there is always room for a new recording as skilful and spirited as this one. "Gutsy, powerful, vivid - this Mancunian Beethoven is something quite special." - Gramophone

Review

(4 stars) Refreshingly "straight" but compelling accounts...Boyd sustains a remarkably expansive Funeral March, the crowning achievement of this remarkable, collectable disc. -- The Sunday Times, (Hugh Canning), November 15, 2009

Boyd's a rising star among Ludwig interpreters and his band a chamber orchestra to be reckoned with...captures them at their best. -- Classic FM Magazine (Christmas Pick), January 2010

Customer Reviews

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.0 out of 5 stars  1 review
3 of 4 people found the following review helpful
4.0 out of 5 stars A refined, affectionate First yoked to a light, fluffy Eroica, if that's to your taste 11 Jan 2010
By Santa Fe Listener - Published on Amazon.com
Format:Audio CD
I am a fan of Herrewedghe's Baroque recordings; he seems both musical ans sensible, putting expression before ideology when it comes to HIP practices. It's true that he's an overreacher, and his period readings of Bruckner have seemed awkward at best. But early Beethoven has always been a sharp weapon in the hands of advocates who want to push the Baroque past the age of Napoleon. It certainly works well in Sym. 1, and here we see Herreweghe's superiority over predecessors like NOrrington and Gardiner. First, he's more innately musical and talented, so that he doesn't hide behind externals like rushed tempos, hectic phrasing, and rigidly fixed rhythms. Those common qualities in early HIPser Beethoven are absent here.

As a result, Sym. 1 breathes as it should, smiles at times and displays a good deal of charm. This is far and away the best HIP Beethoven I've heard. It can stand up to any standard reading that I know. Herreweghe's Felmish orchestra is unknown to me, but they are fine, and PentaTone's sound (heard in two-channel stereo) is clean, clear, and natural. Tempo is quite secondary to me, but I will note that at times Herreweghe is quite moderate, as in the first movement and Scherzo, but his Andante cantabile in the second would be an Allegro to any traditionalist. It's saved by being so naturally phrased. but I think it's hard to credit that Beethoven would write a symphony without a slow movement of any kind. The test of any Beethoven First, for me, comes in the finale, which begins with a Haydnesque joke that almost every traditional conductor misses. Herreweghe shows a light touch here, but I didn't smile because I don't think he did. In any case, the rhythms are infectiously springy and for once the violins without vibrato sound sweet and affectionate.

The acid test comes in the Eroica, however, which must acknowledge Beethoven's incredible leap into another world of heroism, romance, intellectual rigor, and indomitable strength. Will Herreweghe pour us yet another glass of HIP weak tea? I'm afraid so, although to his credit his Eroica is just as charming, light, and cheerful as his First. The work isn't supposed to be, and only the scherzo and the beginning of the finale seem to capture a hint of the real spirit of this great revolutionary work. But then, HOP Beethoven is hobbled when ti comes to grand statements, since the orchestra is small and the strings incapable of depth and power, particularly on the lower end. Herreweghe builds his sound from the top down instead of the bottom up, a fatal problem in the Marcia funebre, with its weighty, groaning double basses that should be like granite underfoot. Instead, we get a souffle, and although souffles are nice, they don't tend to be very tragic.
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