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Symphony No. 3, Leonore Overture No. 2 (Haitink, LSO) CD

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Product details

  • Audio CD (10 July 2006)
  • Number of Discs: 1
  • Format: CD
  • Label: Lso
  • ASIN: B000GH3CXE
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 298,106 in Music (See Top 100 in Music)

1. Allegro Con Brio
2. Marcia Funebre: Adagio Assai
3. Scherzo and Trio: Allegro Vivace
4. Finale: Allegro Molto
5. Leonore Overture No. 2 - Ludwig van Beethoven

Product Description

Product Description

Beethoven took a massive stride forward in the development of the symphonic form with the 'Eroica'. Not only is the work written on an unprecedented scale, it also lays the very foundations of Romanticism in music.The symphony mirrors Beethoven's own emergence from despair and he used it to symbolize mankind's capacity for greatness. He initially dedicated the score to Napoleon whom embodied his view of greatness. However, when Napoleon crowned himself Emperor, Beethoven furiously removed the dedication from the score.


'Haitink puts Beethoven first in every aspect, giving the first movement [of the Eroica] a spontaneity deriving from its rhythmic vitality... the finale sweeps towards its climax on a tide of orchestral eloquence ... such as the LSO reserves for its favourite conductors' -- Sunday Telegraph (UK), 13 August 2006

'simply masterful Beethoven ... Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience'
-- Chicago Tribune (US), 13 October 2006

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6 of 7 people found the following review helpful By Mart TOP 100 REVIEWERVINE VOICE on 20 April 2008
Format: Audio CD
The London Symphony Orchestra recorded a complete Beethoven symphony cycle at their resident Barbican theatre between 2005 and 2006, this CD representing symphony 3 and the Leonore Overture no. 2.

There are three versions of this CD. This standard version, a hybrid multichannel SADC version, and a further SADC recording as part of the 6 CD complete symphony box set. All are of the same performance, recorded on the LSO Live label and combining digital recording methods with a `Live' venue (London's Barbican) to produce absolutely faultless versions of the works.

While I do appreciate the merits and historic importance of some of the many interpretations of Beethoven's symphonies, these LSO ones I think find their way to the top of the ever-increasing pile for several reasons - the recordings are of a stunningly clear quality, even better if played on a SACD player, and the performances are dramatic and enthusiastic but never succumbing to an over-personalised account by the conductor. Bernard Haitink does the job to perfection.

The sleeve notes provide the usual tracklist and times, plus a short analysis on each symphony, a brief biography of Haitink, and a full list of LSO orchestra members. Only one symphony is included on this release - the remaining space on the CD is filled by the Leonore overture No. 2.

Of the three versions I would have to recommend the box set for sound quality, value and completeness, but any of the three provide a compelling and exciting interpretation of the symphonies.

An essential addition to any Beethoven collection.
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1 of 2 people found the following review helpful By David Grant on 16 Feb 2011
Format: Audio CD
I find this recording far below expectation. It may be that the symphony was recorded "live" in a concert hall which contributes to its dry and non-resonant quality, as well as the marked swings in dynamic, with soft passages almost vanishing, and loud sections harsh and unpleasant -- tympani deafeningly obtrusive.

Altogether, deeply disappointing, and unworthy of Haitink and the LSO. Should be removed.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
5 of 5 people found the following review helpful
Fine Beethoven 3rd Symphony and Lenore Overture from Haitink, LSO 14 Sep 2006
By John Kwok - Published on Amazon.com
Format: Audio CD
Bernard Haitink's latest Beethoven symphony cycle may lack the passion and excitement found in other recently recorded cycles using the Jonathan Del Mar-edited Barenreiter Edition of these symphonies, but I don't think that these are apt criticisms of this recording of a fine account of the Beethoven Third Symphony and a superb performance too of the second Leonore Overture (The most passionate, exciting version I have heard yet remains Claudio Abbado's revelatory, quite dazzling interpretation, among the highlights in his latest Beethoven symphony cycle with the Berliner Philharmoniker. And yet, I might add that Abbado doesn't observe the repeats in the first movement, while I believe Haitink does in this recording.). However, I suspect that not only will it not be dismissed by most classical music critics and fans, but instead, it will find ample praise in some circles. Haitink offers a fine, often fascinating, account of Beethoven's 3rd Symphony which pays ample homage to period instrument practice and is blessed with exemplary playing from the London Symphony Orchestra (Indeed, I find this version far more interesting than his critically acclaimed Philips recording from the 1970s - or is it 1980s - with him conducting the Royal Concertgebouw Orchestra.). Haitink's latest traversal favors rather brisk tempi, with the only disappointment being the second movement's "Funeral March", which doesn't seem as appropriately dour as others I've heard lately, most notably Abbado's. However, unlike a previous reviewer, I don't regard this as a fundamentally flawed aspect of this performance, but rather, a unique interpretation offered by this venerable conductor; moreover, I think the London Symphony Orchestra offers inspired performances from its winds, horns and strings from the opening notes of the riveting first movement to the very end of the last. Having enjoyed this freshly realized, vivid account of the Beethoven Third Symphony, I am eagerly looking forward to hearing the rest of Haitink's new Beethoven Symphony cycle; judging from this recording, it most likely is one blessed with superb direction from Haitink, superlative playing from the London Symphony Orchestra, and last, but not least, splendid digital recording from the LSO Live recording team. If my predictions bear fruit, then this latest Beethoven symphony cycle will be one sought after by devout fans of classical music, the London Symphony Orchestra, and Bernard Haitink.
1 of 1 people found the following review helpful
Intriguing 24 Mar 2008
By David Saemann - Published on Amazon.com
Format: Audio CD Verified Purchase
First thing to note is that the sound engineering does not have a lot of air around it. I did not enjoy listening to this CD on headphones. The experience was much better on my loudspeakers. As for the performance, it certainly is one of the best played Eroicas I've ever heard. Haitink's feel for balances and accents is exemplary. The wind playing is an absolute delight. That said, Haitink's interpretation doesn't carry the sort of emotional wallop one gets from Bernstein's 1953 version or Klemperer's first one from 1955. Haitink's is more of an epicurean Eroica, more to be savored in its infinite details than in its cumulative power. There definitely is a place for Beethoven of this stripe. It certainly demonstrates profound knowledge and skill on the part of the conductor. I just don't think it's a first choice. The Overture is good, no more, no less.
Do We Really Need ANOTHER Haitink Eroica???? 7 July 2014
By TONY L. ENGLETON C.N.M.T. - Published on Amazon.com
Format: Audio CD
07-06-2014 I should ask myself this question as I bought this newer Haitink Eroica for 3 reasoins, Number 1, it's Haitink, my favorite, it's Super Audio which may or may not be worth it, and it was only $4.00 from Amazon. it is on LSO Live, which I have found spotty in the recnet past, but I'll give them another try. they left me with a low charged Sibelius 2nd but gorgeous Pajhola's Daughter and some other pretty good Nordic stuff. Still, I expected more, overall, and thought this might be one to begin a n improvement in general. As I cued it up, I searched the booklet for a reason for this recording to have been made and took note of the last sentence onf the first paragraph, with the phrase," beethoven used the symphony to dexpress nothing less than his abiding faith in mankind's capacity for greatness." Well said, Ludwig!! THAT is it, in a nutshell, and I'm glad Beethoven said it, instead of some "expert" speaking for the composer. To prove the point, haitink wastes no time, getting right to work with big, bold relentless strokes of orchestral sinew, broadly and heroicly paced, hence the nickname, and we know, instantly we are in the sound presence of a great maestro, the greatest of the 20th = century, on y shelves, at least. I have few regrets in this life, my darling wife, my two great kids, my devoted medical career in radeiology and my adventures as a late blooming amateur athlete, are many of the things I am greatful for most, but I do regret never having heard Haitink live, and just be in his actual presence, in Chicago, my home town symphony and neighboorhood. Maybe next year? Maybe.
Part of his stature comes from simply playing the music and refusing, steadfastly, ever since my early Philps LP days of the early 1970's, to interject himself between the audience and the composer. he simply won't do it. His job, as he has repeatedly stated, is to relay the "messages" to the listeners, as intended by the composer. WHO couldn't do that??? And yet, it is done by so few men that it seems a task suitable only to the gods. RUBBISH!!! It is a matter of WILL, and either you have it or you don't. Simple as that. And, just think, for that you get paid a BIG BAG of money, flown first class NON-stop, no waiting in long, stuffy terminal lines, but chauferred right to the gate, welcomed aboard and handed a drink as you buckle up. Perhaps even a makeshift bedroom in the plane's rear for those transoceanic hops, arriving at the best hotel in the city, driven everywhere you need or wish to go, and catered to with the finest cuisine the city has to offer. Got an afternoon gap before the eveing performance? How bout tickets to the Louve?, the MET Art Museum, the Royal Academy of Art? etc? Some sightseeing? Sure, how about a day trio to stonehenge? To the Bastile, the US Capital, Central Park, the Schoenbrunn Palace, or Mad Ludwig's Castle? All complimentary, just play the music as it was written, that's all------L.O.L.---BIG TIME!!! I'd do this is a heart beat, in a nono-second, in a timpani tap!
And, the artistic resukt of this playing as is policy is sometimes a recording that is awarded the title of "definitive," "emeorable," "once in a lifetime," or "not to be missed," as designated by such amateurs as your's truly. I should charge Mr. Haitink for making him famous and living the "life of Reily." What I wouldn't give to be in his shoes, regardless of the size. Haitink takes all this, as you can quite imagine in stride. qhat else should I do, he might say? How else should Beethoven BE played but AS HE WISHED? he's right, and here's some of the highlights to consider. Gut first, a heretical statement. Beethoven wrote himself out. That's right, he tailed off as time went on, in the Symphonies, that is. yes, the 9th is a great work, and #7 is nearly as good, but the 3rd is his BEST Symphony, orchrestral piece or any other category you wish. It IS the all time finest Symphony, the peak of the earth's tallest mountain, the vista to which all music aspires forever, by anyone. Even Schubert's 8th and 9th look upwards to the 3rd. All the collected genius of Shostakovich, Mahler and even Mozart pale in comparison to the Eroica. it is the undisputed leader in form, energy, passion, expression, structure
rhythm, color balance etc. etc. etc. Made my point?
From the opening seconds, the music is assertive and with purpose, and we are in it's grasp. Haitink's LSO, oldest of friends by now, will follow him anywhere he goes and yet he charts familiar territory, places they have visited many times before, and found inviting, always in a new way, never stale or mundane. As he conducts, this or any other work, he is teaching, the orchestra and we listeners, and there is always something new to learn in music, especially in greta music. The playing and execution by the Londoners is crisp, clean and bracing. It breathes of poetry and fire, simultaneously. The peroration, just before the 15 minute point in this first movement is chilling, halting and, in it's compact and concise manner, alltogether fitting. it sounds as if they labored over this 3-8 second clip for several rehersal minutes, but probably did no such thing.
I must confess a great sin, as there was a time, way back, when I actually thought the great "Marcia funebre, adagio assai" a crashing bore. IMAGINE !! This the key to this entire Symphony a dud. Boy, was I wrong! If this is, as the composer renamed it, "A Symphony to the memory of a great man," is accurate, then this 14:22 surely must be the best movement of the entire recording, and it is. I cannot hear this disk without encoring it at least once and trying to find that micro-point, that nono-second, that miniscule part note where the full impact of this touching and monumental piece suddenly appears before my eyes and ears. So, I just sit back, relax and let this glorious music wash oc=ver me like a cascading jacuzzi experience. But then, in the short development section that follows, the modulations of chords and notes, maintining the rhythmic death-watch pacing, infuse the greif only the composer truly knows of, perhaps, in actuallity, his deafness, and the crushing misery he faced alone in the world. This he poured out in his famous Heilingstatdt te.stament of 1805. It is a documentr indispensible to the understanding of this m
an of genius, but, always, only a man.
At the 06:24 mark, the composer interjects a cry of dignified anguish, tearing at himself as he was known by contoemporaries to do, and, in his musical language pleading heavenward for a reason for his sorrowful depths into which he had fallen. because our hearing, and thus experience is apriori, we are unable to offer him consolation for his grief and must stand by helpless as he suffers pitifully. it is a sickening feeling for me, and i turn to my faith, and hope the composer is now in Our Father's embrace, and freed from the weight of the world's burdens. Surely, if there is a Heaven, and I DO believe there is, few men have suffered on Earth as he did, and he may very well be now contented. And, perhaps heaven is filled with great music as we speak.
an of genius, but, always, only a man.
6 of 11 people found the following review helpful
A pleasant, prim Eroica--what is Haitink up to? 9 Aug 2006
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
So far, Haitink's live Beethoven cycle from London has displayed touches of period style and very little passion or heroism--it's almost prim. That's certainly true of this Eroica. Never a great Beethoven conductor, Haitink still retained a great deal of vitality when I last heard him a few years ago in Bsoton. Yet the first movement here is slack and uninvolving. The touchstone movement is the funeral march, taken quickly and without any hint of grief or majesty. What is Haitink thinking?

The Scherzo is quick-paced and pleasant; Haitink doesn't dig into the phrasing, which was fatal to the funeral march, but in this movement he shows more robustness. The LSO evidences some spirit for the first time, and the recording is clear and natural. The finale is quite brisk at 11 minutes. Haitink speeds thorugh almost without pause, certainly without expressive detail--it's as if he's in a hurry to catch a cab.

I was amazed to see when the Gramophone recently picked Haitink's earlier Sym. #2 and #6 as a recording of the month. I am prepared to be amazed a second time if they go for this Eroica. Well, LSO Live is a regular advertiser.
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