Beethoven - Symphony No. 7 / Remastered (ref.rec.: Herbert von Karajan, Berliner Philharmoniker)
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- Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962)
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Ludwig van Beethoven (1770-1827) Symphony No. 7 in A Major, Op. 92
00:00 I. Poco sostenuto, Vivace
11:24 II. Allegretto
19:24 III. Presto
27:11 IV. Allegro con brio
Berliner Philharmoniker
Conductor: Herbert von Karajan
Recorded in 1962, at Berlin
New mastering in 2022 by AB for CMRR
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Symphony No. 7 in A Major, Op. 92 // Beethoven completed the Seventh and Eighth Symphonies at the same time, in 1812, but the plans and drafts date back to 1809. The Seventh was first performed at a charity concert in Vienna on December 8, 1813, to benefit soldiers wounded in the Battle of Hanau during the campaign against Napoleon. At this charity concert, the finest musicians, composers and soloists were part of the orchestra. Meyerbeer and Hummel played the timpani, but Beethoven was hardly pleased with them, and is said to have complained that Meyerbeer invariably started late. The symphony aroused great enthusiasm, and the Allegro was sung as a encore, a fact that was repeated at almost every subsequent performance during Beethoven's lifetime.
(...)
After hearing the Seventh Symphony, Berlioz exclaimed: "Superb, the Symphony in A! The miracle of modern music, where art vies with genius, science with inspiration, pouring forth the most irresistible effects of melody, harmony, instrumentation and rhythm! The Allegretto is a splendor: parting for a moment from the dark veil covering his thoughts, the poet appears to us, casting on the past the gentle gaze of patience smiling in the face of pain. The effect of this miraculous elegy on the audience is almost unbelievable. In the first piece, however, the use of a stubborn rhythmic formula has never been attempted so successfully. The motif of the Scherzo is shaped in a very noble way. His Trio is completely in keeping with the feeling of the landscape and the lily. As for the Finale, of extraordinary brilliance, it is worthy of completing such a masterpiece of technical skill, taste, fantasy, knowledge and inspiration."
On the other hand, Richard Wagner called the Seventh Symphony "The Apotheosis of Dance".
Romain Rolland compared this symphony to an "orgy of rhythm", and cites it, along with the Eighth Symphony, as one of the works in which Beethoven "perhaps showed himself most au naturel"; he continues: "Beethoven himself said: 'I am the Bacchus who grinds delicious wine for mankind. It is I who give men the divine frenzy of the spirit. I don't know whether, as Wagner wrote, he [Beethoven] wanted to paint a Dionysian feast in the finale of his Symphony. Above all, I recognize in this fiery kermesse the mark of his Flemish heredity, just as I find its origin in his daring freedom of language and manners, which clashes superbly in the land of discipline and obedience. Nowhere is there more frankness and free power than in the Symphony in A. It's a mad expenditure of superhuman energy, without purpose, for pleasure, a river pleasure that overflows and overwhelms."
Many meanings have been attributed to this symphony. Some of Beethoven's contemporaries claimed that it depicted a revolution, while others believed that it depicted rural scenes. There is, in fact, almost nothing in this work that has not been found, from hunting scenes and titanic battles to love and peasant weddings.
COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT
Beethoven: Missa Solemnis in D Major Op. 123
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Ludwig Van Beethoven PLAYLIST (reference recordings): • Ludwig Van Beethoven (... - เพลง
Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962)
***Listen to our latest mastering update (2024)*** : bit.ly/3MDuVAa
🎧 Qobuz Music (Hi-Res) bit.ly/40QmuaH Tidal (Hi-Res) bit.ly/475dxNf
🎧 Deezer (Hi-Fi) bit.ly/478H1to CMRR STORE (Master Hi-Res) cutt.ly/zw9325dn
🎧 Amazon Music (Hi-Res) amzn.to/477F8x5 Spotify (mp3) spoti.fi/49qmxOx
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🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic, AWA日本…
Ludwig van Beethoven (1770-1827) Symphony No. 7 in A Major, Op. 92
00:00 I. Poco sostenuto, Vivace
11:24 II. Allegretto
19:24 III. Presto
27:11 IV. Allegro con brio
Berliner Philharmoniker
Conductor: Herbert von Karajan
Recorded in 1962, at Berlin
New mastering in 2022 by AB for CMRR
❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Symphony No. 7 in A Major, Op. 92 // Beethoven completed the Seventh and Eighth Symphonies at the same time, in 1812, but the plans and drafts date back to 1809. The Seventh was first performed at a charity concert in Vienna on December 8, 1813, to benefit soldiers wounded in the Battle of Hanau during the campaign against Napoleon. At this charity concert, the finest musicians, composers and soloists were part of the orchestra. Meyerbeer and Hummel played the timpani, but Beethoven was hardly pleased with them, and is said to have complained that Meyerbeer invariably started late. The symphony aroused great enthusiasm, and the Allegro was sung as a encore, a fact that was repeated at almost every subsequent performance during Beethoven's lifetime.
In Leipzig, however, the symphony was coldly received; critics declared that "Beethoven must have written the first and third movements under the influence of drink". According to Schindler, however, "it marked one of the most important moments in the master's life, for all those who had previously refused to admit Beethoven's music except a few professional musicians recognized that he had now earned his laurels."
After hearing the Seventh Symphony, Berlioz exclaimed: "Superb, the Symphony in A! The miracle of modern music, where art vies with genius, science with inspiration, pouring forth the most irresistible effects of melody, harmony, instrumentation and rhythm! The Allegretto is a splendor: parting for a moment from the dark veil covering his thoughts, the poet appears to us, casting on the past the gentle gaze of patience smiling in the face of pain. The effect of this miraculous elegy on the audience is almost unbelievable. In the first piece, however, the use of a stubborn rhythmic formula has never been attempted so successfully. The motif of the Scherzo is shaped in a very noble way. His Trio is completely in keeping with the feeling of the landscape and the lily. As for the Finale, of extraordinary brilliance, it is worthy of completing such a masterpiece of technical skill, taste, fantasy, knowledge and inspiration."
On the other hand, Richard Wagner called the Seventh Symphony "The Apotheosis of Dance".
Romain Rolland compared this symphony to an "orgy of rhythm", and cites it, along with the Eighth Symphony, as one of the works in which Beethoven "perhaps showed himself most au naturel"; he continues: "Beethoven himself said: 'I am the Bacchus who grinds delicious wine for mankind. It is I who give men the divine frenzy of the spirit. I don't know whether, as Wagner wrote, he [Beethoven] wanted to paint a Dionysian feast in the finale of his Symphony. Above all, I recognize in this fiery kermesse the mark of his Flemish heredity, just as I find its origin in his daring freedom of language and manners, which clashes superbly in the land of discipline and obedience. Nowhere is there more frankness and free power than in the Symphony in A. It's a mad expenditure of superhuman energy, without purpose, for pleasure, a river pleasure that overflows and overwhelms."
Many meanings have been attributed to this symphony. Some of Beethoven's contemporaries claimed that it depicted a revolution, while others believed that it depicted rural scenes. There is, in fact, almost nothing in this work that has not been found, from hunting scenes and titanic battles to love and peasant weddings.
I. Poco sostenuto, Vivace. In a long, skilfully-constructed introduction, the romantic motif, which has been sketched out in the first eight bars by the heavy marcato tutti chords played by the orchestra, is then taken up and amplified by the wind instruments. Characteristic of this symphony are the scale passages beginning in the tenth bar, which have been interpreted in different ways over the years. As the movement progresses, the rhythm becomes tighter, paving the way for the first theme, with its lively, driving rhythm - a rhythm that caused Berlioz to call this movement "a round of peasants", and that prompted Wagner to actually "dance" the symphony one day when Liszt played it for him on the piano. Although this movement is characterized by sudden changes and continual surprises, the basic 6/8 rhythm is maintained throughout.
II. Allegretto. The solemn theme, which resembles a funeral march, was written in 1806, when the composer intended to use it in the second movement of the Razumovsky Quartet, Op. 59, no. 3. It takes us into another universe, emerging from a dark setting dominated by the voices of violas, cellos and double basses. The march is no longer rousing. It takes on a funereal air, laden with heavy foreboding. This is one of Beethoven's most beautiful and poetic instrumental movements.
Ill. Presto. The theme of this famous trio was taken from an old Austrian pilgrims' song. The changes of tempo and mood, the abrupt silences, exploit all the resources of rhythm with extraordinary inventiveness, giving the impression of a bubbling, anarchic writing.
IV. Allegro con brio. Folk motifs with their repetitive melodic lines could be the source of inspiration for the finale. The main theme bears a close resemblance to an Irish folk song (Nora Creina), which Beethoven had arranged for a Scottish publisher while working on the symphony. The discovery of similar characters in other movements - reminiscent of folk songs Beethoven had arranged - led some writers to call this symphony "The Celtic".
Beethoven: Missa Solemnis in D Major Op. 123
🎧 Qobuz (Hi-Res) bit.ly/3GvePTF Tidal (Hi-Res) bit.ly/3gqfOd3
🎧 Deezer (Hi-Fi) bit.ly/3AYaWp4 Amazon Music (Hi-Fi) amzn.to/3B1K8Eh
🎧 Spotify (mp3) spoti.fi/3QTq8gH Amazon Store (mp3) amzn.to/3LctyGE
🎧 TH-cam Music (mp4) bit.ly/3QWjarr Soundcloud bit.ly/3rsmc9W
Ludwig Van Beethoven PLAYLIST (reference recordings): th-cam.com/video/h4gqZe3tXQ8/w-d-xo.html
After 60 years this recording is still the "Gold Standard"
100% agree! Though I would also add Walter, Toscanini and Carlos Kleiber’s.
Karajan's best recording of this symphony is probably the slightly earlier one with the Vienna Philharmonic on Decca, which you can find in my playlists.
@@nightjaronthegate: I will check! Thanks for the hint...
Hard to keep track of them all. There's a Vienna version too?
This is Karajan's legacy that remains! Far from the fireworks and bombastic gestures of the last period.. Ave Karajan Ave Beethoven
Symphony No. 7 in A Major, Op. 92 // Beethoven completed the Seventh and Eighth Symphonies at the same time, in 1812, but the plans and drafts date back to 1809. The Seventh was first performed at a charity concert in Vienna on December 8, 1813, to benefit soldiers wounded in the Battle of Hanau during the campaign against Napoleon. At this charity concert, the finest musicians, composers and soloists were part of the orchestra. Meyerbeer and Hummel played the timpani, but Beethoven was hardly pleased with them, and is said to have complained that Meyerbeer invariably started late. The symphony aroused great enthusiasm, and the Allegro was sung as a encore, a fact that was repeated at almost every subsequent performance during Beethoven's lifetime.
In Leipzig, however, the symphony was coldly received; critics declared that "Beethoven must have written the first and third movements under the influence of drink". According to Schindler, however, "it marked one of the most important moments in the master's life, for all those who had previously refused to admit Beethoven's music except a few professional musicians recognized that he had now earned his laurels."
After hearing the Seventh Symphony, Berlioz exclaimed: "Superb, the Symphony in A! The miracle of modern music, where art vies with genius, science with inspiration, pouring forth the most irresistible effects of melody, harmony, instrumentation and rhythm! The Allegretto is a splendor: parting for a moment from the dark veil covering his thoughts, the poet appears to us, casting on the past the gentle gaze of patience smiling in the face of pain. The effect of this miraculous elegy on the audience is almost unbelievable. In the first piece, however, the use of a stubborn rhythmic formula has never been attempted so successfully. The motif of the Scherzo is shaped in a very noble way. His Trio is completely in keeping with the feeling of the landscape and the lily. As for the Finale, of extraordinary brilliance, it is worthy of completing such a masterpiece of technical skill, taste, fantasy, knowledge and inspiration."
On the other hand, Richard Wagner called the Seventh Symphony "The Apotheosis of Dance".
Romain Rolland compared this symphony to an "orgy of rhythm", and cites it, along with the Eighth Symphony, as one of the works in which Beethoven "perhaps showed himself most au naturel"; he continues: "Beethoven himself said: 'I am the Bacchus who grinds delicious wine for mankind. It is I who give men the divine frenzy of the spirit. I don't know whether, as Wagner wrote, he [Beethoven] wanted to paint a Dionysian feast in the finale of his Symphony. Above all, I recognize in this fiery kermesse the mark of his Flemish heredity, just as I find its origin in his daring freedom of language and manners, which clashes superbly in the land of discipline and obedience. Nowhere is there more frankness and free power than in the Symphony in A. It's a mad expenditure of superhuman energy, without purpose, for pleasure, a river pleasure that overflows and overwhelms."
Many meanings have been attributed to this symphony. Some of Beethoven's contemporaries claimed that it depicted a revolution, while others believed that it depicted rural scenes. There is, in fact, almost nothing in this work that has not been found, from hunting scenes and titanic battles to love and peasant weddings.
I. Poco sostenuto, Vivace. In a long, skilfully-constructed introduction, the romantic motif, which has been sketched out in the first eight bars by the heavy marcato tutti chords played by the orchestra, is then taken up and amplified by the wind instruments. Characteristic of this symphony are the scale passages beginning in the tenth bar, which have been interpreted in different ways over the years. As the movement progresses, the rhythm becomes tighter, paving the way for the first theme, with its lively, driving rhythm - a rhythm that caused Berlioz to call this movement "a round of peasants", and that prompted Wagner to actually "dance" the symphony one day when Liszt played it for him on the piano. Although this movement is characterized by sudden changes and continual surprises, the basic 6/8 rhythm is maintained throughout.
II. Allegretto. The solemn theme, which resembles a funeral march, was written in 1806, when the composer intended to use it in the second movement of the Razumovsky Quartet, Op. 59, no. 3. It takes us into another universe, emerging from a dark setting dominated by the voices of violas, cellos and double basses. The march is no longer rousing. It takes on a funereal air, laden with heavy foreboding. This is one of Beethoven's most beautiful and poetic instrumental movements.
Ill. Presto. The theme of this famous trio was taken from an old Austrian pilgrims' song. The changes of tempo and mood, the abrupt silences, exploit all the resources of rhythm with extraordinary inventiveness, giving the impression of a bubbling, anarchic writing.
IV. Allegro con brio. Folk motifs with their repetitive melodic lines could be the source of inspiration for the finale. The main theme bears a close resemblance to an Irish folk song (Nora Creina), which Beethoven had arranged for a Scottish publisher while working on the symphony. The discovery of similar characters in other movements - reminiscent of folk songs Beethoven had arranged - led some writers to call this symphony "The Celtic".
❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
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❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Cette symphonie est vraiment grandiose. Elle est animée d'un bout à l'autre d'un souffle extraordinaire. Le fameux mouvement lent est triste certes, mais il n'a rien de mou. C'est une marche funèbre d'une grandeur et d'un dynamisme unique.
Listening to classical music is like stepping into a world where emotions are translated into musical notes. The skillful orchestration and precise arrangements create a rich tapestry of sound that speaks to the soul. 🎵❤
For me, Karajan was the ideal conductor of this ideal symphony. The symphony with the loneliest slow movement in the world.
Still the best performance of the Beethoven seven symphony, and the best sound quality, current sound engineers have much to learn from
Lebhafte und wunderschöne Interpretation dieser perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher, brillanten Tönen aller Blechbläser und vor allem milden Tönen aller Holzbläser. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Zweifellos eine der zehn besten Aufführungen dieses Meisterwerks im 20. Jahrhundert!
whaoo comme d'habitude c''est magnifique on redécouvre toutes les subtilités de cette version que j'ai en vinyle mais bien usée ,merci du partage
11:24
unique
inimitable
amazing
👏🏻👏🏻👏🏻… …🙏🏻🤍🌱
Referencia absoluta.
"La apoteosis de la danza". Richard Wagner.
❤ The maximum❤
...isso é uma bomba de energia vital,
Ich habe den dritten Satz nicht besser gehört als in dieser Interpretation; die Tempi sind meiner Ansicht nach einfach optimal.
To Beethoven’s 7th
Dance in the sky, Prance along the wind, Dash, soar, fly, Dance to the sky hymn.
Dance in the overcast, Prance along the rainbow, Dash along deep and vast, Dance in the heart’s glow.
Dance with Dionysus, Flitter flutter, pitter patter, Mad and audacious, Titter, shutter, skitter, clamor.
Dance in fever, joy, quiver, Convulse in celebration, Twirl, tremble, shiver, Shuddering in joyous sensation. Fury, power, laughter, might, Dance into the blinding light.
Nice 👌🏻
Coda of the fourth movement. The effect of accelerating is not rushing forward. It's more like stepping on the accelerator of a luxury sedan on the highway than near the finish line when the horses accelerate at a horse race. It symbolizes the arrival of an inhuman age. This is a very scary thing about Western classical music. Compare this to non-Western music, which changes slowly.