Symphony No. 8: A tribute to Haydn | Gardiner and the ORR on Beethoven's Symphonies
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- čas přidán 2. 07. 2020
- Composed hot on the heels of the Seventh Symphony, Beethoven’s Symphony No. 8 in F major is often seen as glancing backwards to 18th-century models. In this instalment of our Beethoven Symphonies series, John Eliot Gardiner shares his insights on a piece which pays tribute to Joseph Haydn, but is also peppered with surprises. The discussion is accompanied by exclusive footage of the Orchestre Révolutionnaire et Romantique in rehearsals for our Beethoven Symphony Cycle.
Our live recording of Beethoven’s Symphony No. 8, taken from a performance at London’s Cadogan Hall in 2013, is available to purchase from the MCO shop here:
shop.monteverdi.co.uk/product...
Credits:
- Directed and edited by Richard Wilson.
- Produced by Bill Lloyd & Richard Wilson.
- Director of Photography, Benjamin Ealovega.
- Concert footage courtesy of the Corporació Catalana de Mitjans Audiovisuals and the Palau de la Música Catalana, Barcelona.
About the series:
Though we’re sad not to be performing our Beethoven Symphony Cycle for you live at the moment, we’re delighted to share of our new nine-part film series in which John Eliot Gardiner and the ORR explore these incredible works as we rehearsed for this project. We'll be releasing a new film on each Symphony every Friday - for more information on this series, visit our website:
monteverdi.co.uk/john-eliot-g...
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The three Monteverdi ensembles - the Monteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique - are a leading force on the international music scene. World-class musicians and singers from many nationalities come together to share in the distinctive vision of our Artistic Director, Sir John Eliot Gardiner, in ground-breaking projects that span eight centuries of musical masterpieces.
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Thank you for these refined, passionate presentations of Beethoven's symphonies.
The pleasant anticipation that I had all day was more than justified again! Absolutely fantastic!! Thank you John Eliot and team, you gave me a HUGE smile after a long working day!
Simply wonderful
That was a particularly fortunate audience in Barcelona: only two weeks later, after the cycles in New York and Chicago, the pandemic put a stop to all concerts.
In his introduction Sir John Eliot Gardiner discusses the question to what extend Beethoven's music is autobiographical and he rightly points out that often Beethoven writes tragic music when he feels good about life and, in contrast, extrovert music when he is in deep despair. Sir JEG then exposes that what might be behind the joyous and extrovert character of the 8th symphony is Beethoven's wardship of his nephew Karl, which caused him a horrible amount of trouble. Unfortunately, this narrative is incorrect. The 8th symphony was composed during the summer of 1812, and Beethoven's brother Kaspar Karl died only in November 1815. Beethoven was assigned the exclusive wardship of his nephew in January 1816. So this episode cannot be associated with the 8th symphony. What occurred in the summer of 1812, however, was the traumatic experience with the "Immortal Beloved": the famous letter to her is dated July 6-7. Maynard Solomon has established that most probably she was Antonie Brentano, née Birkenstock 1780 in Vienna and married 1798 to the Frankfurt merchant Franz Brentano. Beethoven met the Brentanos for the first time in 1810. He spent the summer of 1812 first in the Bohemian spa Teplitz, where he arrived on July 5th (and started writing the letter the next day), and from end of July in Karlsbad where he stayed in the same guest house as the Brentanos who had arrived there on July 5th. We know nothing about the events that may have occurred during Beethoven's reunion with Antonie and Franz Brentano in Karlsbad between July and September 1812. However, after having left Karlsbad in early September Beethoven never met Antonie again, neither did they write to one another. By the end of 1812 Beethoven fell into a deep depression, avoided society and became totally negligent of his person. His creativity came to a full stop (Reference: Maynard Solomon, "Beethoven", Schirmer, 2001). Except the excruciating "Wellington's Victory, or the Battle of Vittoria" opus 91 of December 1813 he composed nothing that year and his productivity remained extremely low until 1819. Beethoven dedicated his "Diabelli Variations" opus 120 (1822) to Antonie Brentano and his Piano Sonata opus 109 (1820) to her daughter Maximiliane, then aged 18. In March 1827 Antonie began to note down the names of her friends who had died. By the end of her long life in 1869 she had an impressive list. The first entry reads: "Beethoven, March 26, 1827".
Regarding metronome markings: since his recording of 1994 Sir John Eliot Gardiner has slowed down quite a bit in the last movement: in Barcelona his tempo is 72 for the whole bar (alla breve) against Beethoven's 84, which indeed was Sir JEG's tempo in 1994.
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I watched the concert live at the Palau de la Musica Barcelona, which was truly marvelous experience. Since this concert was my last live concert, I simply cannot stop thinking about this concert. I really appreciate to Sir John Eliot Gardiner and ORR.
By the way, when would the full video of the 8th and 9th be uploaded?
I was there too. It was outstandind!!!
Beethoven truly worshipped Haydn (in secret)
Other videos I have heard on CZcams of Gardner conducting Beethoven's 8th symphony have the symphony performed at a lot higher rate of speed than it is performed here. Does anyone know the reason for this? The cd I have of Gardner conducting Beethoven's 8th has the work performed at a faster rate of speed as well.
And the 9th like theme at the end - the God theme for me
Haydn long since dead???
Not really, the old boy curled his toes 1809, this is 1812 . In fairness Haydn last major composition is about 1801 - he then had health issues that forced retirement.