Beethoven - Symphony No. 4 / Remastered (rf.rc.: Herbert von Karajan, Berliner Philharmoniker)
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- Äas pĆidĂĄn 28. 06. 2024
- 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. 4 in B-flat Major, Op. 60
00:00 I. Adagio, Allegro vivace
09:50 II. Adagio
19:48 III. Allegro vivace
25:31 IV. Allegro ma non troppo
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. 4 in B-flat Major, Op. 60 // The symphony was completed in 1806 and dedicated to Count Oppersdorf. The first performance took place in Vienna, in March 1807, at the residence of Prince Lobkowitz. By the time Beethoven had completed his Third Symphony, his intention was to compose the symphony in C minor (the Fifth), the plan for which he had already sketched out. But he had to change his mind. Romain Rolland recounts the creation of the Symphony in E flat Major as follows: "Happiness had come to him. In May 1806, he became engaged to ThérÚse of Brunswick. She had loved him for a long time, ever since she took piano lessons with him as a little girl... (...) Beethoven's concern to reconcile, as far as possible, his genius with what was generally known and loved by his predecessors has been rightly noted in this work. But one senses under these games, under the fantasies and even the tenderness of the Symphony in B flat, the formidable force, the capricious mood, the angry jibes."
I. Adagio, Allegro vivace. The introduction is quite unusual: it is longer than that of most of Beethoven's other symphonies, and the mood is contemplative and dreamy. It begins with a "false start" (like the introduction to the last movement of the First Symphony), but the joyous Allegro vivace is suddenly heard.
II. Adagio. This is a very simple movement, a melodious, dreamy composition. It has been said that none of Beethoven's slow movements surpass this one in beauty.
III. Allegro vivace. It bears neither of the two usual indications "minuet" or "scherzo"; it is mostly reminiscent of Haydn's minuet, but the form has been enlarged (with repetition of the trio) and the force and breadth are Beethoven's own.
IV. Allegro ma non troppo. This movement also shows a certain affinity with Haydn, with its infectious good humor and sudden dissonances.
Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement."
Beethoven: Missa Solemnis in D Major Op. 123
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Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962)
***Listen to our latest mastering update (2024)*** : bit.ly/3MDuVAa
đ§ Qobuz Music (Hi-Res) bit.ly/40QmuaH Tidal (Hi-Res) bit.ly/475dxNf
đ§ Deezer (Hi-Fi) bit.ly/478H1to CMRR STORE (Master Hi-Res) cutt.ly/zw9325dn
đ§ Amazon Music (Hi-Res) amzn.to/477F8x5 Spotify (mp3) spoti.fi/49qmxOx
đ§ CZcams Music (mp4) bit.ly/3MDuVAa
đ§ Naspter, Pandora, Anghami, QQéłäč, LineMusic, AWAæ„æŹâŠ
Ludwig van Beethoven (1770-1827) Symphony No. 4 in B-flat Major, Op. 60
00:00 I. Adagio, Allegro vivace
09:50 II. Adagio
19:48 III. Allegro vivace
25:31 IV. Allegro ma non troppo
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
đ Discover our new website: www.classicalmusicreference.com/
đ Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
đ 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. 4 in B-flat Major, Op. 60 // The symphony was completed in 1806 and dedicated to Count Oppersdorf. The first performance took place in Vienna, in March 1807, at the residence of Prince Lobkowitz. By the time Beethoven had completed his Third Symphony, his intention was to compose the symphony in C minor (the Fifth), the plan for which he had already sketched out. But he had to change his mind. Romain Rolland recounts the creation of the Symphony in E flat Major as follows: "Happiness had come to him. In May 1806, he became engaged to ThérÚse of Brunswick. She had loved him for a long time, ever since she took piano lessons with him as a little girl... (...) Beethoven's concern to reconcile, as far as possible, his genius with what was generally known and loved by his predecessors has been rightly noted in this work. But one senses under these games, under the fantasies and even the tenderness of the Symphony in B flat, the formidable force, the capricious mood, the angry jibes."
I. Adagio, Allegro vivace. The introduction is quite unusual: it is longer than that of most of Beethoven's other symphonies, and the mood is contemplative and dreamy. It begins with a "false start" (like the introduction to the last movement of the First Symphony), but the joyous Allegro vivace is suddenly heard.
II. Adagio. This is a very simple movement, a melodious, dreamy composition. It has been said that none of Beethoven's slow movements surpass this one in beauty.
III. Allegro vivace. It bears neither of the two usual indications "minuet" or "scherzo"; it is mostly reminiscent of Haydn's minuet, but the form has been enlarged (with repetition of the trio) and the force and breadth are Beethoven's own.
IV. Allegro ma non troppo. This movement also shows a certain affinity with Haydn, with its infectious good humor and sudden dissonances.
Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement."
In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm FurtwÀngler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven.
Beethoven: Missa Solemnis in D Major Op. 123
đ§ Qobuz (Hi-Res) bit.ly/3GvePTF Tidal (Hi-Res) bit.ly/3gqfOd3
đ§ Deezer (Hi-Fi) bit.ly/3AYaWp4 Amazon Music (Hi-Fi) amzn.to/3B1K8Eh
đ§ Spotify (mp3) spoti.fi/3QTq8gH Amazon Store (mp3) amzn.to/3LctyGE
đ§ CZcams Music (mp4) bit.ly/3QWjarr Soundcloud bit.ly/3rsmc9W
Ludwig Van Beethoven PLAYLIST (reference recordings): czcams.com/video/UAtZhwDaSEw/video.html
Symphony No. 4 in B-flat Major, Op. 60 // The symphony was completed in 1806 and dedicated to Count Oppersdorf. The first performance took place in Vienna, in March 1807, at the residence of Prince Lobkowitz. By the time Beethoven had completed his Third Symphony, his intention was to compose the symphony in C minor (the Fifth), the plan for which he had already sketched out. But he had to change his mind. Romain Rolland recounts the creation of the Symphony in E flat Major as follows: "Happiness had come to him. In May 1806, he became engaged to ThérÚse of Brunswick. She had loved him for a long time, ever since she took piano lessons with him as a little girl... (...) Beethoven's concern to reconcile, as far as possible, his genius with what was generally known and loved by his predecessors has been rightly noted in this work. But one senses under these games, under the fantasies and even the tenderness of the Symphony in B flat, the formidable force, the capricious mood, the angry jibes."
I. Adagio, Allegro vivace. The introduction is quite unusual: it is longer than that of most of Beethoven's other symphonies, and the mood is contemplative and dreamy. It begins with a "false start" (like the introduction to the last movement of the First Symphony), but the joyous Allegro vivace is suddenly heard.
II. Adagio. This is a very simple movement, a melodious, dreamy composition. It has been said that none of Beethoven's slow movements surpass this one in beauty.
III. Allegro vivace. It bears neither of the two usual indications "minuet" or "scherzo"; it is mostly reminiscent of Haydn's minuet, but the form has been enlarged (with repetition of the trio) and the force and breadth are Beethoven's own.
IV. Allegro ma non troppo. This movement also shows a certain affinity with Haydn, with its infectious good humor and sudden dissonances.
Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement."
In 1962, Herbert von Karajan had recently taken over the direction of the Berlin Philharmonic Orchestra, succeeding his great historical rival, Wilhelm FurtwÀngler. This 1962 recording is his first stereo recording of Beethoven's Symphonies. Although stereo had been used experimentally since the 1930s, it wasn't until the late '50s that it began to be exploited commercially. To meet the colossal budget for this project, 100,000 copies had to be sold. After a year's work between 1961 and 1962, 1 million boxed sets were finally sold worldwide, ensuring Herbert von Karajan's commercial credibility. His name is now identified with Beethoven.
†Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r
đ Discover our new website: www.classicalmusicreference.com/
đ Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
đ 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
An amazing symphony from a man of very remarkable character.
What an achievement, by Ludwig van Beethoven for composing such magical music, and for Herbert von Karajan for this fresh and sweeping recording, marvellous and exhilerating.
Karajan At His Best â€ïž
ĐĐ”ŃбДŃŃ ŃĐŸĐœ ĐĐ°ŃĐ°ŃĐœ - ŃĐ°ĐŒŃĐč Đ»ŃŃŃĐžĐč ĐŽĐžŃĐžĐ¶Đ”Ń ĐĐžŃĐ°! â€â€â€
Klare und wunderschöne Interpretation dieser perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher, milden Tönen aller HolzblÀser und brillanten Tönen aller BlechblÀser. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch beweglich. Endlich kommt der letzte Satz voller Bewegung und Begeisterung. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im lebhaften Tempo und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!
Vielen Dank fĂŒr Ihren Kommentar in der Sprache Beethovens :)
Perhaps surprisingly, I have never heard this recording before. Thank you for making it available!
You're welcome :)
Thank you!â€â€â€
My favorite recording of my favorite Beethoven symphony. In addition to. FurtwÀngler, Szell, Carlos Kleiber, Suitner, Wand, Abbado, Kubelik, Nanut and Pfitzner.
âŠKnown as well the â Symphony of Love â€ïž đąââŠ
Recording: 14th Mar & 9th Nov 1962 at
Jesus-Christus-Kirche, Berlin Dahlem
Muito obrigado por compartilhar essas joias da mĂșsica. Deus abençoe vocĂȘ.
â€ïžâ€ïžâ€ïž Most welcome â€ïžđâ€ïž
PerchĂ© non traducete dallâinglese?
PerchĂ© non traducete dallâinglese?đđ