Beethoven - Symphony No. 3 "Eroica" / Remastered (rr.: Herbert von Karajan, Berliner Philharmoniker) 

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 🎧 RU-vid Music (mp4) bit.ly/3MDuVAa 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic, AWA日本… Ludwig van Beethoven (1770-1827) Symphony No. 3 in E-flat Major, Op. 55 "Eroica" 00:00 I. Allegro con brio 14:44 II. Marcia Funebre: Adagio assai 31:53 III. Scherzo: Allegro vivace - Trio 37:38 IV. Finale: Allegro molto 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. 3 in E-flat Major, Op. 55 "Eroica" // The composer's first sketches show that he began work on this work in 1802, but it was in Baden and Oberdöbling in 1803 that Beethoven took it seriously; it was completed in 1804. In 1802, he had written: "So far, I am not satisfied with my work. I intend to embark, as of now, on a completely new path". This "new path", already taken in the composition of the scherzo of his First Symphony and the coda of the Second, was followed from beginning to end in the Third Symphony. The Eroica thus marks the great change in Beethoven's career as a composer. Beethoven once said (1823) that it was General Bernadotte, later King of Norway and Sweden, who had suggested the idea of composing a heroic symphony whose central character would be the First Consul, Napoleon Bonaparte. Bernadotte was ambassador extraordinary of the French government in Vienna when Beethoven met him for the first time in 1798. A revolutionary idealist himself, Beethoven greatly admired Napoleon; he saw in him not only the great military leader, but also the future liberator of Europe, the one who would realize the ideals of the French Revolution. Ries relates how and why the symphony's dedication was changed: "Several of his close friends, including myself, had seen the symphony's score on his desk and noticed that, at the top of the title page, it read 'Bonaparte'. When I told him that Napoleon had been proclaimed emperor, he was shocked and exclaimed: 'So, even he is no more than an ordinary human being! Now he's going to trample the rights of the people underfoot, and let himself be ruled only by ambition. He will place himself above all others and become a tyrant! ' With that, he rushed to his desk, tore off the title page of the symphony's score and threw it to the ground." The work was then given the name Symphonie Héroïque, composed in memory of a great man, and dedicated to Prince Lobkowitz. The first performance took place at a private concert at the home of the banker Würt, on January 3, 1803. It was performed for the first time in public on April 7 of the same year, at the Theater an der Wien, under the direction of the composer. This work was one of Beethoven's favorites, but it disconcerted audiences and critics alike. A Leipzig critic wrote in 1807 that it was a long, extraordinarily difficult composition, "in reality, a fantasy of broad and bold conception, which would gain much if the composer could make up his mind to shorten it and introduce more light, clarity and unity." The director of the Prague Conservatory, Dionys Weber, considered the symphony "the most frivolous" he had ever heard. Even Beethoven's most loyal admirers were stunned by the work's provocative newness. When the young Ries first heard the passage in the first movement, where the horns enter playing the natural chord of the theme, while the dominant chord still resounds, he thought they had not entered at the right moment. When he made this remark, Beethoven "glared at him and almost slapped him." "If, by hero," Wagner said, alluding to the symphony's title, "we mean a sincere and courageous person, capable of feeling the depths of love and sorrow Possessing the greatest energy, then we Understand what the composer wanted to Communicate to us through his music" (Wagner). I. Allegro con brio. Two powerful introductory chords are followed directly by the main theme, played first by the cellos, then alternately by the wind instruments and strings, and then fortissimo by the entire orchestra. The theme resembles that of Mozart's early work Bastien et Bastienne, but Beethoven gave it a completely new character. A number of short motifs follow the main theme, before the second theme arrives. Finally, the movement tightens into a powerful, splendid tension that is unique in the history of the symphony; the main theme asserts itself again in a formidable coda. II. Marcia funebre: Adagio assai. This famous funeral march contrasts sharply with the lively first movement. Beethoven had already written a genre piece entitled 'Funeral march for the death of a hero' in the piano sonata Op. 26, but there's no need to link the incomparable elegy of the Eroica slow movement to any extra-musical situation or idea; it certainly goes beyond the epic adventures of the man Bonaparte. The Funeral March plays on both a haunting motif in which the low strings and the sharp clearness of the woodwinds clash in turn. The timbres of the oboe and horn are reminiscent of the Death of Prometheus, taken from Beethoven's 1801 ballet The Creatures of Prometheus. III. Scherzo: Allegro vivace. This is the first large-scale scherzo Beethoven wrote for a symphony. Those who consider the symphony to be about the life of a hero have called this scherzo "Pleasure at Camp". Others find that the horns and haunting melodies give it a romantic air. Despite the great contrast between the first three movements, Beethoven has maintained a heroic character throughout the entire work... This fiery race, formidable for the strings, plays on incessant tension. The central trio for the horns introduces a moment of respite. But the scherzo merely heralds the finale, Allegro molto in E-flat major. IV. Finale: Allegro molto. The first half of the movement consists of variations on the same theme. Beethoven used the same theme in his piano variations, Op. 35, and in the ballet Prometheus. After the third variation comes a melodious fugal interlude, followed by a return to variation form. The movement then builds to a joyous finale with a conquering, almost Dionysian air. 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 🎧 RU-vid Music (mp4) bit.ly/3QWjarr Soundcloud bit.ly/3rsmc9W 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本… Ludwig Van Beethoven PLAYLIST (reference recordings): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-h4gqZe3tXQ8.html

This used to be my least favorite Beethoven symphony. I was insane then. I am better now.

Symphony No. 3 in E-flat Major, Op. 55 "Eroica" // The composer's first sketches show that he began work on this work in 1802, but it was in Baden and Oberdöbling in 1803 that Beethoven took it seriously; it was completed in 1804. In 1802, he had written: "So far, I am not satisfied with my work. I intend to embark, as of now, on a completely new path". This "new path", already taken in the composition of the scherzo of his First Symphony and the coda of the Second, was followed from beginning to end in the Third Symphony. The Eroica thus marks the great change in Beethoven's career as a composer. Beethoven once said (1823) that it was General Bernadotte, later King of Norway and Sweden, who had suggested the idea of composing a heroic symphony whose central character would be the First Consul, Napoleon Bonaparte. Bernadotte was ambassador extraordinary of the French government in Vienna when Beethoven met him for the first time in 1798. A revolutionary idealist himself, Beethoven greatly admired Napoleon; he saw in him not only the great military leader, but also the future liberator of Europe, the one who would realize the ideals of the French Revolution. Ries relates how and why the symphony's dedication was changed: "Several of his close friends, including myself, had seen the symphony's score on his desk and noticed that, at the top of the title page, it read 'Bonaparte'. When I told him that Napoleon had been proclaimed emperor, he was shocked and exclaimed: 'So, even he is no more than an ordinary human being! Now he's going to trample the rights of the people underfoot, and let himself be ruled only by ambition. He will place himself above all others and become a tyrant! ' With that, he rushed to his desk, tore off the title page of the symphony's score and threw it to the ground." The work was then given the name Symphonie Héroïque, composed in memory of a great man, and dedicated to Prince Lobkowitz. The first performance took place at a private concert at the home of the banker Würt, on January 3, 1803. It was performed for the first time in public on April 7 of the same year, at the Theater an der Wien, under the direction of the composer. This work was one of Beethoven's favorites, but it disconcerted audiences and critics alike. A Leipzig critic wrote in 1807 that it was a long, extraordinarily difficult composition, "in reality, a fantasy of broad and bold conception, which would gain much if the composer could make up his mind to shorten it and introduce more light, clarity and unity." The director of the Prague Conservatory, Dionys Weber, considered the symphony "the most frivolous" he had ever heard. Even Beethoven's most loyal admirers were stunned by the work's provocative newness. When the young Ries first heard the passage in the first movement, where the horns enter playing the natural chord of the theme, while the dominant chord still resounds, he thought they had not entered at the right moment. When he made this remark, Beethoven "glared at him and almost slapped him." "If, by hero," Wagner said, alluding to the symphony's title, "we mean a sincere and courageous person, capable of feeling the depths of love and sorrow Possessing the greatest energy, then we Understand what the composer wanted to Communicate to us through his music" (Wagner). I. Allegro con brio. Two powerful introductory chords are followed directly by the main theme, played first by the cellos, then alternately by the wind instruments and strings, and then fortissimo by the entire orchestra. The theme resembles that of Mozart's early work Bastien et Bastienne, but Beethoven gave it a completely new character. A number of short motifs follow the main theme, before the second theme arrives. Finally, the movement tightens into a powerful, splendid tension that is unique in the history of the symphony; the main theme asserts itself again in a formidable coda. II. Marcia funebre: Adagio assai. This famous funeral march contrasts sharply with the lively first movement. Beethoven had already written a genre piece entitled 'Funeral march for the death of a hero' in the piano sonata Op. 26, but there's no need to link the incomparable elegy of the Eroica slow movement to any extra-musical situation or idea; it certainly goes beyond the epic adventures of the man Bonaparte. The Funeral March plays on both a haunting motif in which the low strings and the sharp clearness of the woodwinds clash in turn. The timbres of the oboe and horn are reminiscent of the Death of Prometheus, taken from Beethoven's 1801 ballet The Creatures of Prometheus. III. Scherzo: Allegro vivace. This is the first large-scale scherzo Beethoven wrote for a symphony. Those who consider the symphony to be about the life of a hero have called this scherzo "Pleasure at Camp". Others find that the horns and haunting melodies give it a romantic air. Despite the great contrast between the first three movements, Beethoven has maintained a heroic character throughout the entire work... This fiery race, formidable for the strings, plays on incessant tension. The central trio for the horns introduces a moment of respite. But the scherzo merely heralds the finale, Allegro molto in E-flat major. IV. Finale: Allegro molto. The first half of the movement consists of variations on the same theme. Beethoven used the same theme in his piano variations, Op. 35, and in the ballet Prometheus. After the third variation comes a melodious fugal interlude, followed by a return to variation form. The movement then builds to a joyous finale with a conquering, almost Dionysian air. ❤ 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

An irresistible grand performance by Herbert von Karajan and the Berliner Philharmoniker of this marvelous symphony that opened new musical horizons. Thank you the New Mastering !

This was the first symphony of nearly 50 minutes in length and considered revolutionary at the time and every thing about it is magnificent particularly in this performance by Karajan

Excellente interprétation comme toujours avec Karajan. La marche funèbre est à la fois grandiose et sobre, d'un dramatisme rarement atteint en musique. Dire que Beethoven avait la trentaine lorsqu'il l'écrivit sur plusieurs années d'ailleurs. Elle est à fois profondément originale et bouleversante. Une authentique révolution sans équivalent par la suite.

Majestätische und wunderschöne Interpretation dieser perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt traurig. 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 völlig effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!

Maybe my favorite symphony of all time. In particular, I find these two passages divine: 41:29 - 42:32 and 45:14 - 47:00 ( this especially...) .The whole symphony is divine basically...

Can't get enough of this brilliant performance. The most optimistic of composers comes to life through Karajan's interpretation and the BPO excellent execution. Simply epic! Thank you so much.

eroica: G.O.A.T of symphonies ♥️♥️♥️♥️

Wunderbar = wonderbaarlik.

C'est ma préférée de toutes les symphonies. Merci.

Beethoven! Der Großmeister! Was soll man sagen was noch nicht gesagt wurde? Ich liebe dich, Herr Beethoven!

Thanks again I am waiting the 5th symphony with the trumpets hearing!

녹음이 정말 중요하다. 압도적 감동이 밀려 밀려 온다. 감사합니다. 좋은 시간이었습니다.

No doubt, this is the best remaster of karajan 1962 dg Beethoven nine symphonies , really great sound , beter then any current digital recordings

One of my favourite Eroica!

I remember when this was first released. Stirred up quite a fuss between the old guard conservatives - (Furtwengler/Klemperer) and the Karajan claque. Nice to hear again with this distance from 60's fads.

Wow! Fantastic sound. I love these old performances spiffed up and regenerated like this one. There is an Erich Kleiber Eroica that is also mindblowingly fantastic. Thank you so much for this reborn magnificence.

감사합니다

quel travail magnifique ,merci ,merci

Merci beaucoup. Avec votre permission je l'ai transmis à de mes ami(e)s. Meilleures salutations de Montréal, Qc, Canada PS Comme d'habitude, je suis sincèrement impressionnée par votre savoir et vos explications. Je ne sais pas comment vs faites. Mais j'aimerais bien pouvoir faire autant !! Encore un gros merci!

De todo seu testamento sinfônico, a HEROICA é a minha favorita ❤❤❤❤❤🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪

Esse canal só me dá alegria! 😊 🇧🇷

I would have guessed that the performance might have been slower, but I am glad to hear that it keeps up the driving pace I feel this work benefits from. I don't believe I've heard it before. Thank you!

Superb recording with a gorgeous fugue in the 2nd mvmt.

Awesome

22:40 - 25:00 So Divine.. Magic

00:41:48 - soo beautiful (esp. if you know the whole symphony by heart, lol)

👏👏👏👏👏❤❤❤❤

❤

220 years have passed since a true 5'-4" hero lived and breathed and We love you LVB. 38:03 38:03 38:03 38:03 38:03 38:03 38:03 38:03 38:03

#lovebeethoven

👍👍👍👍👍

Colossal Drop a like

god exists ,wonderful

finalul de la miscarea a IIa aminteste de ceva dintr-o compozitie moderna

41:48

Strictement rien à redire, c'est Beethoven qui dirige... Et puis c'est tout!

Easily in the first movement Beethoven was the greatest symphonist who ever lived.

This not karajan's 3 symphony...

I love Karajan but hate his habit of cavalierly ignoring the composer's repeat marks. Beethoven was quite insistent on the importance of repeating the exposition, but Karajan thinks he knows better than the master.