(FULL ALBUM) Beethoven - Symphony No.3 "Eroica" overture "Fidelio" - London Symphony Orchestra HD

Collins Classics OFFICIAL - Beethoven (FULL ALBUM) Symphony No.3, in E flat op. 55 (Eroica) and Fidelio Overture Buy it here: http://apple.co/1Bc8X9H Spotify: http://spoti.fi/1Sattoc Conducted by Rafael Fruhbeck de Burgos Performed by the London Symphony Orchestra Recorded in April and October 1989 at the Walthamstow Town Hall (UK) Alegro con brio 0:00 Marcia funebre. Adagio assai 18:10 Scherzo. Allegro vivace 34:20 Finale. Allegro molto 40:02 Overture "Fidelio", op. 72b 52:35 You will find bellow, a part of the english text that originally came with the CD. It gives the historical context of this symphony, an idea of the state of mind Beethoven was in at the time of the composition and some explanations of the track in itself. Of all those many symphonies of European revolution, of the Napoleonic battlefield, between 1789 and 1815, Beethoven’s Third, the Eroica (his title), towers magnificently as the largest, the grandest, a symphony of monumental vision, of elemental current, of the most noble, the most antique glory. Its world is at once physical, poetical, profound, paradoxical. What symphony for heroes begins with a terpsichorean allegro in triple-time, the pulse of the ballroom? How many symphonies for heroes end with a country-dance? What symphony of the classic-romantic age is about the death of heroes? (Their deeds maybe, never their funerals.) How many symphonies of heroic celebration, heroic resolve, embrace darkness, tragedy, resignation…alongside brightness, triumph, hope…? Heroes may rise, Beethoven seems to say, but they can fall, too. They may survive a mortal span, but they can no less be cut down in all the proud thrust of first youth. What heroic symphony is about the impression, the feeling, rather then the event of heroism? If Beethoven had published the Eroica without sub-title, if he had said nothing about its possible inspiration or object of address, the chances are that we would be content to view it simply for what it really is: a massive stride forward in the evolution of the Austro-German symphony, an achievement on a scale of unprecedented span, stature and experiment. We might wonder at the presence of a funeral march, but we would still accept it: does anyone, after all. Try to justify why the A flat Piano Sonata, Op 26, has a funeral march for its slow movement? The trouble is Beethoven did not keep silent. To his publisher Breitkopf & Hartel he spoke of “a new grand symphony…(its) title…is really Bonaparte” (26 August 1804). His pupil Ferdinand Ries, who in a letter to Simrock, 22 October 1803, had observed that Beethoven “wants very much to dedicate (the Eroica) to Bonapart”, related years later, in 1838, how “in this symphony Beethoven had Buonaparte (sic) in mind, but as he was when he was First Consul… I was the first to bring him the intelligence that Buonaparte had proclaimed himself Emperor (18 May 1804), whereupon he flew into a rage and cried out: ‘Is it then, too, nothing more than an ordinary hu