BEETHOVEN Révolution
Symphonies 1 à 5
Jordi Savall, Le Concert des Nations
32,99€
The role of Beethoven’s symphonies in the history of music has been extensively studied and amply demonstrated over the last two centuries. As we reflected and prepared for this new performance of Beethoven’s complete nine symphonies, we considered a number of essential elements which not only inspired us, but also influenced our final choices.
Beethoven’s symphonic genius
The role of Beethoven’s symphonies in the history of music has been extensively studied and amply demonstrated over the last two centuries. As we reflected and prepared for this new performance of Beethoven’s complete nine symphonies, we considered a number of essential elements which not only inspired us, but also influenced our final choices.
First of all, we started with the basic idea of returning to the original sound and line-up of the orchestra as envisaged by Beethoven, constituted by the ensemble of instruments available in his day. Moreover, as we needed to discover the original sources for the existing manuscripts, we studied and compared not only the autograph sources and the extant parts used in the first concert performances, but also modern editions based on those same sources, with the aim of verifying all the indications concerning dynamics and articulation. In terms of major performance decisions, there were of course essential questions concerning the tempo required by Beethoven, of which we are aware thanks to the metronome marks left by the composer himself “to assure the performance of my compositions everywhere in accordance with the tempi conceived by me, which, I regret to say, have so often been misunderstood.” Sadly, despite Beethoven’s own very precise indications, even today many musicians and conductors either do not consider his indications to be workable in practice, or disregard them, considering them to be “unartistic”! This matter is addressed by Rudolf Kolisch[i], when he affirms that “all the tempi required by Beethoven of stringed instruments, at least, are perfectly playable on the basis of the average technique of today.”
+ information in the CD booklet
JORDI SAVALL
Bellaterra, 20th April 2020
Translated by Jacqueline Minett
[i] Kolisch, Rudolf. (April, 1943), “Tempo and Character in Beethoven’s Music”. New York, The Musical Quarterly, Oxford University Press.
[ii] Prod’homme, J.-G. (1905), Les Symphonies de Beethoven, Paris.
[iii] Boucourechliev, André. (1963), Beethoven. Collection « Solfèges », Paris, Éd. du Seuil.
[iv] Fournier, Bernard. (2016), Le génie de Beethoven. Paris, Éd. Fayard.
[v] Leibowitz, René. (1971), Le compositeur et son double, Paris, Éditions Gallimard.
[vi] Boucourechliev, André. op. cit.
Critics
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“Con las grabaciones de las cinco primeras sinfonías, Savall consigue sin duda situarse cualitativamente entre los nombres consagrados.”
LUISTER. Hans Quant. 15 februari 2023
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“If you think you know Beethoven, the level of detail in Savall’s latest recording with the orchestra Le Concert Des Nations will take your breath away.”
New York Music Daily. Delarue. January 15, 2021
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“If you are a Beethoven fan who is looking for a really first-class recording of these symphonies, this is definitely a set to consider regardless of your opinion of period-instrument approaches to Beethoven.This is reference-quality Beethoven, no doubt about it.” “Here are the first five symphonies of Beethoven in performances that crackle with energy but never sound frantic or rushed, presented in recorded sound that is immediate, dynamic, and full-bodied.” "Savall, Le Concert des Nations, and the engineering team have truly produced something undeniably heroic."
ClassicalCandor
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« Avec ces cinq premières symphonies de Beethoven, Jordi Savall et Le Concert des Nations se mêlent aux meilleurs interprètes de Beethoven de tous les temps » « On est obligé de les comparer aux enregistrements classiques de référence tels que les légendaires cycles symphoniques de Beethoven de Herbert von Karajan, et les résultats de Savall tiennent la comparaison ». «La musique est résiliente et nette. Savall prend au sérieux les déclarations de tempo par ailleurs controversées de Beethoven, et le résultat des décisions qu'il a prises sur une base bien informée crée de la couleur, de l'air et de l'élan. Toute la perception est légère, résistante et convaincante »
Thomas Michelsen, Politiken (DNK)
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”Le concert des Nations’ sound is more heterogeneous than what we hear in other period instruments cycles by Orchestre Révolutionnaire et Romantique (Gardiner/Archiv) or La Chambre Philharmonique (Krivine/Naïve). The agile strings dispatch Beethoven’s many technical challenges with collective ease. Winds are balanced equally with the strings; the brass can really roar (just listen to the beginning of the Fifth Symphony’s last movement), but just as often it is their coloristic sensitivity that impresses. Timpani have tremendous weight and power. Recorded in the resonant acoustic of their usual recording venue, Collégiale du Château de Cardona (Catalogne), the full orchestra sound has a visceral immediacy."
The Classic Review
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Une part non négligeable de son charme tient encore aux formulations intenses voire forcés des cuivres et des percussions qui dialoguent constamment avec la gentillesse des bois, tandis que les cordes régulent l'intensité de l'émotion, du complètement extraverti et orageux aux plus intime et très personnel. Nikos A. Dontas"
Kathimerini Culture
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Dass Savall die Beethoven-Krone gebührt, liegt an der grundsätzlichen Haltung. Savalls Beethoven ist groß, weil die kompositorischen Mittel freigelegt werden, ohne sie zu benutzen. Alles wirkt aus sich heraus. Gut vier Monate vor Toresschluss sei daher die Wertung riskiert: Diese Box ist die Beethoven-Aufnahme des Jahres.
Markus Thiel, Merkur
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Der katalanische Dirigent spielt mit seinem, um einige Instrumentalisten bereicherten Ensemble Concert des Nations selbstverständlich ebenfalls auf historischen Instrumenten. Ebenso breit gefächert wie der Orchesterklang werden in der Aufnahme auch Dynamik und Klangfarben wiedergegeben. Es entsteht ein überraschend reichhaltiges Klangbild mit einem hör- wie spürbaren Bassfundament, für dessen Entfaltung man ein deutlich langsameres Tempo erwarten würde. Nichts klingt hier verhetzt, die Klänge haben Luft und Raum um sich. Aber vergleicht man die Daten, sind Savalls Musiker sogar noch etwas schneller unterwegs als die Berliner Akademie.
Schwäbische Kultur
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“Le chef catalan Jordi Savall démontre une compréhension profonde des cinq symphonies de Beethoven. Il en révèle les équilibres singuliers, sur instruments d’époque, aidé par un effectif de 60 instrumentistes dont 32 cordes, selon les souhaits du compositeur. Un premier coffret incontournable ! ”.
France Musique
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“una nueva grabación de referencia de las Sinfonías núms. 1-5 de Beethoven, que ahora se sitúa junto a Herbert von Karajans como uno de las mejores de todos los tiempos.”
Politiken (DNK)
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