Advantages: A new way to hear Beethoven Disadvantages: Surpassed by some later period cycles
, making it an unfortunately weak link in the set. The wonderful Allegretto is taken at a properly fast speed but there is a strangely thin string timbre apparent throughout the movement and the orchestra also has a number of impurities in their playing that is most distracting. A fair version, but not even close to being the best.
SymphonyNo.8 in F major, Op.93
Coupled with the Second Symphony, you can't go wrong at having the Eighth follow right after. Beethoven considered the Eighth as one of his personal favourites and it is clear to see why. It is so filled with Beethovenian humor that it is just an incredible pleasure to listen to. With no slow movement present, it is a work that is consistently jolly as well as being Beethoven's shortest symphony (at least the shortest since the First). There is really very little that need be ...
Advantages: Mutter's eloquence and sensitivity in older recording are enhanced here. Disadvantages: None at all!
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NOTE: To commenter #3, posted comment today, 27-8: the message I left in your gb, sir, should sufficiently clarify the situation.
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CD Notes:
JOHANNES BRAHMS (1833 - 1897)
Konzert für Violine und Orchester D-dur op. 77
Concerto for Violin and Orchestra in D major
1 1. Allegro non troppo (22' 55)
Cadenza: Joseph Joachim, rev. Ossip Schnirlin
2 2. Adagio (9' 20)
3 3. Allegro giocoso, ma non troppo vivace - Poco più presto (7' 55)
ROBERT SCHUMANN (1810 - 1856)
Fantasie für Violine und Orchester C-dur op. 131
Fantasy for Violin and Orchestra in C major
Transcription: Fritz Kreisler
4 Moderato semplice ma espressivo - Allegro marcato - Molto tranquillo - Tempo primo - Cadenza - Molto tranquillo (13' 12)
ANNE-SOPHIE MUTTER, Violine
New York Philharmonic
KURT MASUR ...
Advantages: One of Beethoven's finest symphonies. Disadvantages: None from me, but some will say "classical music is boring".
THE END OF AN ERA
1812 can be seen as the markerpoint where Beethoven's middle-period came to an end and his late-period was ushered in. Beethoven's middle-period saw the composer at his most creative high with one masterpiece following the other in rapid succession. The beginning of this period can roughly be timed as starting in 1803 with the appearance of the Third Symphony "Eroica" and the "Kreutzer" sonata. These two works signalled Beethoven distinctly leaving the 18th century Classicism of Haydn and Mozart behind him and taking on a completely new and individual voice. This individuality became more and more apparent in the works that followed: the "Waldstein" and "Appassionata" piano sonatas, the "Razumovski" quartets, the ViolinConcerto, the three last cello sonatas, the "Archduke" piano trio, Fidelio, the Fifth and Sixth ...
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