Beethoven: Symphony No 7: Triple Concerto

Beethoven: Symphony No 7: Triple Concerto

Beethoven: Symphony No 7: Triple Concerto
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CD Details

Composer: Ludwig van Beethoven
Conductor: Bernard Haitink
Orchestra: London Symphony Orchestra
Performer: Lars Vogt
Performer: Gordan Nikolitch
Performer: Timothy Hugh
Edition: Music CD
Format: Hybrid SACD - DSD, Import
CD Release Date: 2006-07-11
Music Label: Lso Live UK
Soundtracks:
  1. Symphony No. 7 in A major, Op. 92: Poco sostenuto - vivace
  2. Symphony No. 7 in A major, Op. 92: Allegretto
  3. Symphony No. 7 in A major, Op. 92: Presto
  4. Symphony No. 7 in A major, Op. 92: Allegro con brio
  5. Concerto for piano, violin, cello & orchestra in C major ('Triple Concerto'), Op. 56: Allegro
  6. Concerto for piano, violin, cello & orchestra in C major ('Triple Concerto'), Op. 56: Largo
  7. Concerto for piano, violin, cello & orchestra in C major ('Triple Concerto'), Op. 56: Rondo alla Polacca

Music reviews of Beethoven: Symphony No 7: Triple Concerto

Music Review: Exceptional Performances of the Beethoven 7th Symphony and Triple Concerto from Haitink and LSO,
Rating: 5 Stars

I was literally speechless when I finished listening to this splendid LSO Live recording, amazed by these brilliant recordings made from live performances of both works back in late November, 2005 at the London Symphony Orchestra's Barbican concert hall home. Not only has Bernard Haitink led the London Symphony Orchestra in a brisk, quite exciting, account of Beethoven's Symphony Number 7 in A Major, but his latest recording ranks alongside those by Claudio Abbado and the Berliner Philharmoniker and Carlos Kleiber and the Wiener Philharmoniker as among my favorite recordings of this symphony (Like Abbado, Haitink has used the relatively new Jonathan Del Mar-edited Barenreiter Edition of the 7th Symphony.). Moreover, this may be the best balanced recording I have heard of this symphony, since the sound quality was such that I thought I was listening somewhere in the midst of the orchestra, even while listening from a pair of cheap headphones attached to my compact Sony CD player.

Haitink's latest recorded account of the Beethoven 7th Symphony is quite literally light years removed from his critically acclaimed Philips recording with the Royal Concertgebouw Orchestra. The opening movement (Poco sostenuto - vivace) is as brisk as Abbado's latest account, with superlative playing from the winds, horns and strings. The second movement (Allegretto) sounds like a brisk funeral march (This leads me to wonder why Haitink chose not to emphasize the funeral atmosphere of the 3rd Symphony's second movement in his LSO Live recording, since he does such a fine job here.). Haitink's conducting and the London Symphony Orchestra's performance of the third (Presto) and fourth (Allegro con brio) movements may be the best I have heard for this symphony; with regards to the fourth movement, Haitink's version doesn't sound nearly as rushed as Abbado's, even though Haitink's account seems to be nearly as swift.

This LSO Live recording of the Beethoven Triple Concerto is one of the best I have heard, with exceptional playing from former LSO concertmaster Gordan Nikolitch, former LSO principal cellist Tim Hugh, and pianist Lars Vogt. Theirs is a riveting, exciting performance that is amply supported by the London Symphony Orchestra under Haitink's baton; moreover, the chemistry amongst the three soloists is quite superb as if they had played together for years (which is true for Nikolitch and Hugh), and nor do I hear any rushed entrances by any of these soloists (This is in stark contrast to a live performance I had heard a few years ago at Avery Fisher Hall with Mutter, Harrell and Previn as the respective soloists, failing to keep in time with the New York Philharmonic under Kurt Masur's baton.). Instead, there is much virtuoso "give and take" amongst violinist Nikolitch, cellist Hugh and pianist Vogt, as they exchange melodies and variations in each of the concerto's three movements (A very long Allegro followed by a brief Largo and concluding in a spirited Rondo alla Polacca, which is one of the first major instances of Polish music being used as a source of inspiration in a work composed by a major composer like Beethoven.).

I have no doubt that fans of Beethoven's music, Bernard Haitink, Lars Vogt and, of course, the London Symphony Orchestra will greatly enjoy this recording. Without a doubt, this recording must be regarded as one of the musical highlights of Haitink's new Beethoven symphony cycle. It promises to be a superb cycle blessed with superb state-of-the-art recording from the recording team at LSO Live.

Description of Beethoven: Symphony No 7: Triple Concerto

Beethoven was rarely explicit about any meaning behind his works. However it is impossible to listen to his Seventh Symphony without being captivated by a sense of euphoria, tainted only by what is possibly the most profound slow movement he was to write. Where the symphony is bold in its exuberance, the Triple Concerto is playful, providing its soloists with a glorious opportunity to flaunt their skills.
Bernard Haitink is not usually thought of as an eminent Beethoven conductor, but this 7th Symphony is perhaps his best-recorded performance of any of the nine. Possibly due to the live concert setting, sparks fly as Haitink induces plenty of rhythmic drive and power, along with fabulous playing by an energized LSO, especially the important winds. His balanced, proportionate approach falls midway between the work's romanticism and its classical framework, avoiding excesses. If the second movement doesn't reach the depth of feeling others strike, it's because Haitink plays it as the flowing Allegretto it is, and not as a slow funeral march. His rip-roaring final movement avoids the runaway train others have evoked, but it's still bursting with vigor, as Beethoven intended. The substantial filler is the Triple Concerto, often looked down upon as inferior Beethoven, but so full of gorgeous melodies and varied timbres of the solo piano, violin, and cello that it's become one of my guilty pleasures, especially as done here in a reading that emphasizes the work's lyricism. --Dan Davis

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