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

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)** : https://cutt.ly/Jef2GJXX 🎧 Qobuz Music (Hi-Res) https://cutt.ly/Nef2GqtP Tidal (Hi-Res) https://cutt.ly/Bef2GpKA 🎧 Deezer (Hi-Fi) https://cutt.ly/ief2Ghm5 Amazon Music (Hi-Res) https://cutt.ly/Eef2GxlZ 🎧 Spotify (mp3) https://cutt.ly/Ref2GEgW Youtube Music (mp4) https://cutt.ly/Jef2GJXX 🔊 **Download the album (Hi-Res MASTER - WAV uncompressed)** https://cutt.ly/Classical-Music-Refer... 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 with your phone on our WhatsApp fanpage (our latest album preview): https://cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: https://cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: https://cutt.ly/ceatjtlB ❤️ Support us on Patreon   / about   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). COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT Beethoven: Missa Solemnis in D Major Op. 123 🎧 Qobuz (Hi-Res) https://bit.ly/3GvePTF Tidal (Hi-Res) https://bit.ly/3gqfOd3 🎧 Deezer (Hi-Fi) https://bit.ly/3AYaWp4 Amazon Music (Hi-Fi) https://amzn.to/3B1K8Eh 🎧 Spotify (mp3) https://spoti.fi/3QTq8gH Youtube Music (mp4) https://bit.ly/3QWjarr