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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.
CD Reviews
'This LSO Live CD is even more compelling with the inclusion of the Triple Concerto ... Seventy-five minutes of exceptional music for a fiver is an unmissable bargain'
Mail on Sunday (UK), 26 March 2006
'the latest gem from LSO Live ... this is a sensational coupling of masterworks'
The Times (UK), 24 March 2006
Concert Reviews
'[The LSO] played Beethoven as if possessed, with its collective heart and soul completely absorbed. Haitink has spoken of the drama in Beethoven's music and you could hear what he means in the way the players were active participants in the to-ing and fro-ing of ideas ... there was never a moment when concentration was relaxed. Haitink demands attention from an orchestra, in his telling pauses as much as in the playing itself and the results were revelatory ... To experience Haitink conducting is to witness a master at work'
Daily Telegraph (UK), 19 November 2005
'he has observed all the scholarly twitchings, all the meticulous preparations and preenings of the period-instrument brigade over the years. Not a preconception insight.This was one of the fastest and most jubilant Beethoven Sevenths ... it really did seem that Beethoven had written here a plangent yet massively empowered celebration of Austria's victory over Napoleonic forces'
The Times, 18 November 2005 |
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