Remarkable sound quality for a recording made in ! Beethoven composed his third symphony, "Eroica," in and conducted its first public performance in The sobriquet comes from Beethoven's original intent to name the symphony "Bonaparte," after the French leader whom he greatly admired, but after Napoleon declared himself emperor and threatened to invade Austria, Beethoven removed his name and wrote in Italian : "Heroic Symphony, composed to celebrate the memory of a great man.
It was much longer than any symphony written up to that time, and it was very dramatic, though it mostly adhered to a classical symphony structure. Its first performance met with mixed reviews, though later it proved to be popular. The opening allegro con brio, with its long, inventive development section, is one of Beethoven's greatest movements, and so is the inspired marcia funebre that follows.
After the riotous scherzo with its trio of three horns, comes a finale that is a mix of rondo, theme and variations, and fugue; it features some of Beethoven's finest music, but structurally it is a bit of a hodge-podge.
It's a hard-driving rendition, especially in the opening movement, and is certainly exciting in its way.
Besides being monaural, the recording was made in NBC's Studio 8-H, notorious for its dry, reverberationless sound, preferred by Toscanini because every note could be discerned on the hi-fi equipment of the day, but deficient in instrumental color and warmth.
As another reviewer indicates, Toscanini's fast delivery approximates the metronome markings added to the score sometime after , but it's worth noting that Beethoven changed metronome marks a lot in his later works. In particular, his original marking for the Ninth Symphony's opening allegro was much faster than the one he eventually came up with. His deafness may have led to his problems with timing.
The opening allegro con brio becomes more of an "allegro non troppo" in Walter's hands. That results in a lessening of musical tension but an increase in lyricism, lyricism that I was unaware of in Toscanini's performance. At times, especially near the end of the development, I almost thought I was listening to Schubert. Given that the Walter recording also has rounder, fuller sound, I'm reluctant to say that Toscanini is better, even though he followed the indicated tempo more closely.
When it comes to the second movement's adagio assai, Walter's performance is absolutely gorgeous and dramatic without losing structural integrity.
He's not up to Toscanini's charging scherzo and gives us a more relaxed tempo here. Walter does manage to hold the rather diffuse finale together and again reveals more of the lyrical side of the music. The Toscanini and Walter performances are quite different in character, and both have their own pluses along with a few drawbacks. Beethoven composed the Coriolan Overture for an play by Heinrich Joseph von Collin, not for the Shakespeare play. Finale, Adagio - Allegro molto e vivace.
Scherzo, Allegro. Allegro molto. Track Listing - Disc 2. Allegro con brio. Marcia funebre, Adagio assai. Scherzo, Allegro vivace. Finale, Allegro molto. Coriolan Overture, Op. Track Listing - Disc 3. Adagio - Allegro vivace. Allegro vivace. Allegro ma non troppo. Symphony No. After leaving Hamburg, the young conductor worked a succession of provincial European opera houses; in Breslau Schlesinger changed his name to Walter, Schlesinger being too common a surname in Silesia.
In , Walter succeeded Schalk at the Berlin State Opera and made his first recordings, beginning a career that would stretch into the era of stereo and number in the hundreds of titles.
He also conducted his first orchestral concert, the featured work being Berlioz's Symphonie fantastique. In , Walter decided he was ready to take advantage of Mahler's open invitation to join the Vienna Court Opera as an assistant. Walter stayed in Vienna until , taking Austrian citizenship in In , Walter moved to Munich to lead the Bavarian Court Opera, and this is where his conducting career took wing.
He revived the long-neglected Mozart operas, attracted worldwide attention for his careful handling of operas by Wagner and Verdi, and premiered significant new operas by Korngold and Pfitzner. It is in this movement that the long-range harmonic connections explored over the course of the Romantic era have their real start; the movement is heroic mainly in the vastness of its reach.
A "Funeral March" slow movement was hardly revolutionary, but the span of his C minor slow movement, in rondo form, was unprecedented, and so was its range of emotions from outright grief to C major solace. Although "hunt" music in the third-movement Trio may have startled the Eroica's first audience after funerary tragedy on an unprecedented scale, hunting music in Beethoven's time was even more modish than funeral marches.
Psychologically he needed sunshine after so much weighty, solemn music. He was also setting up a racy finale -- a set of variations including a fugue that detractors ever since have called a falling-off of inspiration. This kind of argument ignores, however, not only what preceded the Eroica historically -- Bach's Goldberg Variations for example -- but also Beethoven's own ennoblement of the form.
Recording Location Royal Albert Hall. Track Listing. Allegro ma non troppo, un poco maestoso. Ludwig van Beethoven. Molto vivace. Adagio e cantabile - Andante moderato.
Presto - Prestissimo.
Adagio 7 III. Allegro vivace e con brio Ludwig van Beethoven. Blues Classical Country. Sold by AMPGoods. Skip to main content. Adagio molto - Allegro con brio Ludwig van Beethoven. He revived the long-neglected Mozart operas, attracted worldwide attention for his careful handling of operas by Wagner and Verdi, and premiered significant new operas by Korngold and Pfitzner. If you're a seller, Fulfillment by Amazon can help you grow your Bruno Walter.
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