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Bernard Haitink's Beethoven cycle with the London Symphony Orchestra really came alive with the performances of the third symphony (Eroica).
Aside from the high quality of the musicianship, which goes without saying, the recording's most commendable aspect is the atmosphere of the live performances, which comes across well on record.
The LSO Live engineers have worked their magic yet again, and the result is one of the best half-dozen recordings of the Eroica currently available.
When the symphony was first performed, it was by far the longest work in the genre written to that date. Something of the overwhelming effect it had on its first audience is captured here by Haitink, who dusts off this symphonic warhorse and brings fresh insight to every movement.
The first movement is vigorous, not only because of the brisk tempo but because the strings' attack is so muscular. The precision of the contrapuntal development section brings out a baroque-like complexity, while the energy of the coda tops off a breathtaking performance.
For me, the performance of the funeral march is what makes this recording important. Rarely has it been played so achingly, or with such a sense of tragedy. The C minor theme emerges sombrely, quietly, and gradually Haitink builds the music's momentum until the full, horrific vision is revealed. It's almost like a tone poem in its own, and easily worth the bargain price of the disc.
By contrast, the Scherzo is fleet of foot and characterised by an appropriate levity. The orchestra conveys a wide range of colours and expression. And the finale is performed with the LSO's customary brilliance of sound, coupled with an ideal dramatic tension.
As a bonus, the orchestra performs the Leonora Overture No 2. Written for the opera Fidelio, in this performance the piece captures all the drama of the stage work, with the offstage brass particularly effective.
A top recommendation.
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