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Symphonie Nr. 7 A-Dur op. 92
Katalogzettel
| Titel | Symphonie Nr. 7 A-Dur op. 92 |
| Titelzusatz |
Symphony No. 7, Beginning of the 4th movement |
| Spieldauer | 00:03:42 |
| Urheber/innen |
Beethoven, Ludwig van [Komponist/in]
[GND]
|
| Mitwirkende |
Furtwängler, Wilhelm [Dirigent]
[GND
]
Wiener Philharmoniker [Orchester] His Master's Voice [Label] Gramophone Co. Ltd. [Produzent] |
| Datum |
1950.01.18 [Aufnahmedatum] |
| Ort |
Wien, Palais Pallavicini [Ortsbezug]
|
| Schlagworte | Musik ; E-Musik ; Instrumentalmusik - Symphonie ; Besetzung - Orchester ; Publizierte und vervielfältigte Aufnahme |
|
19. Jahrhundert
|
|
| Typ | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Sprache |
Englisch |
| Signatur | Österreichische Mediathek, 2-02190_b_b01_k02 |
| Medienart | Mp3-Audiodatei |
Palais Pallavicini. Bild: CC BY-SA 3.0 AT. Österreichische Mediathek 2020.
Information
Inhalt
Beethoven had originally intended to perform his Seventh Symphony, which he completed in 1812, at a charity concert in Graz. However, his financial situation deteriorated, and he abandoned the idea, instead planning a recital that would boost his income. In the event, the first performance of the Seventh Symphony did take place at a (later) charity concert. However, when the sheet music was published in 1816, Beethoven dedicated it to his patron Count Moritz von Fries, a banker who owned the building known today as the Palais Pallavicini, and who had previously provided Beethoven with financial support.
In contrast to the second movement, which enjoyed an enthusiastic reception from the audience, the fourth movement was subject to considerable criticism from contemporary listeners. The driving rhythm set by the orchestra combines with an undulating melody based on semiquavers to unleash some furious forces. Richard Wagner later commented that the final movement represented “pure rhythmic movement celebrating its orgies, as it were.” This audio track is of the beginning of the final movement, as performed in 1950 by the Vienna Philharmonic, under the outstanding German conductor Wilhelm Furtwängler (1886–1954). Furtwängler was the orchestra’s main subscription conductor between 1927 and 1930, and regularly returned as a guest conductor thereafter. His idiosyncratic musical interpretations and ambivalent attitude towards the Nazi regime have combined to make him one of the most controversial conductors of the twentieth century – his legacy is still much debated today.
(Constanze Köhn)
In contrast to the second movement, which enjoyed an enthusiastic reception from the audience, the fourth movement was subject to considerable criticism from contemporary listeners. The driving rhythm set by the orchestra combines with an undulating melody based on semiquavers to unleash some furious forces. Richard Wagner later commented that the final movement represented “pure rhythmic movement celebrating its orgies, as it were.” This audio track is of the beginning of the final movement, as performed in 1950 by the Vienna Philharmonic, under the outstanding German conductor Wilhelm Furtwängler (1886–1954). Furtwängler was the orchestra’s main subscription conductor between 1927 and 1930, and regularly returned as a guest conductor thereafter. His idiosyncratic musical interpretations and ambivalent attitude towards the Nazi regime have combined to make him one of the most controversial conductors of the twentieth century – his legacy is still much debated today.
(Constanze Köhn)
