Beethoven Eroica

Founded in 1981, the Orchestra of the Eighteenth Century consists of approximately fifty-five musicians from all over the world. The orchestra is specialised in the music of that era and the musicians play on period instruments or copies of them. This spectacular rendition of Beethoven’s „Symphony No. 3“, live recorded at the Concertgebouw in Amsterdam, has won them international acclaim. Beethoven originally dedicated the „Eroica“ (1804) to Napoleon, who at the time was re-drawing the map of Europe as comprehensively as this epic symphony was to re-define the architecture of music. It was only belatedly that the composer realised that ‘heroes’ with absolute political power easily turn into tyrants and tore up the dedication.

You’re holding Flex Ensemble’s third album in your hands – Inside Eroica: an exciting programme that we are enormously proud to present! The following conversation between Martha Bijlsma and Gordon Williamson provides you with some insight into the creative process, our choices and how we landed Inside Eroica.

Like Gilels, Brendel treats the Op. 35 Variations as far more than a poor relation of the Eroica Symphony finale. His approach has less of the urgent, seemingly improvisatory thrust which makes the Gilels DG performance (on LP only) so compelling, but the sharpness with which he characterizes each variation is a delight, each time bringing a moment of revelation, and often relating this essentially middle-period work to much later inspirations. The six Bagatelles of Op. 126 equally find Brendel giving these fragments a weight, concentration and seriousness to reflect what else Beethoven was writing at the time. There is a gruffness of expression with charm eliminated. The third Bagatelle is the more moving for its simple gravity, and only in the final one of the group does Brendel allow himself to relax in persuasive warmth. Fur Elise makes a simple, haunting prelude to the group and the six Ecossaises a jolly postude with Brendel evoking the bluff jollity of Austrian dance music.

David Zinman’s account of the Fourth Symphony is fleet and mercurial, as compelling a case as we have for honouring Beethoven’s fast metronome markings and, in the finale, bursting with unforced vitality (though without undermining the power of those crucial sforzando semiquavers at bar 66). Freshly revealed detail includes energetic semiquavers among second violins 2'28'' into the Allegro vivace (rarely as clear on rival versions) and held forte horns at 3'58'' into the Adagio, at the point where trenchant descending sforzando chords intensify the mood.

In celebration of Herbert Blomstedt’s 90th Birthday in July 2017, Accentus Music releases a new Beethoven cycle that captures the spirit of the long-standing partnership between the legendary conductor laureate and the Gewandhausorchester Leipzig. All nine symphonies, released in a box set containing five CDs, are live recordings made at the Leipzig Gewandhaus between May 2014 and March 2017.