It's
possible nowadays to get a cycle of the Beethoven symphonies to suit
every musical taste - from the traditional big-band performances on the
modern instruments of leading symphony orchestras, to the strictest of
historically informed accounts from specialist period bands. Jos van
Immerseel's accounts are close to the historically purist extreme of
that spectrum; his Belgian orchestra Anima Eterna is modestly sized.
There's much to admire in the performances too. His tempi are generally
well judged, the playing is full of character and instinctive
expressiveness, even if the pitch inflections in some of the woodwind
solos are an acquired taste, and textures are unfailingly transparent.
Yet there's something a bit too careful about it all, with a lack of
sheer emotional clout in, for instance, the first movement of the
Eroica, the finale of the Seventh Symphony, and through much of the
Ninth. This is hardly Beethoven as a composer breaking free of the
bounds of classicism, but much more someone with their feet still very
much anchored in the 18th century. (Andrew Clements / The Guardian)It's
possible nowadays to get a cycle of the Beethoven symphonies to suit
every musical taste - from the traditional big-band performances on the
modern instruments of leading symphony orchestras, to the strictest of
historically informed accounts from specialist period bands. Jos van
Immerseel's accounts are close to the historically purist extreme of
that spectrum; his Belgian orchestra Anima Eterna is modestly sized.
There's much to admire in the performances too. His tempi are generally
well judged, the playing is full of character and instinctive
expressiveness, even if the pitch inflections in some of the woodwind
solos are an acquired taste, and textures are unfailingly transparent.
Yet there's something a bit too careful about it all, with a lack of
sheer emotional clout in, for instance, the first movement of the
Eroica, the finale of the Seventh Symphony, and through much of the
Ninth. This is hardly Beethoven as a composer breaking free of the
bounds of classicism, but much more someone with their feet still very
much anchored in the 18th century. (Andrew Clements / The Guardian)
dear sir,
ResponderEliminarwould you please re-upload this album?
thank you
Dear Sir,
ResponderEliminarCan this album be re-upload? The link is totally dead...
thank you so much