Ludwig van Symphonies nos. 7 & 8 Complete symphonies vol. 3

THE NETHERLANDS SYMPHONY ORCHESTRA Jan Willem de Vriend

1 Symphonies nos. 7 & 8 Complete symphonies vol. 3

THE NETHERLANDS SYMPHONY ORCHESTRA Jan Willem de Vriend Ludwig van Beethoven (1770-1827) “Der wahre Künstler hat keinen Stolz; in particular were steadily declining. leider sieht er, dass die Kunst keine Throughout his life he had been unlucky Symphony no. 7 op. 92 in A major (1811/12) Grenzen hat.” (“The true artist has no in love; none of his relationships had [1] Poco sostenuto – Vivace 13:42 pride. He sees unfortunately that art lasted very long. At the beginning of [2] Allegretto 8:44 has no limits.”) July in that year Beethoven wrote his [3] Presto 9:14 This is what Beethoven wrote to eight- three famous letters to his “Immortal [4] Allegro con brio 8:56 year-old Emilie M. in 1812, who had Beloved”. Beethoven biographers such kindly sent him a portfolio that she as Solomon Maynard and Lewis Lock- Symphony no. 8 op. 93 in F major (1812) had embroidered along with a letter wood have concluded that these letters [5] Allegro vivace e con brio 8:53 expressing her admiration. Beethoven were very likely addressed to Antonie [6] Allegretto scherzando 4:07 continued: “Er fühlt dunkel, wie weit er Brentano. There is still no real proof [7] Tempo di Menuetto 4:40 vom Ziele entfernt ist, und indes er viel- as to who his mysterious beloved was. [8] Allegro vivace 7:41 leicht von andern bewundert wird, trau- But it is certain that Beethoven loved ert er, noch nicht dahin gekommen zu this woman, whoever she was, from sein, wohin ihm der bessere Genius nur the depths of his soul. The words in his total time 65:57 wie eine ferne Sonne vorleuchtet.” (“He letters are heartfelt and moving. But has a vague awareness of how far he is a truly long-lasting relationship with a from reaching his goal and while others woman was not possible in his life. He may perhaps admire him, he laments reached this conclusion himself and that he has not yet reached the point to became more and more convinced of which his better genius only lights the it. A relationship could not fit in with way for him like a distant sun.”) his way of life, his unpredictable nature and his devotion to his music. Because 1812 was a difficult year for Beethoven. Beethoven was his work, he was his His general health and his hearing music. For him, music was supreme.

4 5 The beautiful letter to little Emilie, actly how Beethoven saw his work as glorious period in which he put the and shortcomings, but at the following on the impassioned let- a composer. finishing touches on Symphony No. same time there is an element of a ters to an “Immortal Beloved” writ- 7 and wrote No. 8 – a culmination Promethean struggle to overcome ten ten days previously, show a very It was also how he was regarded after of ten years of composing at the it, not to give up. To surmount the personal side of Beethoven. A man his death: a Beethoven who suffered, highest level. Beethoven had come difficulties.” of flesh and blood, one who needed but who created exalted art, was all the way. The eventful year of 1812 love but who had to do without it. It revered. This is how Beethoven be- was also a turning point: emotional When Beethoven spent the summer tore him to pieces, as indeed did his came the giant, one who inspired fear and relational crises (difficulties in of 1812 taking a cure in Teplitz, he fi- deafness, but amid all his suffering in many people. Composers felt Lud- love, loss of friends, problems in his nally met Goethe, whom he adored as it would seem that he always felt a wig’s hot breath in their neck if they family), physical and financial crises, an artist. As a person, Goethe was a deep motivation to go on. His art so much as dared to think about com- brought him to an impasse and this bit disappointing, because Beethoven gave him a hold on life. And in the posing a symphony. But if you look at affected his work. It seemed as if thought that he was too obsequious years that followed, in which he would Beethoven himself, you simply see a he had lost his unbridled energy. towards the nobility and the princes spend less time composing, music man: not a deity, but a highly gifted His deafness caused him to focus who turned up in the well-known spa continued to be his beacon in a rag- person. A man who indeed had to outside of himself, but at the same in large numbers precisely that sum- ing sea that sometimes threatened to suffer physically and in his human re- time he took counsel with himself mer. The famous anecdote in which destroy him. The raging sea: a fitting lationships, but who had a huge drive, as to how to go on in his work. This Goethe took off his hat and bowed metaphor for the years from 1812 to who was aware of his genius and knew was a breeding ground, a beginning, to a royal coach while Beethoven 1817, a time of transition leading to that it was precisely with his music that for his late period, in which many of turned his back on it with large steps his late period. The artist, fragile and he could make a meaningful contribu- his works were even more complex, is a good example of the difference human, had a moral object, an object tion. Without his music – his life elixir surpassing the comprehension of between the two. As an artist and as a by means of which he could elevate – he might well have killed himself. contemporaries. Pianist Hélène person, Beethoven felt he was no less himself to a higher level. It is the only Grimaud puts it quite beautifully: than any other human being. He did way in which a human being can do 1812 was an end, a turning point “His music is strongly rooted in all that not feel intimidated by the nobility. so. This Kantian principle shows ex- and a beginning. It was the end of a is human, with all our vulnerabilities Quite the contrary. People just had

6 7 to take him the way he was. Goethe Beethoven did not need to be modest increasing in intensity and growing to the classical symphonic style: in was not so easy-going and according about his Seventh symphony. In a more palpable. The range, from low retrospective. But it is definitely not a to Beethoven, much too unctuous. letter to Johann Peter Salomon in registers to high, and the movement step back. For example, humour, an He had probably expected more of London, to whom he wrote in 1815 from piano to fortissimo contribute aspect that someone like Haydn often Goethe, the great artist. asking him to help find a British to the enormous musical drama. used in his music, is an important publisher, he called it “... a grand element here as well. But Beethoven’s To say that Beethoven did not know symphony in A major (one of my most Things grow even more intense in humour is more acerbic. In the finale, modesty is not true. In his letter to excellent works)”. In each movement the finale as the dynamic range a single tone, the C sharp (and the Emilie M. he wrote, “Do not rob of this symphony he used groups alternates between pianissisimo enharmonic D flat) is the key. The C Handel, Haydn and Mozart of their of rhythmic figures, with a leading and fortississimo. Ostinato patterns, sharp bites and stabs in a movement laurel wreaths. They are entitled element to set them off. Clearly, the variations on rhythmic figures, written in F major, and what it is to theirs, but I am not yet entitled use of rhythm was already important everything is ten times bigger. That ultimately about is to integrate that to one.” This shows modesty, and earlier in his career, with the first torrential energy! It almost seems as C sharp. This is humour of a different he was frequently uncertain about movement of No. 5 as the best known if he has broken loose, arms lashing calibre than that of Haydn. It is so his abilities (as shown by the other example. But in No. 7 the rhythmic out in all directions. Seems, because typically Beethoven and is what quotes from this letter as well). action has come to the foreground; in fact he is in control of the seeming makes him unique. According to Beethoven, nothing it is an underlying principle. One of chaos. A control that was absent in his was perfect: everything could always Beethoven’s most famous works is daily life, but that he had in his music. In this, the third part in the series of be improved. He was driven by this the Allegretto, the slow movement of Beethoven symphonies, we hear No. 7 sense of perfectionism. And it is how, this symphony. The audience was won After the unbridled exuberance of and No. 8 in an interpretation by Jan with each attempt, he got more out over, and even today it has not lost No. 7, the audience proved not to Willem de Vriend and his Netherlands of himself. Pianist Hélène Grimaud any of its popularity. It is indeed of understand No. 8 so well. About Symphony Orchestra. As always, they says, “Beethoven dug around in his incredible beauty. The most important this, Beethoven is said to have told delve into the depths of the sym- own material, going deeper each rhythmic theme of the introduction Czerny, “That’s because it is so much phonies and from these depths, they time. To him, deeper meant higher.” comes back again and again, better.” Beethoven chose to revert elevate themselves to a higher level

8 9 (as so nicely put above by Hélène Jan Willem de Vriend Mahler tradition is being continued in Grimaud) in their understanding of Jan Willem de Vriend is the chief recordings and tours. Ludwig van Beethoven. conductor and artistic director of the Netherlands Symphony Orchestra In addition to being the chief conduc- Valentine Laoût- van Leeuwenstein since 2006 and the artistic director of tor of the Netherlands Symphony Translation: Carol Stennes/Muse Translations Combattimento Consort Amsterdam. Orchestra , De Vriend is the regular guest conductor of the Brabant Since De Vriend was named chief con- Orchestra. He has conducted many ductor, the Netherlands Symphony distinguished Dutch orchestras, in- Orchestra has become a notable phe- cluding the Royal Concertgebouw nomenon on the Netherlands’ musical Orchestra, the Netherlands Radio scene. It has presented semi-scenic Philharmonic Orchestra and The performances of works by Mozart, Hague Philharmonic Orchestra. Beethoven, Strauss and Mendelssohn. De Vriend is also a welcome guest There were premieres of works by internationally and has conducted Offenbach, Say and Mahler. And by orchestras in China, Germany, Austria, substituting period instruments in the Italy and France. brass section, it has developed its own distinctive sound in the 18th and The Netherlands 19 th century repertoire. Recently, the Symphony Orchestra orchestra caused quite a stir by per- The Netherlands Symphony Orchestra forming music by Schumann at festi- (Orkest van het Oosten, based in vals in Spain. It is currently recording Enschede) is the symphony orchestra Beethoven’s complete symphonies of and for the province of Overijssel, conducted by De Vriend. Its long bringing passion, commitment and

10 11 virtuosity to its audience. Performing guest conductor Mark Shanahan, the ing former chief conductor Jaap van Many of the orchestra’s musicians play at an international level, the orchestra orchestra’s unique reputation contin- Zweden, Edo de Waart, Hans Vonk, a key role in the region’s music activi- is firmly rooted in society. Its balanced ues to grow, in both the Netherlands Gerd Albrecht, Marc Soustrot, Vasily ties and society, either as teachers programming offers inspiring ele- and abroad. CD recordings of music Petrenko, Eri Klas and Ed Spanjaard. at schools and academies of music, ments while the use of period instru- by Ludwig van Beethoven and Dutch It has accompanied numerous famous or as musicians in ensembles and ments in the performance of its clas- composers including Jan van Gilse soloists, such as Ronald Brautigam, other projects. sical repertoire gives the orchestra its and Julius Röntgen are acclaimed Kristian Bezuidenhout, Natalia Gutman, unique and highly individual character. and in great demand, and have Charlotte Margiono, Antje Weithaas, The Netherlands Symphony Orchestra established the orchestra’s national Marie-Luise Neunecker, Sharon Bezaly, is financially supported by the Dutch Performing concert series in towns and international reputation. The Robert Holl, Fazil Say, Rudolf Koelman Ministry of Education, Culture and across Overijssel, in Amsterdam, Netherlands Symphony Orchestra and Thomas Zehetmair. Science, the Province of Overijssel and Rotterdam, Utrecht and other major was recently awarded the Edison the Municipality of Enschede as well as cities, and concert tours abroad, the Klassiek Luister Publieksprijs 2010 for The orchestra’s commitment to ex- annual contributions from sponsors. Netherlands Symphony Orchestra its recording of Paganini’s violin panding its social relevance is reflect- acts as a cultural representative concertos 1 and 2 with violinist ed in its involvement in a number of for the Province of Overijssel. The Rudolf Koelman. extraordinary projects in which educa- orchestra works with the Nationale tion forms a key element. In addition Reisopera (Dutch National Touring Concerts by The Netherlands Sym- to its extensive symphonic program- Opera Company) and regional choirs, phony Orchestra are enjoyed by a ming, The Netherlands Symphony and has undertaken successful tours wide audience. The orchestra has Orchestra has also inspired the crea- to the Unites States, Canary Islands, played in many famous halls includ- tion of a number of ensembles, such Spain and the UK. ing Birmingham Symphony Hall and as chamber orchestra Sinfonietta Carnegie Hall in New York, and has Aurora, the Baroque Academy of the Directed by chief conductor Jan had the privilege of working with Netherlands Symphony Orchestra and Willem de Vriend and permanent many renowed conductors includ- various chamber music ensembles.

12 13 14 15 Previously released on Challenge Classics check www.challengerecords.com for availability

CC72198 Ludwig van Beethoven CC72361 Ludwig van Beethoven / Wellingtons Sieg (SACD) Symphonies nos. 4 & 6 - Complete Symphonies Vol. 1 (SACD) The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor Cora Burggraaf mezzosoprano - Wim T. Schippers narrator CC72364 Ludwig van Beethoven CC72343 Niccolò Paganini (Edison Audience Award 2010) Symphonies nos. 1 & 5 - Complete Symphonies Vol. 2 (SACD) Violin Concertos nos. 1 & 2 (SACD) The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor The Netherlands Symphony Orchestra Jan Willem de Vriend conductor - Rudolf Koelman violin

CC72355 Gustav Mahler Symphony no. 1 (Hamburg 1893 version) (SACD) The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor

CC72384 Ludwig van Beethoven Violin Concerto & Romances (SACD) The Netherlands Symphony Orchestra Jan Willem de Vriend conductor - Liza Ferschtman violin

16 17 This High Definition Surround Recording was Produced, Engineered and Edited by Bert van der Wolf of NorthStar Recording Services, using the ‘High Quality Musical Surround Mastering’ principle. The basis of this recording principle is an optimal realistic and holographic, 3 dimensional representation of the musical instruments, voices and recording venue, according to traditional concert practice. For most historic music this means a frontal representation of the musical performance, nevertheless such that width and depth of the ensemble and acoustic characteristics of the hall do resemblance ‘real life’ as much as possible. Some compositions in history, and many contemporary works do specifically ask for placement of musical instruments and voices all over the 360 degrees sound scape however, and in such cases this is also recorded as realistic as possible within the possibilities of the 5.1 Surround Sound standard. Executive producer: Anne de Jong This all requires a very innovative use of all 6 loudspeakers and the use of fully Recorded at: Muziekcentrum Enschede (NL) equal and full frequency range loudspeakers for all 5 discrete channels, and a Recording dates: 29-30 June 2010 (Symphony no.7), complementary sub-woofer for the ultra low frequencies under 40Hz, is highly 25-26 June 2008 (Symphony no. 8) recommended to optimally benefit from the sound quality of this recording. Recording producer: Bert van der Wolf Recording assistent: Fir Suidema This recording was produced with the use of Sonodore microphones, Avalon Recorded by: NorthStar Recording Services Acoustic monitoring, Siltech Mono-Crystal cabling and dCS Converters. A&R Challenge Records International: Wolfgang Reihing Liner notes: Valentine Laoût- van Leeuwenstein Translations: Carrol Stennes/Muse Translations Booklet editing: Wolfgang Reihing Cover photo: Marcel van den Broek Art direction: Marcel van den Broek, new-art.nl

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18 19 CC72500