Beethoven: Symphony No. 3 Eroica & Septet (Resound Collection, Vol. 4) Orchester Wiener Akademie & Martin Haselböck

• 1 I. Allegro con brio 17:40
• 2 II. Marcia funebre (Adagio assai) 13:12
• 3 III. Scherzo - Trio (Allegro vivace) 05:55
• 4 IV. Finale (Allegro molto) 12:33
• 5 I. Adagio - Allegro con brio 10:45
• 6 II. Adagio cantabile 08:15
• 7 III. Tempo di menuetto 03:05
• 8 IV. Tema con variazioni (Andante) 07:06
• 9 V. Scherzo (Allegro molto e vivace) 03:14
• 10 VI. Andante con moto alla marcia - Presto 08:28
• Total Runtime 01:30:13

Info for Beethoven: Symphony No. 3 Eroica & Septet (Resound Collection, Vol. 4)

With RESOUND we bring Beethoven’s orchestral works back to the halls and theatres of their Viennese premieres and the concert rooms where they were performed in his time. Four of the six venues where one or more of the nine symphonies were premiered are still in existence, as are the eight Viennese halls and theatres where Beethoven’s works were performed in his lifetime. Our performing forces correspond in size and instrumentarium to those of the composer.

A performing venue of special importance to Beethoven is what is now called the ‘Eroica Hall’ of the Palais Lobkowitz in Vienna. This hub of Viennese music making is not only the place where the Third and Fourth symphonies and the Triple Concerto were heard for the first time; in addition, numerous chamber and orchestral works were performed there with Beethoven’s participation. Given the capacities of the room and the salary records of Prince Lobkowitz’s orchestra, we know that the orchestra size in these performances was entirely in accordance with the composer’s wishes, as expressed in a letter of 1813 to his pupil and patron Archduke Rudolph: ‘As regards the forces for the symphonies, I want at least four violins - four seconds, four firsts - two double basses and two cellos.’

The concerts in the Eroica Hall were recorded with the aim of conveying both the specific tonal character of the room and the internal balance of the orchestra as faithfully as possible from the perspective of a privileged listening position. To achieve this, we recorded with a spherical microphone developed by the Technical University of Berlin in cooperation with the firm of Sennheiser, which was positioned directly behind the conductor and – especially when heard through good headphones – gives an authentic impression of the sound at this point in the hall. We dispensed with any interventions in the orchestral balance through the use of additional microphones and with any manipulation of the spatial impression. Hence it may clearly be heard that the room sounds more resonant with small forces (Septet) than with large (symphony).

Orchester Wiener Akademie
Martin Haselböck, conductor

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Booklet for Beethoven: Symphony No. 3 Eroica & Septet (Resound Collection, Vol. 4)