Swedish Chamber Orchestra
Thomas Dausgaard, conductor
March 2007
SIMAX

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Tracklisting

Symphony No.8 In F Major, Op. 93,
1. I. Allegro Vivace E Con Brio 8:22
2. II. Allegretto Scherzando 3:51
3. III. Tempo Di Menuetto 4:13
4. IV. Allegro Vivace 6:47

König Stephan, Op. 117,
5. I. Overture 6:25
6. II. Sigesmarch 3:01
7. III. Geistlicher Marsch 1:21

Ruins Of Athens, Op. 113,
8. I. Overture 4:17
9. II. Turkish March 1:52

10. Fidelio Overture, Op. 72b 5:58

Tarpeja, Wo02
11. I. Introduction To The 2nd Act 1:57
12. II. Triumphal March 2:20

13. Namensfeier Overture, Op. 115 6:27

Wellington’s Victory, Op. 91,
14. I. English Drums 1:24
15. II. French Drums 1:54
16. III. Battle 4:43
17. IV. Victory 6:54

Beethoven - Complete Orchestral Works Volume 9

Centering on one of his acknowledged masterpieces in the shape of the Eighth Symphony, the programme on this disc also includes smaller and far rarer pieces Beethoven produced around the same time

The Eighth Symphony is the shortest and most classically constructed of Beethoven”s symphonies. It bursts with humour and energy – and written with an unusual concentration and economy, it remains one of Beethoven’s most vital and characteristic expressions

Battle Pieces were quite common at this period, but Beethoven”s contribution to the genre is more ambitious than most. The success of Wellington”s Victory, or the Battle of Vittoria, gave a boost to Beethoven’s fame in England. Various stages of the battle (including a charge) are being depicted, and the rich orchestration – including some very specific notation for the cannons, which creates unusual cross-rhythmical effects – is a notable feature.

– SIMAX

Reviews

“Thomas Dausgaard’s Beethoven Eighth crackles with life and makes an enthusiastic play for the score’s zanier elements, such as the syncopated accents near the beginning of the first movement’s development section… Warmly drawn horns sit happily at the centre of the Menuetto and the finale has a finely tensed feel to it, keenly played with cut-glass tremolandos.” – Gramophone Magazine

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