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MU 1054
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MU 1054
(this is a multiple CD album sold separately)
BERLIOZ / TCHAIKOVSKY / BRITTEN / BRUCKNER / REGER / MOZART / STRAVINSKY / BARTOK: Orchestral Works (Beinum) (1943, 1946-1948)

BERLIOZ / TCHAIKOVSKY / BRITTEN / BRUCKNER / REGER / MOZART / STRAVINSKY / BARTOK: Orchestral Works (Beinum) (1943, 1946-1948)

The Classical Shop
release date: October 2011


Artists:

Concertgebouw OrchestraAmsterdam Concertgebouw Orchestra


Beinum, Eduard van


Eduard van Beinum

Conductor

Kathleen Long

Soloist

Record Label
Music and Arts

Genre:




Total Time - 272:21
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BERLIOZ / TCHAIKOVSKY / BRITTEN / BRUCKNER / REGER / MOZART / STRAVINSKY / BARTOK: Orchestral Works (Beinum) (1943, 1946-1948)

   
   
     


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HECTOR BERLIOZ

 

Symphonie fantastique, Op. 14

 
1 I. Passions: Largo - Allegro agitato e appassionato assai 12:11
 Eduard van Beinum Conductor
     
2 II. Un Bal (Valse): Allegro non troppo 5:56
 Eduard van Beinum Conductor
     
3 III. Scene aux Champs: Adagio 14:53
 Eduard van Beinum Conductor
     
4 IV. Marche au Supplice: Allegretto non troppo 4:27
 Eduard van Beinum Conductor
     
 

PYOTR IL'YICH TCHAIKOVSKY

5 

Serenade in C major, Op. 48

3:36
 Eduard van Beinum Conductor
     
 

BENJ AMIN BRITTEN

 

Peter Grimes: 4 Sea Interludes, Op. 33a

 
6 No. 1. Dawn 3:25
 Eduard van Beinum Conductor
     
7 No. 2. Sunday Morning 3:44
 Eduard van Beinum Conductor
     
8 No. 3. Moonlight 4:24
 Eduard van Beinum Conductor
     
9 No. 4. Storm 4:20
 Eduard van Beinum Conductor
     
10 

Peter Grimes: Passacaglia, Op. 33b

6:29
 Eduard van Beinum Conductor
   
   


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ANTON BRUCKNER

 

Symphony No. 7 in E major, WAB 107 (modified 1885 version, ed. A. Gutmann)

 
1 I. Allegro moderato 19:27
 Eduard van Beinum Conductor
     
2 II. Adagio: sehr feierlich und sehr langsam - Moderato 20:27
 Eduard van Beinum Conductor
     
3 III. Scherzo: Sehr schnell - Trio: Etwas langsamer 8:35
 Eduard van Beinum Conductor
     
4 IV. Finale: Bewegt, doch nicht schnell 11:20
 Eduard van Beinum Conductor
     
 

MAX REGER

 

Eine Ballettsuite, Op. 130

 
5 I. Entree: Tempo di marcia 2:58
 Eduard van Beinum Conductor
     
6 II. Colombine: Adagietto molto tranquillo 3:54
 Eduard van Beinum Conductor
     
7 III. Harlequin: Vivace 2:09
 Eduard van Beinum Conductor
     
8 IV. Pierrot und Pierette: Larghetto 3:21
 Eduard van Beinum Conductor
   
   


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1 V. Valse d'amour: Sostenuto 2:57
 Eduard van Beinum Conductor
     
2 VI. Finale: Presto 2:25
 Eduard van Beinum Conductor
     
 

WOLFGANG AMADEUS MOZART

 

Piano Concerto No. 24 in C minor, K. 491

 
3 I. Allegro 13:43
 Kathleen Long Soloist
     
4 II. Larghetto 7:12
 Kathleen Long Soloist
     
5 III. Allegretto 8:59
 Kathleen Long Soloist
     
 

IGOR STRAVINSKY

 

Le sacre du printemps (The Rite of Spring)

 
6 Part I: Adoration of the Earth: Introduction — 3:18
 Eduard van Beinum Conductor
     
7 Part I: Adoration of the Earth: Augurs of Spring — 3:25
 Eduard van Beinum Conductor
     
8 Part I: Adoration of the Earth: Ritual Abduction — 1:20
 Eduard van Beinum Conductor
     
9 Part I: Adoration of the Earth: Spring Rounds — 3:28
 Eduard van Beinum Conductor
     
10 Part I: Adoration of the Earth: Ritual of the Two Rival Tribes — 1:46
 Eduard van Beinum Conductor
     
11 Part I: Adoration of the Earth: Procession of the Oldest and Wisest One — 0:39
 Eduard van Beinum Conductor
     
12 Part I: Adoration of the Earth: Kiss of the Earth — 0:20
 Eduard van Beinum Conductor
     
13 Part I: Adoration of the Earth: Dancing out of the Earth 1:06
 Eduard van Beinum Conductor
     
14 Part II: The Exalted Sacrifice: Introduction — 4:02
 Eduard van Beinum Conductor
     
15 Part II: The Exalted Sacrifice: Mystic Circles of the Young Girls — 2:50
 Eduard van Beinum Conductor
     
16 Part II: The Exalted Sacrifice: Naming and Honoring of the Chosen One — 1:35
 Eduard van Beinum Conductor
     
17 Part II: The Exalted Sacrifice: Evocation of the Ancestors — 0:48
 Eduard van Beinum Conductor
     
18 Part II: The Exalted Sacrifice: Ritual Action of the Ancestors — 3:07
 Eduard van Beinum Conductor
     
19 Part II: The Exalted Sacrifice: Sacrificial Dance 4:38
 Eduard van Beinum Conductor
   
   


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BELA BARTOK

 

Concerto for Orchestra, BB 123

 
1 I. Introduzione 9:33
 Eduard van Beinum Conductor
     
2 II. Giuoco delle coppie 6:42
 Eduard van Beinum Conductor
     
3 III. Elegia 6:39
 Eduard van Beinum Conductor
     
4 IV. Intermezzo interrotto 4:24
 Eduard van Beinum Conductor
     
5 V. Finale 8:59
 Eduard van Beinum Conductor
     
 

MAX REGER

 

Variations and Fugue on a Theme of Mozart, Op. 132 (version for orchestra)

 
6 Theme 2:41
 Eduard van Beinum Conductor
     
7 Variation 1: L'istesso tempo 2:29
 Eduard van Beinum Conductor
     
8 Variation 2: Poco agitato 2:18
 Eduard van Beinum Conductor
     
9 Variation 3: Con moto 1:36
 Eduard van Beinum Conductor
     
10 Variation 4: Vivace 0:44
 Eduard van Beinum Conductor
     
11 Variation 5: Quasi presto 1:32
 Eduard van Beinum Conductor
     
12 Variation 6: Sostenuto 2:15
 Eduard van Beinum Conductor
     
13 Variation 7: Andante grazioso 2:52
 Eduard van Beinum Conductor
     
14 Variation 8: Molto sostenuto 7:35
 Eduard van Beinum Conductor
     
15 Fugue: Allegretto grazioso 8:48
 Eduard van Beinum Conductor
 Beinum, Eduard van


Eduard Van Beinum (1901-1958) was the principal conductor of the Concertgebouw Orchestra of Amsterdam for two decades, succeeding Mengelberg as Music Director. Van Beinum’s style of conducting was direct but sensitive. An unassuming, solid musician, he sought to grasp the music’s inner motivations, transform them into sound through his own energy, so that the music was conveyed to listeners as directly and purely as possible.

He was not an authoritarian like Mengelberg and when he first assumed leadership of the Concertgebouw he was criticized for being so unassuming. He would be totally out-of-place in today’s superficial world of conductors. His career was based on solid musicianship and a total lack of self-glorification, the antithesis of the pompous Herbert von Karajan in decades past, and some other pretentious conductors of the present.

On the occasion of receiving an honorary doctorate from the University of Amsterdam, he described his task as conductor: "...to serve as an intermediary between the listener and the composer, whose musical thoughts must be expressed as purely and honestly as possible, to achieve this through an ideal unity, an ideal co-operation between the intentions of the conductor and the orchestra." Van Beinum respected his musicians and considered them to be colleagues. His concept was that he and his orchestra were making music together. Bart van Beinum, the composer’s son, described his father’s attitude concisely and accurately by pointing out that for him it was less a matter of "interpreting" a score than of "realizing" it. He sought to grasp its inner motivations, transform them into sound through his own energy, so that the music was conveyed to listeners as directly and purely as possible.

This set offers the collector some of Beinum’s earliest 78 rpm recordings, many of which have never before been in this format. His colorful 1948 recording of Bartok’s Concerto for Orchestra was the second recording of the work (the first was Fritz Reiner’s, the work’s dedicatee, with the Pittsburgh Symphony, for Columbia). Beinum’s incredibly dynamic interpretation of Stravinsky’s Rite of Spring is one of the most exciting of all; unfortunately, from a sound standpoint this is one of the least successful early Decca/London recordings. Mozart’s Piano Concerto No. 24 is an example of Van Beinum’s superb gifts as an accompanist. The 1947 recording of Bruckner’s Symphony No. 7 is his first of the work; with the advent of LP he recorded it again in May 1953 although some collectors feel the earlier one is superior. Another work he recorded twice is the set of orchestral excerpts from Benjamin Britten’s Peter Grimes. His first recording, dating from September 1947 and issued only on 78s, is included here; his later recording was made in September 1953, issued on LP (actually on CD as well, briefly, when Decca released the Peter Grimes Interludes [but not the Passacaglia] coupled with the premiere performance of Britten’s Spring Symphony, recorded live July 9, 1949 [440 063, nla]). Symphony fantastique of Berlioz was a great favorite of Van Beinum’s; he actually recorded it three times. The first was in September 1943 for DGG/Polydor and never issued. His second is the one heard in this set, recorded for Decca/London in September 1946, issued on six 78 rpm discs. He made a third recording in September 1951, issued on Decca/London LP. Technical reconstruction (1999) by Maggi Payne.

"This is a welcome set for listeners interested in this unfairly neglected figure in the transition from Romantic conducting to the modern objectivism aficionados of Berlioz, Bruckner, Stravinsky, and Bartök who are accepting of the sonics of historical recordings should not miss theses performances."

Steve Holtje - CD Now


"The recordings ... show that this was the only great European orchestra to retain its quality virtually unimpaired in the immediate postwar period."

Robert Matthew-Walker - International Record Review
 


"The recordings are rather vivid, given their vintage, and the musicianship compensates for the less than ideal sound. Although these performances are somewhat conservative, they are far from bland. The Berlioz (Decca, 1946) is shaped with loving care; van Beinum is sensitive to the score?s every shifting mood. The Rite of Spring is a high-voltage reading. The Peter Grimes interludes, recorded for Decca one year late, are strikingly atmospheric, and I challenge you to find a stormier Storm. The Bruckner Seventh was taped at this time, and its humanity and architectural strength are typical of van Beinum’s Bruckner. The Bartök is a showpiece for the Concertbebouw Orchestra."

Raymond Tuttle - Classical.net




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