Special offer. Beethoven: Symphony No. 7 & Triple Concerto
Gordan Nikolitch (violin), Tim Hugh (cello) & Lars Vogt (piano)
London Symphony Orchestra, Bernard Haitink
a blazing performance of the Seventh Symphony that reaches a superbly disciplined and frenzied conclusion
Special offer. Beethoven: Symphony No. 7 & Triple Concerto
Gordan Nikolitch (violin), Tim Hugh (cello) & Lars Vogt (piano)
London Symphony Orchestra, Bernard Haitink
Purchase product
a blazing performance of the Seventh Symphony that reaches a superbly disciplined and frenzied conclusion
About
Contents and tracklist
Work length35:53
This work is only available as an album download.
I. Allegro
Track length17:39
This track is only available as an album download.
Awards and reviews
a blazing performance of the Seventh Symphony that reaches a superbly disciplined and frenzied conclusion
2010
Nothing like having your expectations challenged, especially in Beethoven where interpretative templates tend to settle for good. Past experience of Bernard Haitink in the symphonies left an impression of worthiness and generalised musicality; but the first instalment of the conductor's projected live Beethoven symphony cycle with the London Symphony Orchestra witnesses a significantly increased adrenalin count. As well as being vital and intelligently thought through, Haitink's new Seventh honours all repeats and has the inestimable advantage of spatially divided violin desks, particularly telling in the clear but relatively dry Barbican Hall acoustic. The first movement's bracing rhythms gambol rather than storm and there's genuine tenderness in the Allegretto. The Scherzo's dancing gait and the unforced momentum of the finale is very attractive.
What's strong about the Haitink's excellent Triple Concerto is its sense of architecture, the way Haitink builds the opening tutti so that the climactic passage where winds alternate with strings (2'04") establishes a real sense of arrival.
Interesting Haitink's soloists seem more integrated within the rest of the band than sopme versions, less in terms of sound than overall playing-style: inspired moments include Tim Hugh's rapt opening phrases in the second movement. And James Mallinson's integrated sound-picture for LSO Live is very pleasing.
[Haitink] is a different, energised man, caught up in the thrill of the moment, on the podium - and it is our good fortune that these marvellous concerts will have an extended life on disc
Aside from the architectural splendour of his performances, the sound he makes from the LSO is something you have to hear
a sensational coupling of masterworks
Classics Today
Haitink delivers a splendid interpretation of Beethoven's Seventh: taut, exciting, always musical, and in no way inhibited...Haitink's concern for clean rhythmic articulation really pays off...the result is truly of the highest possible standard



