- Beethoven — Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio $0.99 on iTunes
- Beethoven — Symphony No. 5 in C Minor, Op. 67: II. Andante con moto
- Beethoven — Symphony No. 5 in C Minor, Op. 67: III. Scherzo. Allegro $0.99 on iTunes
- Beethoven — Symphony No. 5 in C Minor, Op. 67: IV. Allegro
- Beethoven — Symphony No. 7 in A Major, Op. 92: I. Poco sostenuto - Vivace
- Beethoven — Symphony No. 7 in A Major, Op. 92: II. Allegretto $0.99 on iTunes
- Beethoven — Symphony No. 7 in A Major, Op. 92: III. Presto $0.99 on iTunes
- Beethoven — Symphony No. 7 in A Major, Op. 92: IV. Allegro con brio $0.99 on iTunes
Notes & Reviews:
The first release on Orpheus Chamber Orchestra's own label. The first ever Orpheus recording of Beethoven Symphonies. The first ever live Orpheus recording.
American Record Guide, July/August 2014
The Orpheus Chamber Orchestra is well known. The Seventh dances and sings as much as any I've heard. The recording is relatively close, and the orchestra plays with such a full sound. An energetic finale that bristles with energy, color, and zip without becoming frenetic is a pleasure. The Fifth was recorded in 2010, two years later than the Seventh, with some different personnel. If you are interested in a Beethoven Fifth with a chamber orchestra, this will do.
Recording information: Stern Auditorium, Perlman Stage at Carnegie hall, New Y.
When it comes to recordings of Beethoven’s symphonies, the listener is spoiled for choice; the world’s greatest orchestras and conductors have all weighed in with their own versions.
That’s what makes the Orpheus Chamber Orchestra’s latest project such an interesting, even curious, choice.
Recorded in performance at Carnegie Hall, the Grammy winning 20 member ensemble plays, as always, without a conductor, applying instead what might be called a musical collective consciousness in their approach to dynamics and tempo which is most effective in the quieter passages of these works.
It’s when the music becomes louder and more vigorous that the size of the band begins to work against itself. These are all excellent musicians who play beautifully, but try as they might, 20 people simply cannot sound like 50 or 60 and the result is a sound that’s more like a sketch or a well executed watercolor than a fully realized oil painting.
Call it an interesting and well done idea; Orpheus Chamber Orchestra’s new live recording of Beethoven’s 5th and 7th symphonies should appeal most to those most familiar with this music as a chance to juxtapose the dynamic and tempo approach of a Bernstein or von Karajan against that of a self run ensemble. Some might conclude that they’re punching above their weight and need to beef up in size before looking for a re-match.
Recommended 8 out of 10 Oscar O.Veterano
Submitted on 03/14/14 by Oscar O. Veterano
Beethovens Symphony No. 5 appears first, and I expected great things from the first movement and was not disappointed in the slightest. It was in the second movement where I felt that some of the spacing and pacing holding rests just a hair longer than is typical, and rather than adding to the dynamic tension of the piece I found this to be rather distracting. The 3rd movement is very well played and each melodic line has great clarity. Unfortunately, the 4th movement doesnt quite flow in a way that is comfortable for me. However, each note is articulated clearly and the Orpheus Chamber Orchestra is clearly giving their all. And in all fairness, if this was the first recording of this symphony that I had ever heard, I would have been thrilled.
The other work on the disc is Beethovens Symphony No. 7. And while I did find the first movement to also linger a bit here and there, the 2nd movement is very well played (and the crystal clear string work is laudable) albeit just a touch slow near the end of the movement. As for the 3rd movement, I felt that there were a few places where things were just a bit rushed and that just a hair more lingering on a note would have added so much. The 4th movement, though, is wonderful and filled with all of the excitement that it should be.
The liner notes are fairly basic, but with the background on the Orpheus being of the most value. As for this recording as a whole, I found the interpretation to be slightly uneven, but I have no doubt that many will fall in love with it. As for me, Im afraid that I am most definitely in love with Karajans interpretations, and if you are in that camp then this performance may hit you the same way that it did me. But if you arent, then it is definitely worth exploring as there is so much here to drink in.
Submitted on 05/13/14 by KlingonOpera
Submitted on 05/30/14 by Allen Cohen
Joseph Woelfl: String Quartets Opp. 4 & 10 / Quatror Mosaiques
Bach: St. Mark Passion (reconstruction: Simon Heighes) / Veronika Winter, Anne Bierwirth, Achim Kleinlein, Michael Jackel.
Medieval Chant: Tallis Lamentations / Tenebrae Consort, Nigel Short
Schubert: 'Wanderer' Fantasy and other piano works / Bertrand Chamayou, piano
Beethoven: Piano Concertos No. 2 & 4 / Leif Ove Andsnes, piano; Mahler Chamber Orchestra
Anthony Holborne: The Fruit of Love - works for viol consort / L'Achéron
Bach & The Early Pianoforte / Luca Guglielmi, Cristofori Piano 1726; Silbermann Piano 1749; Hubert Clavichord 1784
The Triumph of Dori, Venice 1592 - music for six voices by Croce, Vecchi, Stabile, Bozzi, Bonini, Florio, Zerto
John Garth (1721-1810): Accompanied Keyboard Sonatas, Opp. 2 & 4 / Gary Cooper, harpsichord, organ, fortepiano
Works DetailsBeethoven, Ludwig van : Symphony no 5 in C minor, Op. 67
- Ensemble: Orpheus Chamber Orchestra
- Running Time: 33 min. 20 sec.
- Period Time: Classical
- Form: Orchestral
- Written: 1808
Beethoven, Ludwig van : Symphony no 7 in A major, Op. 92
- Running Time: 38 min. 24 sec.
- Period Time: Classical
- Form: Orchestral
- Written: 1812