Beethoven: Symphony No. 7 & Triple Concerto

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a blazing performance of the Seventh Symphony that reaches a superbly disciplined and frenzied conclusion — BBC Music Magazine More…

Release Date: 3rd Apr 2006
Catalogue No: LSO0578
Label: LSO Live
Series: Haitink Complete Beethoven Symphonies
Length: 74 minutes

Beethoven: Symphony No. 7 in A major, Op. 92

Work length38:40

$5.20

$6.50

$7.60

London Symphony Orchestra
Bernard Haitink

I. Poco sostenuto - Vivace

Track length13:24

$1.60

$2.00

$2.35

II. Allegretto

Track length7:41

$1.20

$1.50

$1.75

III. Presto

Track length9:05

$1.20

$1.50

$1.75

IV. Allegro con brio

Track length8:30

$1.20

$1.50

$1.75

Beethoven: Triple Concerto for Piano, Violin, and Cello in C major, Op. 56

Work length35:53

Album only

London Symphony Orchestra
Bernard Haitink

I. Allegro

Track length17:39

Album only

II. Largo

Track length5:01

$1.00

$1.25

$1.45

III. Rondo alla polacca

Track length13:13

$1.60

$2.00

$2.35

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A high density DSD recording, live at the Barbican Centre on 16-27 November 2005

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

Beethoven: Symphony No. 7 & Triple Concerto

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