DISCOGRAPHY

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Classic FM
August 2010

Beethoven revealed

“ ... van Immerseel’s research, though, is thorough. He doesn’t just use old-style instruments, he uses the right ones: those that were commonly used by freelance musicians in Vienna in the 1820s. Van Immerseel also employs an ensemble of the size Beethoven would have known: just 33 strings with the asses wind, brass and percussion (including the ‘Turkish’ percussion band Beethoven wrote for all instruments matching historical specifications) and a chorus of 24 professional voices. …“
By Andrew Mellor


Gramophone - Editor's choice
June 2008  


"Indeed, from the first bristling chords, Anima Eterna's playing held me on the edge of my seat. Immerseel's brook is no ordinary stream but one that flows through a secluded oasis so hushed, cool and shady that one longs never to leave. And that's as good reason as any for me to recommend this superbly recorded and handsomely packaged set - even if it's just so you can visit that rejuvenating sanctuary whenever you like. I know I'll be back there often." 
By Andrew Farach-Colton


Süddeutsche Zeitung
18 August 2010

Der grosse Entgifter.

Für den Pianisten und Dirigenten Jos van Immerseel gibt es keine Grenzen zwischen Alter Musik und junger Klassik
“ ... Aus Immerseels Konzerten und bemerkenswerten CD-Aufnahmen spricht nicht nur eine ungewohnte Dirigierhaltung, sondern auch eine ganz andere menschliche Herangehensweise, eine intellektuelle und mentale Klarheit. …"
By Helmut Mauro


Gramophone.co.uk
June 2008


“ ... The eternal question with new Beethoven symphony cycles – is there room for another? When it’s as good as this, absolutely. There’s something of the art that conceals art about these performances. At first they can sound perhaps a touch generalised. But there are riches to be mined and they repay longer acquaintance. As with much of Immerseel’s work, you are left with the words ‘life-affirming’. …“


BBC Radio 3's CD Review from Saturday
Saturday 26 April 2008


"Fine recordings, thoughtful notes.if you wanted just one period instrument set of the Beethoven Symphonies on your shelves, this is a persuasive package." 
By Andrew McGregor


The Observer Daily Mail (UK)
June 2008
 

"Here is a superb new set of the most famous symphonies in our musical culture, brilliantly played on period instruments. Jos van Immerseel's and his highly skilled Flanders-based orchestra Anima Eterna's interpretations are exciting but always musical. He does not superimpose strange ideas, as Norrington and others have done. He gives us the unvarnished music. (…) The recordings are state-of-the-art throughout the set."


Siegel Online
April 2008


"Beethoven, der Terrorist : Man muss ihn nur hart genug rannehmen. Jos van Immerseel beweist mit seiner schroffen Aufnahme von Beethovens neun Symphonien, dass diese noch immer die grösste Baustelle der klassischen Musik bilden - und radikale Neuentdeckungen erlauben. ... Dass man Immerseel trotzdem mit solcher Lust folgt, spricht nicht zuletzt dafür, dass Beethoven offenbar jeden Härtetest locker übersteht - wenn man ihn nur hart genug rannimmt. Prophetische Musik nennt denn auch Jos van Immerseel diese Symphonien. Er hat ganz Recht damit."
By Kai Luehrs-Kaiser


Beethovens art is most effectively rendered in an interpretation in which respect and freedom go hand in hand. Respect entails conscientious execution of the written text, the use of the instruments prescribed by the composer, and implementation of the various elements which went without saying at the time – pitch, performance practice, internal orchestral balance, respect of tempo markings, and so on. The dimension of freedom lies in the right to be an individual of today with one’s (invariably personal) culture and sensibility, to blend the available elements as one sees fit, and to communicate all of this to an audience. It is when respect and freedom engage in fruitful dialogue that Beethoven is most likely to appear in his full gravity, drama, wit and humour.

Ludwig van Beethoven

Symphonies  –  Ouvertures
ZZT 080402.6 | 6 CDs | published on 2 April 2008 | buy this cd | read the booklet

 

 

Tracklist

 

CD 1
Die Geschöpfe des Prometheus
1. Ouvertüre op. 43 C Maj (1801)
Sinfonie n°1 op. 21 C Maj (1800)
2. Adagio molto – Allegro con brio
3. Andante cantabile con moto
4. Menuetto : Allegro molto e vivace
5. Finale : Adagio – Allegro molto e vivace
Sinfonie n°2 op.36 D Maj (1802)
6. Adagio molto – Allegro con brio
7. Larghetto
8. Scherzo : Allegro
9. Allegro molto

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CD 2
Sinfonie n°3 op.55 « Sinfonia eroica » E flat Maj (1804)
1. Allegro con brio
2. Marcia funebre : Adagio assai
3. Scherzo : Allegro vivace
4. Finale : Allegro molto
5. Coriolan, Ouvertüre, op. 62 d min (1807)
6. Egmont, Ouvertüre, op. 84 f min (1810)
Die Ruinen von Athen op. 113> (1811)
7. Ouvertüre g min
8. Marcia alla turca B flat Major

 

CD 3
Sinfonie n°5 op. 67 c min (1808)
1. Allegro con brio
2. Andante con moto
3. Allegro
4. Allegro
Sinfonie n°4 op. 60 B B flat Maj (1806)
5. Adagio – Allegro vivace
6. Adagio
7. Allegro vivace
8. Allegro ma non troppo

 

CD 4
Sinfonie n°6 op. 68 « sinfonia pastorale » F Maj (1808)
1. Allegro ma non troppo – Wakening of joyful feelings on arrival in the country
2. Andante molto moto – Scene at the brook
3. Allegro – Merrymaking of the country folk
4. Allegro – Thunderstorm
5. Allegretto – Pastoral song. Feeling of happiness and gratitude after the storm
Sinfonie n°8 op. 93 F Maj (1812)
6. Allegro vivace e con brio
7. Allegretto Scherzando
8. Tempo di Minuetto
9. Allegro vivace

 

CD 5
Sinfonie n°7 op. 92 A Maj (1812)
1. Poco sostenuto – Vivace
2. Allegretto

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3. Presto
4. Allegro con brio
Die Weihe des Hauses op. 124 (1822)
5. Ouvertüre D maj

 

CD 6
Sinfonie n°9 op. 125 d min (1824)
1. Allegro ma non troppo, un poco maestoso
2. Molto Vivace
3. Adagio molto e cantabile
4. Presto – Allegro assai
5. Presto – Rezitativo
6. Allegro assai vivace alla marcia
7. Allegro ma non tanto

 

soloists:
Anna-Kristiina Kaappola, soprano
Marianne Beate Kielland, alto
Markus Schäfer, tenor
Thomas Bauer, bass

 

 

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