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WWE 1CD 60001
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Ludwig van Beethoven
Symphonies 1 & 5
1. Symphonie in C- Dur, Op.21- Adagio molto - Allegro con brio 09:23
Andante cantabile con moto 08:01
Menuetto (Allegro molto e vivace) 03:43
Adagio - Allegro molto e vivace 06:39
5. Symphonie in c- moll, Op. 67 - Allegro con brio 07:52
Andante con moto 09:59
Allegro 05:34
Allegro 11:45
Total Time 01:02:56
Symphonies 1 & 5 9,99 €  |  download
01 1. Symphonie in C- Dur, Op.21- Adagio molto - Allegro con brio 09:28
02 Andante cantabile con moto 08:06
03 Menuetto (Allegro molto e vivace) 03:49
04 Adagio - Allegro molto e vivace 06:44
05 5. Symphonie in c- moll, Op. 67 - Allegro con brio 07:57
06 Andante con moto 10:04
07 Allegro 05:39
08 Allegro 11:50
Gustav Kuhn, a conductor who is in demand internationally (and currently to be heard regularly at the Opéra national de Paris), has made headlines above all for his Tiroler Festspiele Erl, where he performed Wagner’s Ring cycle within twenty-four hours in 2005. With the Haydn-Orchestra of Bolzano and Trento, of which he is principal conductor, he is now recording Beethoven’s symphonies exclusively for col legno. What does it sound like?

“No one could shape Goethe’s quotation from Götz so suggestively into a large symphonic work as Ludwig van Beethoven did at the beginning of his Fifth Symphony. And hardly anyone has transformed Beethoven’s angry desperation into music with such ineluctable intensity as Gustav Kuhn and the Haydn-Orchester.” (Peter Vuijca, Der Standard, Vienna)

The Haydn Orchestra of Bolzano and Trento is a formation that is now rare in the world of music: an orchestra composed of the players typical in a Haydn symphony. As artistic director of the orchestra since 2003, Gustav Kuhn emphasizes precisely this unusual feature. The climax of this new artistic direction is a recording of all nine Beethoven symphonies on modern instruments. “The emotional states of the music can be performed just as well on modern instruments as with a philological interpretation of the scores,” says Gustav Kuhn. “Joy, innocence, seriousness, tenderness... it’s not the end of the world if I express it with gut or steel strings or some other way.”
The Mahlerlieder album concludes Musicbanda Franui’s inspiring trilogy about the art of the Lied in the 19th century. 
"The Wilten Boys’ Choir astonished me: with the beauty of their voices and their maturity, that is just remarkable for a Boys’ Choir." (Arvo Pärt) 
col legno