Beethoven festival: Symphony No. 1, 2, 3
Symfoni nr 1, 2 och 3 med Malmö SymfoniOrkester och Robert Trevino.
Beethoven's three first symphonies.
A farewell to the eighteenth century
One of music history’s most remarkable and influential bodies of work, Beethoven’s nine symphonies, commences with a tentative C7 chord. The 22-year-old Beethoven had moved from his birthplace of Bonn to the capital of European music, Vienna, in 1792. Mozart had died one year earlier and Haydn was at the pinnacle of his career. During his early years in the city, Beethoven studied and composed diligently, but primarily supported himself as a musician, debuting as a pianist in 1795 and quickly earning himself a reputation as an improvisor. At the same time, he was writing the first bars of his Symphony No. 1, although the bulk of the work was completed between 1799-1800. It was first performed at the prestigious Viennese court theatre, K.K. Hoftheater nächst der Burg, on 2 April 1800. The symphony is a work of Viennese Classicism in the spirit of Mozart and Haydn and, together with Beethoven’s Symphony No. 2, it can be said to mark the end of that musical tradition.
Symphony: a matter of life and death
It was while working on his second symphony that Beethoven discovered that his hearing loss would eventually result in profound deafness, an insight that would cause anyone anguish but that was of course a particularly bitter pill to swallow for a composer. In the depths of his despair in October 1802, he wrote a document entitled the Heiligenstadt Testament, an account of his torment addressed to his younger brothers, Carl and Johann: “I would have put an end to my life – only art it was that withheld me, ah it seemed impossible to leave the world until I had produced all that I felt called upon me to produce...”
So, against this sombre background, can Symphony No. 2 be considered a gloomy work? Not in the least. On the whole, this is cheerful music; even the second larghetto movement finds room for exuberant and contagious melodies. This is music by a composer who has rejected suicide and instead chosen life.
A new artform
Symphony No. 3 represents a massive stride forward, away from Viennese Classicism and towards the Romanticism that would prove to be the nineteenth century’s major musical movement. With it, Beethoven redefined the symphony as an artform. Having been a genre that largely functioned as background music and entertainment for the aristocracy, he transformed it into an artistic tool capable of formulating manifestos, thoughts and concepts; in this case, his admiration of heroism, eroica. One of the symphony’s highlights is the second movement funeral march, “Marcia funebre”, particularly its powerful middle section. This consists of a slowly swelling crescendo in which the immense orchestral engine appears to be at maximum revs, only to find another gear, and then another and another until it reaches a climax – followed by dramatic silence.
The third movement is a scherzo characterised by the lively toing and froing of horns, while the finale consists of 10 variations on a low-key theme, introduced at the outset of the movement by pizzicato strings and climaxing with a radical tempo increase and a final triumphant minute that tumbles down on the listener like an overloaded bookshelf. Symphony No. 3 premiered in Vienna on 7 April 1805.
Malmö SymfoniOrkester (MSO) grundades 1925 och består av ca 90 heltidsanställda yrkesmusiker från nästan 20 länder. Orkestern är stolt bärare av den traditionella symfoniska repertoaren, men strävar också efter att föra den symfoniska musiken framåt genom samarbeten med nutida tonsättare och utveckling av nya konsertkoncept.
Flera inspelningar med Malmö SymfoniOrkester har under åren blivit internationellt uppmärksammade med första pris i tävlingar som Cannes Classical Awards och Diapason d’Or. I augusti 2013 inledde orkestern tillsammans med chefsdirigent Marc Soustrot det omfattande arbetet att spela in all symfonisk musik av Camille Saint-Saëns, allt som allt åtta CDs, på skivbolaget Naxos.
Läs mer om Malmö SymfoniOrkester genom att klicka här.
Robert Trevino dirigent
Den amerikanske dirigenten Robert Trevino fick sitt internationella genombrott när han 2013 med kort varsel ersatte Malmö SymfoniOrkesters förre chefsdirigent Vassily Sinaisky i ett projekt vid Bolsjojteatern i Moskva med lysande recensioner som följd. Det ledde till flera nya engagemang med ledande orkestrar. Trevino har studerat för David Zinman som Aspen Conducting Fellow vid Aspen Music Festival and School och därefter, 2011, för James Levine som Seiji Ozawa Conducting Fellow vid Tanglewood Music Festival. Hans samarbeten med ledande orkestrar i USA och Europa innefattar bland andra Cleveland Orchestra, London Philharmonic Orchestra, San Francisco Symphony och Rotterdam Philharmonic Orchestra.
Från och med säsongen 2019–20 är Robert Trevino chefsdirigent för Malmö SymfoniOrkester.
Last updated 2019-11-20
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DURATION: approax. 2 hours 10 minutes incl. intermission
Beethoven Symphony No. 1
Beethoven Symphony No. 2
- intermission -
Beethoven Symphony No. 3 "Eroica"
Malmö Symphony Orchestra
Robert Trevino, conductor
Concert introduction at the Canal stage 6pm with Line Fredens
ORGANIZER: Malmö Live Konserthus