Ludwig VAN BEETHOVEN
& Friedrich WITT
Arias & orchestral works
Academy of Ancient Music
Chen Reiss, soprano
DIR.: CHRISTOPH ALTSTAEDT
recorded: March 4, 2020, Germanisches Nationalmuseum, Nuremberg
period instruments
flac (original bitrate: 320 kbps mp2)
Thanks to the first uploader
Ludwig VAN BEETHOVEN (1770-1827)
(01) Overture Die Geschöpfe des Prometheus, op. 43 [05'32"]
Cantata on the Accession of Emperor Leopold II, WoO 88:
[Kantate auf die Erhebung Leopolds II. zur Kaiserwürde]
(02) Fließe Wonnezahren, fließe [11'11"]
Friedrich WITT (1770-1836)
Symphony No. 4 in E flat [28'50"]
(03) adagio sostenuto - allegro vivace [09'01"]
(04) adagio ma un poco andante [06'18"]
(05) menuetto. allegro - trio [05'24"]
(06) finale. allegro molto [08'07"]
Ludwig VAN BEETHOVEN
(07) Ah! Perfido, op. 65 [13'33"]
Symphony No. 4 in B flat, op. 60 [33'42"]
(08) adagio - allegro vivace [11'29"]
(09) adagio [09'28"]
(10) scherzo - trio. allegro vivace [05'27"]
(11) allegro ma non troppo [07'18"]
[encore]
(12) Soll ein Schuh nicht drücken (WoO 91,2) [05'03"]
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I keep thinking about how rarely we discuss classical music as narrative architecture rather than just emotional expression.
ReplyDeleteDante’s Inferno is a fascinating example, it almost functions like a pre-composed symphonic structure: clear progression, escalating intensity, symbolic “characters” defined through environment rather than dialogue.
It makes me wonder how many modern orchestral or film composers are intentionally thinking in terms of literary structure rather than purely musical form.
Do you think narrative frameworks still meaningfully shape how we listen to large-scale orchestral works today?
https://youtu.be/14fziK0497I