Symphony No. 3 in E-flat major 'Eroica'
Ludwig van Beethoven
Enregistrements
Otto Klemperer / Philharmonia
1959 Stereo recordingGil's top choice. He describes it as patient, with power that builds slowly. He finds it very effective, especially in the funeral march where Klemperer 'plumbs the depths.'
Également Recommandés
Otto Klemperer / Philharmonia
1955 Mono recordingPreferred by some for being a little quicker in the first movement.
Herbert von Karajan / Berlin Philharmonic
c. 1980s From Karajan's digital cycleRecommended for more energy in the first movement. Gil notes its traditional heaviness and wonderful sound.
George Szell / Cleveland Orchestra
1957For those who want clarity, crispness, and energy. Szell liked clean articulation and faster tempos. Gil calls the funeral march 'eloquent' and the orchestra's playing 'immaculate.'
Nicholas Harnoncourt / Chamber Orchestra of Europe
1990 Period performanceA period performance that is 'very musical' with a 'pleasant sound' that isn't too stringent.
Paul van Kempen / Berlin Philharmonic
1951 Mono recordingA traditional, powerful, and dramatic mono recording. Gil says van Kempen 'understood the emotions of the work very well.'
Erich Kleiber / Concertgebouw
1950Has more energy, 'grabs you by the throat... and just never lets go.' An exciting performance despite limited sound.
Wilhelm Furtwängler / Vienna Philharmonic
1944 Live recordingA live recording that is 'very intense, very concentrated.' The funeral march is 'amazing' and the recording quality is 'not too bad for 1944.'
Wilhelm Furtwängler / Berlin Philharmonic
Dec 8, 1952 Live recordingEven more recommendable. Gil says it 'sounds really good' for a live recording and is 'masterful in the way he builds the tension.' He calls the funeral march 'emotionally overwhelming.'
Wilhelm Furtwängler / Vienna Philharmonic
c. 1950s EMI studio recordingA good recording to understand his conception, but Gil feels his live recordings are better.
Arturo Toscanini / NBC Symphony Orchestra
1939 Live recordingThe 'antithesis' of Furtwängler. More objective, with lots of energy and moving quickly. The first movement is 'ferocious.' Gil calls this, along with Furtwängler's, his favorite interpretation.