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  • Beethoven: Symphony No. 3 'Eroica' / Overtures: 'Leonore' Nos. 1 & 2
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Beethoven: Symphony No. 3 'Eroica' / Overtures: 'Leonore' Nos. 1 & 2 Limited Edition, Original recording remastered


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Audio CD, Limited Edition, Original recording remastered, April 9, 2002
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Product Details

  • Orchestra: Philharmonia Orchestra
  • Conductor: Otto Klemperer
  • Composer: Ludwig van Beethoven
  • Audio CD (April 9, 2002)
  • Number of Discs: 1
  • Format: Limited Edition, Original recording remastered
  • Label: EMI Classics
  • ASIN: B000063UNF
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #352,957 in Music (See Top 100 in Music)

1. Symphony No.3 In E Flat, Op.55 'Eroica': I: Allegro Con Brio
2. Symphony No.3 In E Flat, Op.55 'Eroica': II: Marcia Funebre (Adagio Assai)
3. Symphony No.3 In E Flat, Op.55 'Eroica': III: Scherzo (Allegro Vivace) & Trio
4. Symphony No.3 In E Flat, Op.55 'Eroica': IV: Finale (Allegro Molto/Poco Andante/Presto)
5. Overtures: 'Leonore' No.1, Op.138: 'Leonore' No.1, Op.138
6. Overtures: 'Leonore' No.2, Op.72: 'Leonore' No.2, Op.72

Customer Reviews

4.3 out of 5 stars
5 star
58%
4 star
17%
3 star
25%
2 star
0%
1 star
0%
See all 12 customer reviews
They sound full and rich.
Ricardo Mio
Add to that that, again, the great 1959 sonics lend it an instrumental character that the 1955 version can't even start to emulate.
Discophage
Simply a divine reading and as high a recommendation as I have ever given any work on these pages.
NUC MED TECH

Most Helpful Customer Reviews

25 of 28 people found the following review helpful By Robert Higgs on October 9, 2002
Format: Audio CD
This mono performance, recorded in 1955, is not the same one which was released in the Klemperer legacy series (that was a stereo performance, recorded in 1959), but it is far better as an interpretation. The first movement is magnificent and it sounds as though it was recorded in a complete take. The funeral march is a little too fast, and the principal oboe does not sound sad at all, but apart from that I am sure everything is as Beethoven would have wanted it. This is a very well known recording and it deserves special attention. It is a pity that Klemperer slowed down by the time the stereo performance was made, for he ruins the first movement, and therefore the whole symphony, by his plodding tempo. Yet amazingly the stereo recording gets all the acclaim. Avoid it and buy this mono performance.
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11 of 12 people found the following review helpful By A Customer on April 18, 2003
Format: Audio CD
This Eroica is a stunner. It hardly sounds like a mono recording, so good is the recording. It is a much better interpretation than the stereo which is slower. Here Klemperer is in his element. Tempi are well-judged and flows smoothly. You are magnetized from first to last and the performance never sags. Great recording indeed. This Eroica is on Grammophone's top 100 Classical List and I can say it deserves its reputation. The reviewer below must be extremely sensitive to sonics. I listen to a lot of both mono and stereo recordings because a lot of the mono are classics (unfortunately). I can say that this mono sound is the best mono you can possibly get. In fact, if you are listening on speakers (NOT WALKMAN HEADPHONES), you probably can't tell that it's mono - just a hint. If you listen on headphones it's more obvious but the mono is still far better than normal mono.
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5 of 5 people found the following review helpful By Ralph Moore TOP 500 REVIEWER on January 26, 2009
Format: Audio CD
I disagree profoundly with those who call this performance turgid or plodding; there is a momentum and grandeur in Klemperer's interpretation which carries the listener on an inexorable wave of sound. Direct comparison between Klemperer and, say, Harnoncourt, reveal, for all the latter's lightness of touch, that it is not so much a question of tempi which separates them as that of phrasing and emphases. (However, I must here observe that as Harnoncourt gets through the first movement with the repeat in the same time it takes Klemperer to do so without, either Harnoncourt is insanely fast or Klemperer really is taking his time - but, for me, both performances work supremely well and simply point to the latitude a great conductor has in interpreting Beethoven - especially given the unreliability of the composer's metronome markings.) Klemperer certainly avoids the worst excesses of his later mannerisms by keeping everything moving despite the solidity of the punched-out accents. Both the outer movements build to electrifying climaxes.

I consider this to be great recording in that it succeeds triumphantly in convincing us that this is one very convincing way of performing the "Eroica" - but obviously not the only way. It is, if you like, an essential supplement (if that's not an oxymoron) to a fleeter, sharper, more "classical" approach such as Harnoncourt's - and in certain moods, I feel it's my preferred way.

I am not so thrilled by the two "Leonora" overtures; they are enjoyable, if less finely detailed accounts - but you buy this disc primarily for the inimitable Third. My four stars are a recognition of the fact that the sound is clean, slightly boxy mono, with a little distortion at the loudest points.
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3 of 3 people found the following review helpful By Music Lover on June 20, 2009
Format: Audio CD
My favorite performances of Beethoven's third are Szell's well-known Cleveland cut and Rudolf Kempe's sterling Testament (live 1974 with the Royal Philharmonic -- get it if you have never heard it. You are in for a very great hour!) recording. The second movements from these two are cut in stone with some of the damndest playing and direction I have ever heard. They are so teriffic in the second movement, I have difficulty describing the precision, definition, and passion with which they play. And are they ever great on the rest of it. I do not have room here to praise them enough. (How I regret losing Rudolf Kempe in his 60's! What a loss! What a very great conductor he was!) They have excellent overall schemes, great direction, and stupendous orchestral playing. I can't count how many times I have listened to the third, and there are not a lot of winners on great performances. However, there are a lot of very good performances. Now to Klemperer.

K's 3rd is very good, but it does not have a lot of pop. Not a lot of plain ole "ummph!" Not like Szell's or Kempe's. (And I remember an old Solti VPO LP performance I liked many years ago, but do not know if it is in existence today.) But K's scheme is very good, the playing is great, and Klemp --like Solti on many performances -- often wins on points because of his discipline and magisterial approach. He has a convinced orchestra and probably liked this performance himself. The sound is good enough to not be a minus factor.

This one is good enough to be in your library if not first on your picks. It is very good. How high it ranks will be your choice, but believe me, it does rank. It is very good.
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5 of 6 people found the following review helpful By Discophage TOP 500 REVIEWER on November 20, 2010
Format: Audio CD
So, apparently, there is this brewing controversy about which is the better recording of the Eroica by Klemperer, between this mono recording of 1955 and his better known stereo remake from 1959 (Symphony 3 or The Klemperer Legacy: Beethoven Symphony No.3 ("Eroica"); Grosse Fuge). Let me enter the fray, then; my title states clearly whose side I am championing.

The pro-1955 have given here the reasons of their preference, I'll develop the reasons to prefer the 1959 remake. Sorry for the seemingly dry stats, they are just to give an objective basis to subjective impressions.

First, at least in the first and third movements, the basic conception of both versions is remarkably the same. It is almost to the second in the scherzo; the first movement in 1955 is overall swifter by some 45 seconds, but still, the opening pulse is almost the same: in 1959 Klemperer crosses the repeat bar at 3:34, against 3:28 in 1955 - not a dramatic difference, then.

What both versions have in that first movement is a very characteristic sway, a gently rocking beat that is established by the deliberate pace and remains under the music's explosions. But that Klemperer in 1955, while establishing the same basic pulse, should finish ahead of Klemperer in 1959, points to the fact that there is indeed an added bite and urgency in 1955, perceptible from the begining but even more pronounced as the movement unfolds; Klemperer in 1959 remains remarkably stable and deliberate in his beat.
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