Beethoven radically changed music, more than any other composer in history. In performing all nine of his symphonies, Alain Altinoglu has a superb opportunity to illustrate this. Schumann (through his alter ego Florestan) pointed out that Beethoven’s status as a genius does not depend on his final symphony, but is already evident in the First. When Beethoven presented his First Symphony in Vienna, Europe had undergone major change as a result of the French Revolution. This symphony still reflected the Classical ideal of Mozart and Haydn, but a certain detachment from the symphonic genre also showed through, for example, in its opening chord. This cleared Beethoven’s way to the ‘Eroica’, which in tone and scale is an unrivalled, pivotal work. The Third Symphony’s heroism and its funeral march find an echo in the use of the trombone as a solo instrument in Richard Dubugnon’s commissioned work, whose title refers to the historical figure to whom Beethoven initially dedicated his ‘Eroica’.
In reaction to La Monnaie’s Beethoven cycle, the Belgian National Orchestra opens a parallel window on Beethoven’s enduring musical influence. On the programme of the concert Re: Beethoven - Scandalous stories!: three sensational symphonic works with a touch of scandal.
- Ludwig van Beethoven
Symfonie Nr. 1 C-Dur, op. 21 (1799-1800)
Symfonie Nr. 3 Es-Dur “Eroica”, op. 55 (1803)
- Richard Dubugnon
Tombeau de Napoléon, for solo trombone and orchestra, op. 81
La Monnaie Symphony Orchestra
ProductionDE MUNT / LA MONNAIE
Co-presentationBELGIAN NATIONAL ORCHESTRA, BOZAR MUSIC
With the support of THE BELGIAN FEDERAL GOVERNMENT’S TAX SHELTER, IN COOPERATION WITH PROSPERO MM PRODUCTIONS SA/NV AND TAXSHELTER.BE, POWERED BY ING