Cycle Ludwig van Beethoven - Symphonie n°2

Cycle Ludwig van Beethoven - Symphonie n°2

Beethoven delved into the symphonic genre rather late in his life. He was already 30 years old when he achieved his first Symphony (1800), after a long preparatory period. The reason is, he is then facing two imposing influences of the genre, Mozart and Haydn, and is not considering a frontal approach yet. His innovations are surreptitiously disturbing symmetries, intensifying dynamics and disrupting rhythms. His Symphony No.3 (1805) will decisively settle the typical Beethovian style, something perfectly reflected in the title “Eroica”.
This is the emergence of a different relationship to dramatic scansion of pure music and to the temporal development of “historical” powers (as we could qualify them). Between these two movements of the Creation of Symphony, the Symphony No.2 found the right balance, a miracle too often neglected: it overcomes the ambivalent reaction to tradition to better assert the freedom of an event yet to come. Maynard Solomon, who wrote major essays on Beethoven, described it as “a both retrospective and prospective work”.

Equipe artistique

Orchestre de l’Opéra national de Paris
Direction musicale et Directeur musical : Philippe Jordan

Une coproduction Opéra national de Paris et Telmondis
En association avec ARTE France
En association avec M_MEDIA /ClassicAll TV
Avec le soutien de Pierre Bergé, mécène des concerts symphoniques de l’orchestre de l’Opéra national de Paris.
Et de la Fondation Orange, mécène des retransmissions audiovisuelles de l’Opéra national de Paris
Avec le concours du centre national du cinéma et de l’image animée

© OPERA NATIONAL DE PARIS - TELMONDIS - 2014

Visuel © Jean-François Leclercq / OnP

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Cycle Ludwig van Beethoven - Symphonie n°2

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  • Cycle Ludwig van Beethoven - Symphonie n°2

    Beethoven s’est aventuré assez tard dans le genre de la symphonie. 
    Il a déjà trente ans lorsqu’il achève la première (1800), après une longue période préparatoire. C’est qu’il doit alors se positionner face au double modèle, déjà écrasant, de Mozart et de Haydn et il choisit de ne pas encore le ...