The protagonists of our recording lived and worked in a country that officially did not exist, dependent on the whims of sometimes less, sometimes more strict censors, dreamed of a career in a large, free Europe, and at the same time were doomed to struggle to raise the meagre level of local cultural life.
Eduard Hanslick called Symphony No. 1 ‘Appassionata’, it is sometimes also called ‘Pathetique’. It is said to be Bee-thoven’s ‘10th Symphony’.
The fifth recording of our anthology has a specific layout whose undisputed centre of gravity is Symphony No. 3 with its central “E”.
Not that different to be interesting in terms of variety, not similar enough to be homogenous in terms of form.
While recording this magnificent music we felt a bit like the musicians of Haydn’s orchestra 250 years ago. We are also a young ensemble wishing to demonstrate its abilities, and the work on the symphonies gave us genuine pleasure.
The second, more song-like theme is intoned by the woodwinds, after which the triumphant Maestoso returns, and the whole is rounded up by daring orchestral effects performed at a dizzying pace.