Beethoven: Symphony 3 & 4
Preface
When moving on to Beethoven from the symphonies of Haydn and Mozart, I hadn't thought of how well I know Beethoven's symphonies. With the earlier composers, I might be really familiar with a few, but not the whole lot. With the later composer, I would say a majority of the symphonies are familiar enough, I could hum the music without a recording, from beginning to end.
And so, with such familiarity, what could I possibly break down? Also, with Symphony no. 3 in particular, we have a work which goes beyond 40 minutes in length, a monster of a piece for the time. If I described every right and left turn, every acceleration and deceleration, as well as a lifetime of oil changes, who would want to read about it? Is anyone reading right now anyways?
So, I will try and keep my thoughts brief and only point out what seems important to me in the moment. If I ramble on too long, enjoy the music or move to the next. Hopefully, I will not become too technical sounding, yet I want to point out the way clearly, as my real thoughts can often be a muddle.
Those looking for my generalized thoughts alone should skip to the bottom to read my final thoughts. Otherwise, I will do a movement-by-movement breakdown of each symphony for those who wish to listen along. I will provide a video of these same performers I am listening to in order to make it easier to follow along with my thoughts. That YouTube playlist can be found at the very bottom of this blog post.
Symphony 3 in E-flat major 'Eroica', op. 55
Movement 1
Key: E-flat Major
Meter: 3/4
Tempo: Allegro con brio
BPM Chailly:
= 160
Movement 1
Key: E-flat Major
Meter: 3/4
Tempo: Allegro con brio
BPM Chailly:
= 160Golly! The first movement of Symphony no. 3 might be the composer's most famous, and if not, it probably just lies behind the opening of Symphony no. 5 and the end of Symphony no. 9. Personally, I consider this a perfect movement from Beethoven.
The first movement is built upon a simple E-flat Major arpeggio, a fanfare-like idea which ends with a short chromatic tail. And of course, it is that short chromatic tail which makes the motion of the music so interesting. When the winds make the second statement of the opening melody, it is done so in a slightly different guise, where the music goes further afield harmonically compared to the opening. Following are some syncopated, full-orchestral chords, ones which remain important throughout the movement as a tie that binds
A final, heroic utterance of the first theme leads directly into the second motivic section. Here, a downward-moving idea of only three notes are passed among the winds and 1st violins after each three-note statement, almost as if in imitation. This nearly playful moment is only broken up by a full-orchestra clash which leads to an equally important, outward-moving transitional idea. Here bassoons, violas, and cellos move downward while the clarinets and oboes move upwards, nearly continuing a final moment from the previous wind theme. This leads to a tutti skipping transition to a third, yes third, motivic section.
In this third section, the harmonic motion is more static, with Beethoven simply adding instruments to the chords before the harmony wanders off again. This third theme is passed between winds and strings once again, with a little falling idea landing between their thematic statements, perhaps an allusion to the earlier falling motive. Lots of buildups to tutti sforzando hemiola areas bring the exposition to a close, one of the longer expositions from Beethoven; and there is still an expositional repeat! Before that repeat, Beethoven ingeniously reminds the listener of the loud opening chords and the first theme, although in a different harmonized area.
It should be no surprise that the development section is of large proportions, not only showcasing the two main motivic areas, but also elements from transitional portions as well. Oddly, Beethoven does not develop the third motivic section; perhaps I mislabeled that part of the exposition, yet it seemed separate to my ears.
Regardless, instead of playing with that third motive in the development section, Beethoven introduces a completely new theme. This one is haunting, possibly my favorite of the movement, first explored by oboes and cello and following flutes and bassoons. When this new idea reappears, it will be explored by many combinations of instruments and moved to the major mode occasionally, with the composer never satisfied simply repeating an idea exactly the same way twice.
The recapitulation is announced by an early entrance of the first theme played by the horn, a joke I think Haydn would have enjoyed greatly, as I think the elder composer did the same at some point. Some might be confused at this point, for it takes no time at all for the recapitulation to go off the harmonic rails, with Beethoven moving to F Major, then D-flat Major and winding around and transitioning to the second motivic area. The second section goes more according to plan, with the third motive appearing again as well.
When the end of the recapitulation ends, announced by a stunning and loud move to D-flat Major, the listener still has three or more minutes of Coda. This not only allows Beethoven to develop the music further with little contrapuntal devices, but also re-integrate the new theme he introduced in the development, as well as land the listener firmly back into E-flat Major as well as ride home the main theme of the work.
Again, my apologies for a lengthy first description. At 15-minutes, I never feel Chailly is too fast in this first movement. The clarity of the Gewandhaus is certainly stunning, not to mention the sparkle of the string section. Just imagine if the strings were truly let loose!
Movement 2
Key: C minor
Meter: 2/4
Tempo: Marcia funebre: Adagio assai
BPM Chailly: ♪ = 70 - 85
I don't how often a funeral march is used as the second movement of a symphony in the Classical Era, but I have to imagine if they did, it would be a ternary form affair. Beethoven, on the other hand, uses this moniker to fully explore the pathos of such a title, with no need to confine himself to an orchestral song, a common occurrence in the second movement position.
With Chailly coming close to Beethoven's metronome marking, I think we are shortchanged some in the drama department. While the Italian conductor and the Gewandhaus are excellent at the composer's dynamic opposites, what is really missing is a depth of feeling. In this case, the ensemble skates over the music beautifully, but I am never pulled in. As the old ones say: too hasty!
That said, Chailly doesn't set the metronome and take off. There are many sections to this funeral march movement, and each receives a push ahead or a pull behind depending on the moment. In this way, I appreciate Chailly being more flexible with the music rather than dead set on an immovable course.
One element which helps this recording, especially in such an emotional movement as this one, is its strong bass line. Nothing in these performances ever sounds under-powered nor half-baked. Perhaps I should wait for my final comments to go on about these performances...
Movement 3
Key: E-flat Major
Meter: 3/4
Tempo: Allegro vivace
BPM Chailly: 𝅗𝅥. = 122 & 𝅗𝅥. = 112 (Trio)
Low-lying strings line this whole Scherzo, peppered by winds throughout. The mood significantly changes here too, with a happy country jaunt at hand. The second half of the Scherzo becomes more triumphant in a Beethoven-ian manner, reminding me of the composer's later Scherzos.
The Trio is notable for its horn fanfares, here played lustily by the Gewandhaus horn section. Oddly, Beethoven does not write in a Da Capo return to the beginning, but composes beyond the Trio, including an additional final Coda to finish off the movement. Strange too, as there are four bars of duple Alla Breve thrown in the further Scherzo section to really throw the listener off-kilter beyond mere hemiolas and off-beat syncopations.
Movement 4
Key: E-flat Major
Meter: 2/4
Tempo: Allegro molto
BPM Chailly: = 144
Following a furioso introduction of semidemiquaver runs, a plucked melody lines out a melody to be varied throughout the movement. Once Beethoven turns those plucked note into bell-like tones, my polyphonic texture alarm is set off, for I can expect a fugal portion at some point. It actually doesn't take long for Beethoven to imitate and set the melody contrapuntally, although there are more sustained fugal portions as the variations continue on.
At some point, a Gypsy-like melody appears in the middle of a minor-keyed diversion, a moment which I absolutely love. If I had my druthers, I would guess this is probably a double variation form, only because it sounds like there is so much thematic overlay going on all at once.
I would say generally that this movement is one of a positive musical stance, although Beethoven as ever enjoys developing the music into the minor a fair amount of the time as well. Beethoven does a nice job varying the musical styles he presents as well, instead of simply making this movement one more elongated development, which we have had enough of at this point. All in all, this is a fine close to a rather large symphonic creation.
Symphony 4 in B-flat Major, op. 60
Movement 1
Key: B-flat Major
Meter: Cut Time
Tempo: Adagio & Allegro vivace
BPM Chailly: 𝅗𝅥 = 30 - 34
Most talk of Symphony no. 4 lies in direct comparison to the monster symphonies surrounding it. Personally, I like the affable nature of this symphony as a palate cleanser to the others, ones which often dwell in a psychological dark place.
But it should be acknowledged that the Fourth Symphony is simply not as broadly popular as Nos. 3 & 5. I have some ideas as to why that might be, but let's get on with the first movement.
Beethoven opens on an Adagio introduction. He doesn't play any hijinks in establishing the opening key, however harmonically he moves all over the place, including into minor modes. That, married with a host of short and plucked strings, brings to mind small raindrops before an oncoming storm. Also, right before the dominant preparation, which occurs just before the Allegro, Beethoven has established A Major, but who then loudly and abruptly shifts to F Major, the chromatic mediant, is a great harmonic surprise to the listener.
Carefree joy inhabits the open melody, one which is almost presented coquettishly compared to its triumphant restatement in the full orchestra, where the melody is almost hidden within the ensemble. I love the transitional material which follows, where the bassoon is put on an Alberti Bass figure instead of the double basses. Before the second thematic area arrives, Beethoven puts the entire orchestra on syncopations, keeping the pulse lost for a short time.
The second thematic area is given to the winds, tossed to bassoon, oboe, and then flute, making a wonderful move to the relative minor. While there is short section of full orchestral noodling, more wind solos show up thereafter, although the theme has changed. This second melodic idea is still passed around the various wind instruments, even overlapping this time, so I am inclined to believe this is a continuation of the second area.
As far as development sections go, this is one of the more chipper ones from Beethoven, Sure there is some storminess, but on the whole, he gives way to the pastoral nature of this music. Near the beginning, there is a wonderful lyrical melodic line, first given to flute, clarinet, and bassoon, and then passed to 1st violins and clarinets - I originally thought this was a new idea, however, upon rehearing, this is probably based on earlier material, just presented differently. Either way, it is a winning melodic line.
Beethoven teases the listener for a really long time before finally getting to the recapitulation. This time, he teases in quite volumes. The subtle timpani rolls brought back to mind the opening threatening storminess I had caught in the introduction. Suffice to say, nothing about this movement has actually erupted into any such musical storms, just the slow tease.
Beethoven makes relatively short work of the recapitulation. The first motive is developed a little further harmonically, but gone is the bassoon bass, and instead we are off to the second motives. The Coda too is rather short comparatively, fully sounding out B-flat Major for the listener.
With my thoughts of storminess and pastoral melodies, I wonder if Symphony no. 4 is a precursor of sorts to Symphony no. 6, the Pastoral? Am I overthinking here?
Movement 2
Key: E-flat Major
Meter: 3/4
Tempo: Adagio
BPM Chailly: = 42
A long, flowing melody almost reaches endless lengths, it goes on so long. While it is first uttered by the violins, the clarinet gets a crack at it later on in the movement. It is a lovely one though, buoyed underneath by an ever-present dotted rhythm, which gets exclaimed loudly at points in the movement.
It is the aggressive nature of this dotted rhythm which generally puts me off of this movement, though. To my ears, it is an unnecessary militaristic texture in the movement, although its dogged thematic presence is an interesting aspect.
Chailly does not hold back some ungainly wind and brass sounds in the second half. Beethoven makes some small dissonant choices, and these players seem to relish the musical oddities. Speaking of, a shout-out to the timpani solo at the very end, followed by two loud tutti chords to end the slow movement.
Movement 3
Key: B-flat Major
Meter: 3/4
Tempo: Allegro molto e vivace
BPM Chailly: 𝅗𝅥. = 104
Despite a rather gruff opening, this is a pretty, light and fleet Scherzo, with some hemiola sforzandos. In some ways, this reminds me of a Dvořák Slavonic Dance; perhaps a precursor...?
The Trio is given over to wind ensemble, with little witty commentary given from the violins in between wind statements. Again, a Da Capo return is eschewed in lieu of merely moving on from the Trio directly. In addition, the Trio returns again as well, bringing a Double Trio situation to the table. Intuitively, the Scherzo comes back one last time, and it is the horns which lead to the final notes.
Movement 4
Key: B-flat Major
Meter: 2/4
Tempo: Allegro ma non troppo
BPM Chailly: = 156
The fourth movement is a joyous effusion of music, with strings furiously sawing away throughout. While there are pastoral moments, I think Beethoven or Chailly prefer the bolder settings in this music.
Before the music concludes, Beethoven brings the music to a stop twice. First, only to have the double basses start their sawing up again, the second for some final thoughts from single instrument sections right before the final measures. The bassoon actually has a couple exposed moments to themselves, a delight for that instrument, I am sure.
The first movement is built upon a simple E-flat Major arpeggio, a fanfare-like idea which ends with a short chromatic tail. And of course, it is that short chromatic tail which makes the motion of the music so interesting. When the winds make the second statement of the opening melody, it is done so in a slightly different guise, where the music goes further afield harmonically compared to the opening. Following are some syncopated, full-orchestral chords, ones which remain important throughout the movement as a tie that binds
A final, heroic utterance of the first theme leads directly into the second motivic section. Here, a downward-moving idea of only three notes are passed among the winds and 1st violins after each three-note statement, almost as if in imitation. This nearly playful moment is only broken up by a full-orchestra clash which leads to an equally important, outward-moving transitional idea. Here bassoons, violas, and cellos move downward while the clarinets and oboes move upwards, nearly continuing a final moment from the previous wind theme. This leads to a tutti skipping transition to a third, yes third, motivic section.
In this third section, the harmonic motion is more static, with Beethoven simply adding instruments to the chords before the harmony wanders off again. This third theme is passed between winds and strings once again, with a little falling idea landing between their thematic statements, perhaps an allusion to the earlier falling motive. Lots of buildups to tutti sforzando hemiola areas bring the exposition to a close, one of the longer expositions from Beethoven; and there is still an expositional repeat! Before that repeat, Beethoven ingeniously reminds the listener of the loud opening chords and the first theme, although in a different harmonized area.
It should be no surprise that the development section is of large proportions, not only showcasing the two main motivic areas, but also elements from transitional portions as well. Oddly, Beethoven does not develop the third motivic section; perhaps I mislabeled that part of the exposition, yet it seemed separate to my ears.
Regardless, instead of playing with that third motive in the development section, Beethoven introduces a completely new theme. This one is haunting, possibly my favorite of the movement, first explored by oboes and cello and following flutes and bassoons. When this new idea reappears, it will be explored by many combinations of instruments and moved to the major mode occasionally, with the composer never satisfied simply repeating an idea exactly the same way twice.
The recapitulation is announced by an early entrance of the first theme played by the horn, a joke I think Haydn would have enjoyed greatly, as I think the elder composer did the same at some point. Some might be confused at this point, for it takes no time at all for the recapitulation to go off the harmonic rails, with Beethoven moving to F Major, then D-flat Major and winding around and transitioning to the second motivic area. The second section goes more according to plan, with the third motive appearing again as well.
When the end of the recapitulation ends, announced by a stunning and loud move to D-flat Major, the listener still has three or more minutes of Coda. This not only allows Beethoven to develop the music further with little contrapuntal devices, but also re-integrate the new theme he introduced in the development, as well as land the listener firmly back into E-flat Major as well as ride home the main theme of the work.
Again, my apologies for a lengthy first description. At 15-minutes, I never feel Chailly is too fast in this first movement. The clarity of the Gewandhaus is certainly stunning, not to mention the sparkle of the string section. Just imagine if the strings were truly let loose!
Movement 2
Key: C minor
Meter: 2/4
Tempo: Marcia funebre: Adagio assai
BPM Chailly: ♪ = 70 - 85
I don't how often a funeral march is used as the second movement of a symphony in the Classical Era, but I have to imagine if they did, it would be a ternary form affair. Beethoven, on the other hand, uses this moniker to fully explore the pathos of such a title, with no need to confine himself to an orchestral song, a common occurrence in the second movement position.
With Chailly coming close to Beethoven's metronome marking, I think we are shortchanged some in the drama department. While the Italian conductor and the Gewandhaus are excellent at the composer's dynamic opposites, what is really missing is a depth of feeling. In this case, the ensemble skates over the music beautifully, but I am never pulled in. As the old ones say: too hasty!
That said, Chailly doesn't set the metronome and take off. There are many sections to this funeral march movement, and each receives a push ahead or a pull behind depending on the moment. In this way, I appreciate Chailly being more flexible with the music rather than dead set on an immovable course.
One element which helps this recording, especially in such an emotional movement as this one, is its strong bass line. Nothing in these performances ever sounds under-powered nor half-baked. Perhaps I should wait for my final comments to go on about these performances...
Movement 3
Key: E-flat Major
Meter: 3/4
Tempo: Allegro vivace
BPM Chailly: 𝅗𝅥. = 122 & 𝅗𝅥. = 112 (Trio)
Low-lying strings line this whole Scherzo, peppered by winds throughout. The mood significantly changes here too, with a happy country jaunt at hand. The second half of the Scherzo becomes more triumphant in a Beethoven-ian manner, reminding me of the composer's later Scherzos.
The Trio is notable for its horn fanfares, here played lustily by the Gewandhaus horn section. Oddly, Beethoven does not write in a Da Capo return to the beginning, but composes beyond the Trio, including an additional final Coda to finish off the movement. Strange too, as there are four bars of duple Alla Breve thrown in the further Scherzo section to really throw the listener off-kilter beyond mere hemiolas and off-beat syncopations.
Movement 4
Key: E-flat Major
Meter: 2/4
Tempo: Allegro molto
BPM Chailly:
= 144Following a furioso introduction of semidemiquaver runs, a plucked melody lines out a melody to be varied throughout the movement. Once Beethoven turns those plucked note into bell-like tones, my polyphonic texture alarm is set off, for I can expect a fugal portion at some point. It actually doesn't take long for Beethoven to imitate and set the melody contrapuntally, although there are more sustained fugal portions as the variations continue on.
At some point, a Gypsy-like melody appears in the middle of a minor-keyed diversion, a moment which I absolutely love. If I had my druthers, I would guess this is probably a double variation form, only because it sounds like there is so much thematic overlay going on all at once.
I would say generally that this movement is one of a positive musical stance, although Beethoven as ever enjoys developing the music into the minor a fair amount of the time as well. Beethoven does a nice job varying the musical styles he presents as well, instead of simply making this movement one more elongated development, which we have had enough of at this point. All in all, this is a fine close to a rather large symphonic creation.
Symphony 4 in B-flat Major, op. 60
Movement 1
Key: B-flat Major
Meter: Cut Time
Tempo: Adagio & Allegro vivace
BPM Chailly: 𝅗𝅥 = 30 - 34
Most talk of Symphony no. 4 lies in direct comparison to the monster symphonies surrounding it. Personally, I like the affable nature of this symphony as a palate cleanser to the others, ones which often dwell in a psychological dark place.But it should be acknowledged that the Fourth Symphony is simply not as broadly popular as Nos. 3 & 5. I have some ideas as to why that might be, but let's get on with the first movement.
Beethoven opens on an Adagio introduction. He doesn't play any hijinks in establishing the opening key, however harmonically he moves all over the place, including into minor modes. That, married with a host of short and plucked strings, brings to mind small raindrops before an oncoming storm. Also, right before the dominant preparation, which occurs just before the Allegro, Beethoven has established A Major, but who then loudly and abruptly shifts to F Major, the chromatic mediant, is a great harmonic surprise to the listener.
Carefree joy inhabits the open melody, one which is almost presented coquettishly compared to its triumphant restatement in the full orchestra, where the melody is almost hidden within the ensemble. I love the transitional material which follows, where the bassoon is put on an Alberti Bass figure instead of the double basses. Before the second thematic area arrives, Beethoven puts the entire orchestra on syncopations, keeping the pulse lost for a short time.
The second thematic area is given to the winds, tossed to bassoon, oboe, and then flute, making a wonderful move to the relative minor. While there is short section of full orchestral noodling, more wind solos show up thereafter, although the theme has changed. This second melodic idea is still passed around the various wind instruments, even overlapping this time, so I am inclined to believe this is a continuation of the second area.
As far as development sections go, this is one of the more chipper ones from Beethoven, Sure there is some storminess, but on the whole, he gives way to the pastoral nature of this music. Near the beginning, there is a wonderful lyrical melodic line, first given to flute, clarinet, and bassoon, and then passed to 1st violins and clarinets - I originally thought this was a new idea, however, upon rehearing, this is probably based on earlier material, just presented differently. Either way, it is a winning melodic line.
Beethoven teases the listener for a really long time before finally getting to the recapitulation. This time, he teases in quite volumes. The subtle timpani rolls brought back to mind the opening threatening storminess I had caught in the introduction. Suffice to say, nothing about this movement has actually erupted into any such musical storms, just the slow tease.
Beethoven makes relatively short work of the recapitulation. The first motive is developed a little further harmonically, but gone is the bassoon bass, and instead we are off to the second motives. The Coda too is rather short comparatively, fully sounding out B-flat Major for the listener.
With my thoughts of storminess and pastoral melodies, I wonder if Symphony no. 4 is a precursor of sorts to Symphony no. 6, the Pastoral? Am I overthinking here?
Movement 2
Key: E-flat Major
Meter: 3/4
Tempo: Adagio
BPM Chailly:
= 42A long, flowing melody almost reaches endless lengths, it goes on so long. While it is first uttered by the violins, the clarinet gets a crack at it later on in the movement. It is a lovely one though, buoyed underneath by an ever-present dotted rhythm, which gets exclaimed loudly at points in the movement.
It is the aggressive nature of this dotted rhythm which generally puts me off of this movement, though. To my ears, it is an unnecessary militaristic texture in the movement, although its dogged thematic presence is an interesting aspect.
Chailly does not hold back some ungainly wind and brass sounds in the second half. Beethoven makes some small dissonant choices, and these players seem to relish the musical oddities. Speaking of, a shout-out to the timpani solo at the very end, followed by two loud tutti chords to end the slow movement.
Movement 3
Key: B-flat Major
Meter: 3/4
Tempo: Allegro molto e vivace
BPM Chailly: 𝅗𝅥. = 104
Despite a rather gruff opening, this is a pretty, light and fleet Scherzo, with some hemiola sforzandos. In some ways, this reminds me of a Dvořák Slavonic Dance; perhaps a precursor...?
The Trio is given over to wind ensemble, with little witty commentary given from the violins in between wind statements. Again, a Da Capo return is eschewed in lieu of merely moving on from the Trio directly. In addition, the Trio returns again as well, bringing a Double Trio situation to the table. Intuitively, the Scherzo comes back one last time, and it is the horns which lead to the final notes.
Movement 4
Key: B-flat Major
Meter: 2/4
Tempo: Allegro ma non troppo
BPM Chailly:
= 156The fourth movement is a joyous effusion of music, with strings furiously sawing away throughout. While there are pastoral moments, I think Beethoven or Chailly prefer the bolder settings in this music.
Before the music concludes, Beethoven brings the music to a stop twice. First, only to have the double basses start their sawing up again, the second for some final thoughts from single instrument sections right before the final measures. The bassoon actually has a couple exposed moments to themselves, a delight for that instrument, I am sure.
Overtures
Since Symphony no. 3 is such a behemoth, only the Fidelio Overture, op. 72 is offered on this volume. This should be another well known work to listeners familiar with Beethoven, and it is played tastefully here. Perhaps a little too much hard-hit timpani immediately upon following the symphony, but played with plenty of lyricism and excitement. Listen to the horn and oboe, who have the main melody - exquisite!
Final Thoughts
As to the music, Symphony no. 3 contains what I consider to be Beethoven's most perfect movement, its first. Some, I am sure, would go further to encapsulate the entire symphony into such a declaration, however, I will hold myself back for now.
Only in comparison to the symphonies surrounding it does Symphony no. 4 lack the last ounce of motivic inventiveness; and that is only in comparison. On its own, here is a most delightful work, one which swings on a path of brightly-sprung beauty. The lack of Stürm und Dräng actually endears me further to its music, even though Beethoven does his best to not let you forget what his music is about.
As to the performances, refer back to the second movement of Symphony no. 3 for further insight. I will say, while performance practice and historically-informed practices have given Classical-Era music new clarity, timbre, and texture, one thing the movement lacked for this listener, especially in its beginning decades, was emotional involvement on the part of the listener. It was left behind in lieu of musical insight and splashy tempos.
That might be changing today as performers now have had time to make their instrument and ensemble sounds appealing, while the sapping of vibrato, thin ensemble textures, tick-tock adherence to meter, and hard-hit dynamics doesn't necessarily come at the cost of the meaning of the music.
Still, I was left at arms length to some degree in the slow movements, in particular. Now, whether this is an issue from the conductor's choices or from Beethoven's pen, I could see either or both at the base of my feelings. Of course, perhaps I should put the blame on myself.
As an aside, the back cover (pictured below) states the total timing of Symphony no. 3 as 32'21". That is a typographical error. In actuality, that work is 10 minute longer than printed. So too, the Fidelio Overture should be labeled as op. 72, not op. 72b which would insinuate the third Leonore Overture.
Work Series
Vol. 2 from Symphonies on Decca
Works
Symphony 3 in E-flat Major 'Eroica', op. 55 (42.20)
Symphony 4 in B-flat Major, op. 60 (29.36)
Fidelio, op. 72: Overture (6.35)
Performers
Gewandhaus Orchestra
Riccardo Chailly, conductor
Label: Decca
Year: 2011
Total Timing: 77.15
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