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Shortly after completing his breathtaking Fifth Symphony, Beethoven composed incidental music for Goethe’s drama, Egmont.
While the Overture is well known, the remaining movements deserve no less attention as they chart the tragic course of Count Egmont’s rebellion against the Spanish occupation of the Netherlands and his ill-fated love for Clara, whose suicide Beethoven movingly portrays.
Two Marches, composed at around the same time, and his concert aria Ah! perfido, written a decade earlier, complement one of Beethoven’s most effective theatrical scores.
Ludwig van Beethoven: Egmont, Op. 84
No. 1. Act I Scene 3: Die Trommel geruhret (Clarchen)
No. 2. Entr'acte No. 1: Andante
No. 3. Entr'acte No. 2: Larghetto
No. 4. Act III Scene 2: Freudvoll und leidvoll (Clarchen)
No. 5. Entr'acte No. 3: Allegro - Marcia, Vivace
No. 6. Entr'acte No. 4: Larghetto
No. 7. Act V Scene 3: Death of Clarchen
No. 8. Act V Scene 4: Melodrama (Egmont)
No. 9. Act V Scene 4: Symphony of Victory
Ludwig van Beethoven: March in F major, WoO 18, "Fur die bohmische Landwehr"
March in F major, WoO 18, "Fur die bohmische Landwehr"
Ludwig van Beethoven: March in F major, WoO 19
March in F major, WoO 19
Ludwig van Beethoven: Ah, perfido!, Op. 65
Ah, perfido, Op. 65
11th February 2010
“...the performance is very grand, intense, at times genuinely ecstatic, and there are fine contributions from soprano Madeleine Pierard as a feisty Klärchen. The filler is the concert aria 'Ah! Perfido', which Pierard sings with extraordinary elegance and piercing clarity of tone.”
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