If you enjoy Beethoven's Seventh Symphony, then surely sample various recordings of the music. Please pass on any suggestions that you may have and thanks, in advance. Wow!! Why is this version not better known? Absolutely stunning and it has left me wondering, what are other posters' favourite recordings of this masterpiece and what other versions are there out there for me to still discover? Thanks to a recent post regarding Beethoven's 6th, however, I have just discovered Ashkenazy's recording with the Philharmonia Orchestra. I also loved Paavo Järvi's recent recording with the Deutsche Kammerphilharmonie of Bremen Sure, I loved Furtwängler's 1943 recording with the Berlin Philharmonic but the recording quality cannot compete with more modern technology, although the significance of the epoque does make it somewhat unique and well, Furtwängler is just Furtwängler. Until very recently, Carlos Kleiber's recordings with the Vienna Philharmonic and his DVD recording with the Royal Concergebouw were, as far as I was concerned, unsurpassed. It just seems to have everything that anybody could ever wish for. As in Elephant, it is the melancholy of the Beethoven sonatas that the Coen brothers bring out in The Barber, the only sound universe of the main character, Ed Crane, a barber consumed by melancholy.Beethoven's 7th Symphony is, for me, the greatest piece of music ever written and will always be my desert island disc. In their film, the directors use four sonatas (Op. The Barber, Joel et Ethan Coen (2001)īeethoven's works, and more particularly his sonatas, form the common thread running through the Coen brothers' film The Barber.
#Beethoven 7th symphony 1st movement series
In A Married Woman (1964), " a series of fragments of a film shot in 1964", the film-maker uses - precisely - fragments of Beethoven quartets, like isolated fragments that come from nowhere and then just disappear again. Jean-Luc Godard's predilection for Beethoven is a long and productive love story. A Married Woman, Jean-Luc Godard (1964)Īt the beginning of Breathless, Jean-Paul Belmondo says " It must, it must", referring to Beethoven's written question and answer in the last movement of Quartet Op. The sickening, jerking violence - even on the soundtrack - at the beginning of the film is answered by the Allegretto of the 7th Symphony in a final scene of peace and innocence, filmed very gracefully. The choice of the second movement of Beethoven's 7th Symphony by Gaspar Noé in Irréversible is both an echo of the omnipresent reference to Kubrick and the exact opposite in narrative terms. Where Alex from A Clockwork Orange vented his violence to exhilarating music, Alex from Elephant finds refuge in quiet compositions that nevertheless reveal the frustration, the unsaid words and the melancholy of the character, which slowly lead him to the massacre. Two love letters from Beethoven, the Moonlight Sonata and Für Elise, played like haunting refrains by Alex, a teen criminal in the making, inspired by the Columbine high school shooting in 1999. Underscoring the irrationality of the link between violence and culture, Kubrick said to a journalist from the Daily Express: " People have written about the failure of culture in the twentieth century: the enigma of Nazis who listened to Beethoven and sent millions off to the gas chambers ». It runs through the film and is used in several places, either in its original form - as Beethoven wrote it - or in an arrangement by the composer Wendy Carlos: March from A Clockwork Orange and Suicide Scherzo. Beethoven's ninth symphony mirrors the personality of the main character Alex.
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