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Beethoven: Eroica / Erard

Beethoven: Eroica / Erard

Luca Montebugnoli

Cat No:

EPRC 0059

Release date:

12/1/24

Barcode:

0608917724622

October 1803: On hearing Beethoven play the “Eroica” Symphony on his new Erard Frères piano, a witness remarked, “Heaven and Earth must shake at its performance.” Inspired by this historical scene, Luca Montebugnoli has created a new arrangement of the symphony designed for and played on a unique replica of Beethoven’s Erard piano. By delivering a novel interpretation of an iconic work, Montebugnoli revives the neglected art of piano arrangement, while also exploring the full potential of what was in Beethoven’s life a revolutionary instrument.

Tracklist

Haydn - Die Schöpfung, Hob. XXI:2 - Einleitung: Die Vorstellung des Chaos, Largo
Beethoven - Symphony No. 3 in E-flat major, op. 55, “Eroica”
Gluck - Orphée et Eurydice, Wq. 41: Ballet des ombres heureuses
Gluck - Echo et Narcisse, Wq. 47 - Prologue, Scene 2: Air de danse—Air des peines
Gluck - Echo et Narcisse, Wq. 47 - Act III, Scene 5: Air de danse, Allegro vivace

Ludwig van Beethoven (1770-1827)
Reviews

Piano News

"Montebugnoli's transcription sounds amazingly sonorous and orchestral on the [ERARD] fortepiano, despite the absence of Liszt-style pianistic effects! (The high point is the first movement!). [...] Anyone who wants to know how it might have sounded when Beethoven played his Eroica on his own fortepiano will find a version on this CD that comes very close to the historical truth."

PIANIST

"Auf beeindruckende Weise gelingt es dem italienischen Pianisten, den Orchesterklang auf dem Hammer- flügel nachzuempfinden, dabei ist der Erard dem modernen Flügel klanglich überlegen, da er mit seinem warmen Timbre näher am Streicherklang ist als ein Instrument von heute."

Preis der deutschen Schallplattenkritik

Nominated on Longlist 2/2024 for: Jury Tasteninstrumente I

Diapason

"La proposition se double d'un défi technique, puisque l'interprète a choisi pour l'enregistrer une copie de l'instrument français que possédait Beethoven : un « piano en forme de clavecin » dont la sonorité et la mécanique se démarquaient de la facture viennoise."

De Volkskrant

"Je hoort de expressieve dynamische mogelijkheden – dof dreunt de treurmars, vrolijk klingelt het scherzo in de soepele toetsen. In de finale legt de hamerende bas andere details bloot."

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