Beethoven - Symphony No.5 - Wellington's victory - London Symphony Orchestra (FULL ALBUM)

Collins Classics OFFICIAL - Beethoven (FULL ALBUM)
Symphony No. 5 in C minor, Op.67 and Wellington's Victory, Op.91
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Symphony No 5 in C minor, Op.67
0:00 I Allegro con brio
7:50 II Andante con moto
18:21 III Allegro
23:30 IV Allegro

Wellington's Victory, Op. 91
35:04 British Entrance
36:50 French Entrance
37:36 Battle. Allegro
40:43 March. Allegro assai
43:16 Victory. Allegro con brio

Conducted by RafaelFruhbeck de Burgos
Performed by the London Symphony Orchestra
Recorded at Watford Town Hall (UK) in October 1990

You will find below, a part of the English text that originally came with the CD. It gives the historical context of this symphony, an idea of the state of mind Beethoven was in at the time of the composition and some explanations of the track in itself.
That Beethoven was a great composer is without
doubt. However, like many other great men, he
was acutely aware of his gifts and while he
would go to great lengths to prevent others
taking advantage of him, he was not averse to
making use of other people so that he could
benefit. In a curious way, the two works on this
record reveal both aspects ot Beethoven's
personality.
The Symphony in C minor is first mentioned in a
Letter from Beethoven to Count Oppersdorf, one
of his many aristocratic patrons, written in March
1808: “I want to inform you that your Symphony
has long been ready and I will send it to you by
the next post. You may retain 50 florins, for the
copying, which I will have done for you, will cost
that sum at least. In case you do not want the
Symphony, however, let me know it before the
next post. In case you accept it, rejoice me as
soon as possible with the 300 florins still due
me. The last movement in the Symphony is with
three trorhoohes and piccolo - though but with
three kettledrums, but will make more noise than
six kettledrums and better noise at that." it
would seem then that Beethoven had discussed
the symphony and its orchestration with his
wealthy patron early in 1807 and had even
received an advance of 200 florins in the June of
that year, shortly after the letter was written.
Beethoven signed a receipt: “That I received on
29th March 1808, 150 florins in Bank notes from
Count Oppersdort, I certify by my signature."
Sadly, the Count did not receive his Symphony
and, not surprisingly, he did not pay the balance
of the Ccmmission fee. Beethoven’s final letter to
him, dated Vienna, 1st November 1808, makes
clear why:

"Best Count!
You will look at the in a false light, but necessity
compelled me to sell to someone else the
symphony which was written for you 7 but I
assure you that I shall soon send you the one
intended lor you.”
There is no reason to suppose that the Count
received back the advances he had paid to
Beethoven and he certainly did not receive
another symphony. Beethoven had simply sold
several of his scores to the publishers, Breitlkopf
und Haertel, for rnore money than the Count was
offering.

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