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Rob Cowan
Gramophone, August 2014

The Prometheus Overture augurs well, a brightly lit performance, unhurried and nicely shaped with unforced accents.

Weil’s Beethoven is for the most part considered, generally well played and up to speed with modern scholarship…Best by far are the two overtures and the First Symphony… © 2014 Gramophone Read complete review on Gramophone

Daniel Foley
The WholeNote, June 2014

Bruno Weil, a longtime collaborator with the orchestra, draws a finely articulated and transparent response from the rarely seen Tafelmusik podium.

The performances of the first two symphonies…[are] rich in detail…

The renderings of the Third and Fourth Symphonies can be recommended without qualification; both are superb throughout.

These live performances were recorded in Toronto’s Koerner Hall in 2012 and 2013 with exceptional clarity… © 2014 The WholeNote Read complete review

Phil Muse
Audio Video Club of Atlanta, June 2014

May I suggest that conductors, orchestras, and listeners alike have absorbed so much Beethoven in the past that they are in danger of growing stale where the symphonies are concerned? An antidote for the Beethoven blahs is the present album of Symphonies 1–4 by Bruno Weil and the Tafelmusik Baroque Orchestra…These vital performances stand up well on repeated listening. For once a promotional blurb rings true: “We approach these Beethoven symphonies,” says Weil, “as if they were the very first performance, as though the music had been composed yesterday. There’s no sense of routine with Tafelmusik musicians, and everybody’s giving their all for this music, playing with a full heart and a full soul and spirit.”

Don’t let the name “Baroque Orchestra” fool you. In these performances Tafelmusik is considerably augmented beyond the normal forces necessary to realize the Baroque repertoire. In all, 53 musicians take part in one of more symphonies: Numbers 1–2 have a complement of 36 musicians, and 3–4 have 39. That is enough to bring out the greatness of ideas and the scope of Beethoven’s imagination in these works. © 2014 Audio Video Club of Atlanta Read complete review, May 2014

Hearing these works played by a group of fewer than 40 top-class musicians, using period instruments, invites reconsideration of how the music may have sounded in its own time and how the later gigantism of 100-piece orchestras may have distorted the clarity of line and details of instrumentation that Beethoven carefully crafted into the symphonies. It is for that clarity, along with generally brisk tempos and a well-honed sense of balance, that listeners will enjoy this release…this is a very fine addition to the Beethoven catalogue and certainly an indication of the quality of the Tafelmusik Media label. © 2014 Read complete review

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