The same premise made in that other post applies here too, dear Armando!
You must admit that it is, if nothing else, a bit forced to claim that it is a "concert of unpublished - or very rare - music by our Ludwig," when in reality the only true Beethovenian hand is the Concerto in C+ for violin and orchestra WoO 5, which however stops at measure 259 of the first movement and requires, nonetheless, the intervention of a third hand that, I imagine, is the highly convincing one of your dear friend Roberto Tiem Tigani.
As for the rest – once again I apologize to you – but I wonder: what is the use of padding the Beethovenian catalogue in such an "apocryphal" way when it certainly does not need help.
There are beautiful Beethovenian overtures that are true masterpieces, and I am referring in particular to Opus 62 Coriolan, Opus 72a "Leonore 3", Opus 84 Egmont incidental music and above all, let me say, that great jewel which is Opus 124 "The Consecration of the House," about which I wonder – perhaps Carlos, in his capacity as conductor, can give me an answer – why it is so snubbed in symphonic music concerts and CD recordings. Even Maestro Chailly, when recording the complete Beethoven symphonies with the metronome markings dictated by the composer at the end of 2011, omitted it, preferring others of much lesser quality. This piece of music, lasting about 10 minutes, is found in the Beethoven catalogue between those two colossi: on one side the "Missa Solemnis" Opus 123 and on the other the Ninth Symphony Opus 125. It is one of the most astounding pieces of orchestral music conceived by Beethoven. Festive, majestic, sparkling music in which Beethoven wanted to pay homage to Handel, "the greatest composer who ever lived," according to the composer from Bonn.
First a quotation from the beloved composer, then the pianissimo of the winds in the introductory march, the maestoso sostenuto, the fanfare of trumpets and bassoons, and then the passage of the strings alone announcing the polyphonic creation of the allegro fugato with final brio where the sound asserts itself as pure force. And it is precisely in this final Allegro fugato where, more than in any movement of the Ninth, the Beethoven of the third style expressed himself in compositions for orchestral ensemble. That Beethoven who, had he lived, would have soon composed his Tenth and the Overture on the name of Bach, and with them would have further shocked and scandalized the musical world of the 1820s and the following decades.
And speaking of symphonies: but Armando, we have 9 that are all, in their distinct peculiarities, masterpieces, but tell me: what do we do with a cobbled-together tenth? And what do we do with this Jena Symphony in perfect galant style that I cannot stand? I understand that you love it as Antonio Bruers loved it... well, de gustibus!!
Ciao Armando, excuse me for everything, it's the flu!
