Two exceptional recordings taped eight years apart, both live: the Eroica at the Warsaw Philharmonic Concert Hall in September 2005, the Kurpin´ski Grand Battle Symphony at the Witold Lutosπawski Concert Studio of Polish Radio in August 2013. The Beethoven is conceptually similar to Brüggen’s 2011 reading with the same orchestra, also recorded live and released as part of a complete Beethoven symphony cycle (Glossa). The principal difference is in the sound, which has a crisper edge in Warsaw, the result of a drier acoustic, which in turn influences (I would imagine) some swifter tempi, most specifically in the ‘Marcia funebre’. Brüggen’s reading is very sensitively phrased, a noticeable difference between the two performances being in the sixth and seventh bars before the end of the March, played straight on the Warsaw performance (at 12'08"), but with a sudden unmarked accelerando on the linking phrase (at 13'21") in Rotterdam. It’s an interesting if rather nervous-sounding gesture. Brüggen’s Eroica is in effect a hybrid that takes on ‘period’ manners while honouring aspects of the interpretative ‘old school’. Whether here, on Glossa or on his earlier Philips recording, Brüggen offers a reading that combines a sense of nobility with generally transparent textures. The first-movement exposition repeat is played, as one might expect.

Karol Kurpin´ski’s Grand Battle Symphony adds to a whole series of ‘battle pieces’ that are usefully catalogued by Krzysztof Bilica in his note, with Beethoven’s Wellington’s Victory bolstering the ranks during the following year. Kurpin´ski’s highly colourful work – which, unlike Beethoven’s, doesn’t resort to canon salvoes – includes various dramatic incidents including a march-past by Napoleon’s army and a vivid depiction of the battle itself. Brüggen directs a very exciting performance and the recording captures it with great presence.