- Symphony No. 1 in C major, Op. 21
- Ah! perfido! . . . Per pieta, non dirmi addio, scena and aria for soprano & orchestra, Op. 65
- Romance for violin & orchestra No. 2 in F major, Op. 50
- No, non turbarti! . . . Ma tu tremi, o mio tesoro, scena and aria for soprano & orchestra, WoO 92a
- Leonore Overture No. 1 in C major, Op. 138: O wär' ich schon mit dir vereint, aria
- Die Geschöpfe des Prometheus (The Creatures of Prometheus), ballet, Op. 43: [Excerpt]
Beethoven: The Birth of a Master, a 2011 Ambroisie album, takes a closer look at a period of Beethoven's music that perhaps goes underplayed. At the turn of the 19th century, Beethoven was just getting established in his new home of Vienna. His music at the time was clearly informed by and beholden to the classical traditions established by Mozart and Haydn. Yet even these early works show glimmers of the innovation and modernization that Beethoven was to bring to virtually every genre he touched. Armed with a thorough and well-written set of liner notes, listeners are guided through the "Creatures of Prometheus Overture," the "F major Violin Romance," and three early arias before finally arriving at the "First Symphony." Orchestra Le Cercle de l'Harmonie is led by Jérémie Rhorer. Specialists in late-18th century music, this group delivers performances that are informed by historical study but are far from academic in nature. A powerful, clean, rich sound characterizes its playing throughout this disc. Rhorer allows for the punchy brass and timpani that would have been familiar to Beethoven while still maintaining a pleasing balance between each section of the orchestra. Soprano Alexandra Coku's voice is equally enveloping and warm. The only performance that seems out of place on this otherwise enjoyable album is the "Violin Romance," performed by Julien Chauvin. His sound is rather thin and lacking in the same robustness and colorful vibrato as the orchestra, making for a somewhat unappealing contrast.