Showing posts with label Beethoven. Show all posts
Showing posts with label Beethoven. Show all posts

Wednesday, July 18, 2012

Beethoven - Piano Concerto No 4

Beethoven wrote his 4th piano concerto in the middle of 1805-1806. It had its public premiere in December, 1808 in Vienna at the gigantic concert that also had the premiere of the 5th and 6th symphonies and the Choral Fantasia as well as other pieces. It was the last time Beethoven appeared as soloist on piano with orchestra. Most of the newer music heard was not appreciated by many in the audience. Small wonder, considering the concert lasted well over 4 hours, there was inadequate rehearsals for all the pieces which lead to much starting and stopping, and the concert hall it was held in was unheated.

After this execution the 4th piano concerto was neglected for roughly thirty years. It was ultimately revived in 1836 by Felix Mendelssohn. Young Robert Schumann was at the concert and wrote that he sat there transfixed straight through the entire work, scarcely appealing a muscle or even breathing. That the concerto made a much more determined impression since then and has not left the repertoire hints that the work was far ahead of its time and not understood by the audience in 1808. With the solo piano starting the work instead of an orchestral exposition is just one of the innovations Beethoven introduced in this concerto. The first movement is far from heaven-storming. The serenity in the dialogue in the middle of soloist and orchestra colors the whole first movement with a calm intimacy that makes this opening movement much dissimilar than the previous three concertos.

Piano Concerto

The mood changes with the 2nd movement as unison strings declaim in rugged tones the opening theme of the movement. Franz Liszt was the one who began the tradition of equating this movement with the legend of Orpheus taming the wild beasts with his lyre. It is a fitting description, as the piano gently increases its voice and domination over the orchestra until it breaks out into trills of triumph. The orchestra is now 'tamed', the piano has the last quiet 'say' as the strings purr quietly in the background.

The 3rd movement Rondo begins without break on the note being held on the strings from the previous movement. The piano enters over the accompaniment of a cello and the finale takes off in music of good humor. Beethoven's sense of humor could be very gruff and crude, even in his music, but this rondo sees him more witty and subtle, as the music has a grand time working its way to the end.

Beethoven - Piano Concerto No 4

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Saturday, July 14, 2012

Beethoven: Piano Concertos Nos. 2 & 3, Opp. 19, 37

Beethoven: Piano Concertos Nos. 2 & 3, Opp. 19, 37 Review


Beethoven: Piano Concertos Nos. 2 & 3, Opp. 19, 37 Feature

  • ARGERICH / ABBADO / MAHLER CH. O. BEETHOVEN: PIANO CONCERTOS Nº 2 & 3

Beethoven: Piano Concertos Nos. 2 & 3, Opp. 19, 37 Overview

ARGERICH / ABBADO / MAHLER CH. O. BEETHOVEN: PIANO CONCERTOS Nº 2 & 3

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Thursday, July 12, 2012

Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110

Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110 Review


Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110 Overview

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Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110 Specifications

If Hélène Grimaud hasn't yet appeared on your radar screen of today's outstanding artists, do yourself a favor and get to know the amazing work of this young French pianist. As with her previous releases on Teldec, Grimaud hasn't set out to occupy a specialized niche of repertory. Instead, in knockout recordings of Brahms and Rachmaninoff, Grimaud's been staking out the prime territory. Any initial reservations about such works being over-recorded are quickly dispelled by the unique poetry and power her imagination brings to them, above all in this marvelous live performance of what is probably Beethoven's greatest piano concerto. Entire readings of the Fourth collapse due to misjudgment of its brief but microcosmic opening five bars of solo piano; listen to Grimaud's eloquent articulation of the all-important rhythm, given without intrusively subjective fuss. Her balance of lyricism against energetic momentum sets the stage perfectly for what is to follow. Masur--in almost telepathic sympathy with the soloist--brings a grandly expansive sensibility to the first movement that allows for deliciously precise details from the New York Philharmonic, without losing sight of the music's dramatic thrust. The disc also includes two of the late sonatas; Grimaud understands their complex emotional fabric and brings both clarity and intensity to her articulation. Especially beautiful is the variation movement of Opus 109, sensitively shaped and unencumbered with a dubious "mysticism." No matter how well you know this music, Grimaud is the kind of artist who can make you rethink and--most importantly--feel again what is taken for granted. --Thomas May

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Wednesday, July 11, 2012

Beethoven, Piano Concerto no. 5, Op. 73 - 2. Adagio un poco mosso (Friedrich Gulda)

Beethoven, Piano Concerto no. 5, Op. 73 - 2. Adagio un poco mosso (Friedrich Gulda) Video Clips. Duration : 8.93 Mins.


Concerto pour piano no. 5, Op. 73, "Empereur", Adagio un poco mosso. Piano : Friedrich Gulda. Orchestre philharmonique de Vienne sous la direction de Horst Stein.

Tags: friedrich, gulda, beethoven, piano, emperor, empereur, concerto

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Monday, July 9, 2012

(In HD) Beethoven Sonata Op 57 "Appassionata" Mov3

(In HD) Beethoven Sonata Op 57 "Appassionata" Mov3 Video Clips. Duration : 7.58 Mins.


Rehearsal run before recital in Musikverein, Vienna

Keywords: Valentina, Lisitsa, Beethoven, appassionata, op, 57, schubert, vienna, classical, sonata, piano, bosendorfer, imperial, boesendorfer, Bösendorfer, backhaus, wilhelm, kempff, gilels, Brendel, Uchida, Rubinstein, Serkin, richter, Schnabel, gulda, gould, ベートーヴェン:ピアノ・ソナタ第23番

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Monday, June 25, 2012

Beethoven - The Music Genius of All Time

"Beethoven enlarged the limits of the classical style beyond all previous conceptions, but he never changed its needful structure or abandoned it, as did the composers who followed him. In the other underlying aspects of his musical language, as well as in the key relations within a particular movement, Beethoven may be said to have remained within the classical framework, even while using it in startlingly radical and original ways" said Charles Rosen in his classical contemplate 'The Classical Style.'

Keeping in mind this quote, it gives us a clear view of the allembracing genius of Beethoven who created eternal tunes and immortal symphonies, which in today's world are thought about as masterpieces. To understand the bona fide class of this maestro, it is leading to look at his background as to how he became the archetypal of the classical and romantic era.

Piano Concerto

Brief History

Ludwig Van Beethoven, of German Origin, was born on December 17, 1770 in the home of Johann who was proficient trainer of violin, piano and voice. Teaching music was his bread and butter as he was a chapel devotee (Kapellmeister). Since his early age, Beethoven used to sing soprano in the very same electoral chapel where his father was the chapel devotee who taught Beethoven, violin and piano. Since 8 years of age, he studied with quite a lot of local organists, even received piano lessons from Tobias Friedrich Pfeiffer, where violinist like Franz Rovantini present him violin and viola lessons. Even though as a born artist, Beethoven's musical brilliance was linked to that of Mozart's, he never exceeded the elementary level in school education. In his teens in 1787, he went to Vienna for unknown reasons, but some say that he even met Mozart and took lessons from him. In a two weeks time when he came back his world suddenly changed for him as his mum died and his father became a drunkard. Beethoven, at the age of 19, formally requested to be known as the head of the house and started receiving half of his father's salary to withhold his siblings.

Beethoven shifted to Vienna in 1792 where his father died in the very same year. His father died in December that same year. He studied with Haydn for a dinky time as there was a personality clash. Beethoven then studied with the best known trainer in Vienna, Johann Georg Albrechtsberger. With him he learned contrapuntal and counterpoint exercises in free writing, in two to four-part fugues, in imitation, choral fugues, double fugue, double counterpoint at the discrete intervals, canon and triple counterpoint. With this learning process he kept on composing more and more where in 1800, the first symphony and a septet (op. 20) was performed by him. At the age of 20 he became deaf and the whole life of Beethoven completely transformed though he tried to hide his impairment form the world but could not succeed. Beethoven used a particular rod linked to the soundboard on a piano that he could gnaw -the vibrations would then move from the piano to his jaw to amplify his understanding of the sound. By 1814 he became totally deaf. After 1815, no successors came upfront to carry the patronage, and Beethoven relied generally on selling mixture rights and a meagre pension.

A born Genius

Now here the quiz, arises how a great composer like Beethoven wrote symphonies 2, 3 (Symphony 3, Eroica was titled as Bonaparte, which was a tribute to Napoleon Bonaparte) and 4 within 1800-1806, which were his early days of deafness? What one can say about his imaginative thoughts as they were God gifted and no human can invent that by himself. If he would have been piquant enough, he could have studied well in his school days. But he was the chosen one born to generate such a music, which is immortal. The talent was there within him it was just the brushing up of that talent was required that revolutionized the world of music.

Evident in the test of time, his symphonies were established to be devotee pieces in conjunction with his other works. Beethoven loved a woman named Fanny, but never married. He spoke of her in a letter saying, "I found only one whom I shall doubtless never possess." The romance in his sonatas is quite evident of his true love. Beethoven completed abundant music works throughout his life. Each and every piece is a representation of his brilliance having its own style and invent with distinction and modulation. Even though Beethoven's music discrete from symphonies to sonatas, his area of expertise was piano concertos, string quartets piano sonatas and symphonies, which were his favourites as well. Beethoven's compositional vocation is normally divided into Early (upto 1802), Middle (1803-1814) and Late (1815 onwards) periods. In his Some first-rate pieces from the Early duration are the 1st and 2nd symphonies, the 1-6 string quartets, 1-3 piano concertos, and the first 20 piano sonatas, including the evergreen "Moonlight" sonata.

His Middle (laudable) duration started along with his detection of encroaching deafness. It is preeminent for broad base music that express struggle and heroism, Middle-period works consist of the fourth and fifth piano concertos, six symphonies (Nos. 3-8), violin concerto, the triple concerto, the next seven piano sonatas (this consist of Waldstein and Appassionata), five string quartets (Nos. 7-11) and Beethoven's only opera, Fidelio.

The last duration is very much thought about as the Romantic period. Music from this time is branded by his intellectual depth, formal innovations, and intense personal expression. For instance, the Ninth Symphony, Missa Solemnis and the "Hammerklavier" Sonata are the best known masterpieces of the last period. After his death in, every musician across the globe, is somewhat and at any time of his music vocation is inspired by Beethoven's music. The biggest example that can be quoted it the European committee which designed the European flag adopted Beethoven's 'Ode to Joy' from his 9th Symphony in 1972 which became the legal anthem of the European Union in 1985. The composer has also been portrayed in a number of films, both theatrical and television releases. Since his death in 1827, the influence of Beethoven's music on subsequent generations of composers is profound and will carry on centuries ahead.

Beethoven - The Music Genius of All Time

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Thursday, June 21, 2012

ZIMERMAN -BERNSTEIN play BEETHOVEN 4th Piano Concerto(COMPLETE)

ZIMERMAN -BERNSTEIN play BEETHOVEN 4th Piano Concerto(COMPLETE) Tube. Duration : 35.20 Mins.


'DOLBY' AAC Enjoy with headphone tZIMERMAN BERNSTEIN play BEETHOVEN 4th Piano ConcertoCOMPLETE

Tags: ZIMERMAN, BERNSTEIN, play, BEETHOVEN, 4th, Piano, concertocomplete

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Tuesday, June 19, 2012

Beethoven: The Piano Concertos [DVD Video]

Beethoven: The Piano Concertos [DVD Video] Review


Beethoven: The Piano Concertos [DVD Video] Overview

Leonard Bernstein conducts the Vienna Philharmonic with pianist, Krystian Zimerman.

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Wednesday, June 13, 2012

1/3 Gilels/Vandernoot - Beethoven Piano Concerto No 1

1/3 Gilels/Vandernoot - Beethoven Piano Concerto No 1 Tube. Duration : 14.32 Mins.


Concerto Pour Piano N°1 En Ut Majeur Op.15 Piano Concerto No 1 in C Major Op. 15 I Allegro Con Brio Emil Gilels (piano) Orchestre de la Société des Concerts du Conservatoire - André Vandernoot 1957 - mono Join us: www.facebook.com www.twitter.com www.youtube.com www.soundunwound.com - uploaded via www.mp32u.net

Tags: Concerto, Pour, Piano, N°1, En, Ut, Majeur, Op.15, No, in, Major, Op., 15, Allegro, Con, Brio, Emil, Gilels, Orchestre, de, la, Société, des, Concerts, du, Conservatoire, André, Vandernoot, 1957

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Tuesday, June 12, 2012

Beethoven: Piano Concertos 1-5/Choral Fantasia - Daniel Barenboim, Otto Klemperer, New Philharmonia Orchestra & John Alldis Choir

Beethoven: Piano Concertos 1-5/Choral Fantasia - Daniel Barenboim, Otto Klemperer, New Philharmonia Orchestra & John Alldis Choir Review


Beethoven: Piano Concertos 1-5/Choral Fantasia - Daniel Barenboim, Otto Klemperer, New Philharmonia Orchestra & John Alldis Choir Overview

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Sunday, June 3, 2012

Zimerman Beethoven piano concerto no 2 (complete)

Zimerman Beethoven piano concerto no 2 (complete) Tube. Duration : 30.23 Mins.


'Dolby AAC' LUDWIG VAN BEETHOVEN Piano Concerto No. 2 in B flat op.19 Perform by Wiener Philharmoniker Soloist & Conductor - Krystian Zimerman

Tags: Zimerman, Beethoven, piano, concerto, no

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Saturday, June 2, 2012

Beethoven: Piano Concertos Nos. 3 & 4

Beethoven: Piano Concertos Nos. 3 & 4 Review


Beethoven: Piano Concertos Nos. 3 & 4 Overview

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Thursday, May 31, 2012

Beethoven: Piano Concerto No. 5, 'Emperor' /Piano Sonata No. 28 in A

Beethoven: Piano Concerto No. 5, 'Emperor' /Piano Sonata No. 28 in A Review


Beethoven: Piano Concerto No. 5, 'Emperor' /Piano Sonata No. 28 in A Overview

This is the stuff from which magic is made: Ludwig van Beethoven's Piano Concerto No. 5 in E flat major, Op. 73--known as the "Emperor" Concerto, heroic and powerful--performed by one of our most distinctive pianists, Hélène Grimaud. The excellent Staatskapelle Dresden is led by one of today's young stars on the podium, Vladimir Jurowski, a charismatic musical genius who was recently appointed London Philharmonic Orchestra's principal conductor. The chemistry between these musicians has the potential to create an extraordinary musical experience. On this album, the Concerto is coupled with a piano sonata out of Beethoven's late compositional phase where--noticeable in the slow movement of the concerto as well--the composer's concern for lyricism had deepened. Thus intimacy and delicacy are the features in the beautiful Piano Sonata No. 28, Op. 101 chosen by Grimaud. This project proves the modernity of Beethoven, firstly by the passionate interpretation of Grimaud and secondly by her being such an excellent communicator of her intentions and perceptions: "What makes Beethoven an extremely modern composer is this extreme vitality, the desire to never give up, and also this foreverendearing, extremely touching characteristic of the music to always strive to ascend, to really get beyond the frailties and the failures of the human condition by always looking up and trying to reconcile the top and the bottom, the vertical and the horizontal. That is still the struggle of people today--this is what makes Beethoven so timeless."

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Tuesday, May 29, 2012

Beethoven - Piano Concerto No.5, Emperor 2mov.

Beethoven - Piano Concerto No.5, Emperor 2mov. Video Clips. Duration : 7.42 Mins.


(R)*: edited by a.vullo

Tags: beethoven, concerto, emperor, classical, yt:quality=high

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Monday, May 28, 2012

Ludwig Van Beethoven - Symphony No. 6, Op.68 - 2nd Movement

Ludwig Van Beethoven - Symphony No. 6, Op.68 - 2nd Movement Tube. Duration : 13.70 Mins.


''Szene am Bach'' Symphony No. 6 in F major, op. 68 ,"The Pastoral" was written almost simultaneously with The 5th Symphony, but differs from it in theme. If Symphony No.5 deals with the struggle and the joy of victory, "The Pastoral" represents the expression of the love the composer holds for nature. In a letter to Therese Malfatti in the summer of 1808, Beethoven said " How happy I am to be able to walk among the shrubs, the trees, the woods, the grass and the rocks! For the woods, the trees and the rocks give man the resonance he needs." Beethoven's great love of nature, the delight in strolling through the woods of Heilllingenstadt, the fact that he always found his equilibrium in the heart of nature, all these led to the creation of his sixth symphony. This programmatic endeavor is clearly expressed through the suggestive title of the symphony, as well as through the titles of each segment of it, through this initiating the later direction of his programmatic symphonies and even of his symphonic poems. When he found refuge in the midst of nature, he jotted down themes inspired by the trill of birds, the trickling of creeks or the rustle of leaves. In a notebook from 1803 was found an outline of a river's trickling with the additional note: " The greater the river, the more grave the tone." Beethoven rose much higher than his predecessors who tried to capture the gist of nature, because he places man with his feelings and sensitivity in the heart of nature. And this ...

Tags: Classical, Beethoven, Böhm, Ludwig, Van, Ludwig Van Beethoven, Music, Op.68, Pastorale, Romanticism, Symphony 6

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Tuesday, May 15, 2012

Beethoven: The Five Piano Concertos

Beethoven: The Five Piano Concertos Review


Beethoven: The Five Piano Concertos Overview

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Friday, May 11, 2012

Beethoven: Piano Concertos Nos. 4 & 5

Beethoven: Piano Concertos Nos. 4 & 5 Review


Beethoven: Piano Concertos Nos. 4 & 5 Overview

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Friday, May 4, 2012

Beethoven Piano Concerto 5 complete

Beethoven Piano Concerto 5 complete Video Clips. Duration : 38.00 Mins.


Australian Doctors Orchestra Melbourne Town Hall 13 September 2009

Tags: ADO, Video Media, Roger Ellison, classical

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Ludwig van Beethoven - Emperor - Kempff Kempen, first,part 1

Ludwig van Beethoven - Emperor - Kempff Kempen, first,part 1 Video Clips. Duration : 10.02 Mins.


The Master, Wilhelm Kempff, plays the famous first movement of the Emperor Concerto. Paul van Kempen. First part.

Keywords: Emperor, ludvig, ludwig, van, Beethoven, Wilhelm, Kempff, paul, kempen, classical, piano, concerto, orchestra, allegro

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Wednesday, May 2, 2012

Beethoven: Piano Concerto No. 4 in G Major, Piano Concerto No. 5 in E Flat Major 'Emperor'

Beethoven: Piano Concerto No. 4 in G Major, Piano Concerto No. 5 in E Flat Major 'Emperor' Review


Beethoven: Piano Concerto No. 4 in G Major, Piano Concerto No. 5 in E Flat Major 'Emperor' Overview

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