1-10 of 249 videos of music composed by Ludwig van Beethoven

Beethoven Symphony no. 6 in F major 'pastoral' on period instrumen
Beethoven Symphony no. 6 in F major 'pastoral' on period instrumen Mov 1 Mov 2 Mov 2 continued Mov 3&4 Mov 5 Dec 16, 1770 Beethoven was born (238 years ago) Franz Bruggen Orchestra of the 18th century The finale is in F major and is in 6/8 time. The first eight bars form a continuation of the introduction of which the storm was the main part; the finale proper begins in the ninth bar. The movement is written in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. There is a very long coda; the "tail that wags the dog". Like many classical finales, this movement emphasises a symmetrical eight-bar theme, in this case representing the shepherds' song of thanksgiving. The mood throughout is unmistakably joyful. The coda, which Antony Hopkins has called "arguably the finest music of the whole symphony," starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus "storm instruments"), with the first violins playing very rapid triplets at the top of their range. There follows a fervent passage suggestive of prayer, marked by Beethoven "pianissimo, sotto voce"; most conductors slow the tempo for this passage. After a brief period of afterglow, the work ends with two emphatic chords.
Beethoven Hammerklavier 4th Mov Pt 2 Ohlsson Rec 1998
Beethoven Hammerklavier 4th Mov Pt 2 Ohlsson Rec 1998 Regarding the final movement of Beethoven's Hammerklavier Sonata Op 106, Hans von Bulow wrote," The times are happily past wherein this Finale was deemed a "non plus ultra'' of technical difficulty and "classical' piano-virtuosi could win ephemeral fame by performing it in concerts. Nevertheless, the task before the player --to give an interpretation of plastic beauty,ie, first of all a perfectly intelligible one-- is no mere "play" despite all the technical acquirements which have now facilitated it." In this performance, Garrick Ohlsson provides us with that "perfectly intelligible" interpretation. Garrick Ohlsson is a member of a rare breed of pianists whose recitals are remembered long after they have been performed. He has a big technique but so do countless other pianists before the public today. I hear them every season as they present their robotic recitals--pianists in their forties and fifties still playing just as they did years earlier when performing before a competition jury. They exhibit no growth or maturity at all. Many still play as though they were students, not masters. The playing is tentative and constrained exhibiting no imagination. Not Garrick Ohlsson. He shares with other historically important pianists the ability to bring the music he plays to life. Such playing enfolds an audience.into the music. It is communicated to them. One remembers such experiences far more than a flashy technique or balletic poses and posturing. (This includes jumping ...
Beethoven Symphony No. 9 - Verdi tuning (part 1)
Beethoven Symphony No. 9 - Verdi tuning (part 1) In a series of concerts, being performed as integral parts of Schiller Institute events, the LaRouche Youth Movement has presented their work on the final chorus of Ludwig van Beethoven's 9th Symphony, set to the text of Friedrich Schiller's Ode an die Freude (Ode to Joy). This achievement by an amateur chorus would have been virtually impossible if not for the rigorous working out of the ideas behind the notes and words, the passion of reliving the experience of creativity, and, last but not least, rehearsing and performing the work in the scientifically correct musical tuning of C=256 Hz, rather than the prevalent, anti-musical and vocally destructive tuning of the Romantic School's A=440 or higher (see below). This studio recording, which we now present to you, should be seen as a demonstration of what a group of passionate young people, most of them without any prior musical education, are able to achieve when the pursuit of happiness and commitment to creating a better future, become greater than the common pessimistic small-mindedness. Take this as an example of what the next generations have the potential to create, if they are given the means to do so. And in that case, this will signify the first steps toward a new Classical Renaissance for Mankind! It should also be mentioned that throughout history, Beethoven's 9th symphony has at times been misused for political purposes. The latest in this series of perversions is Herbert von Karajan's reductionist ...
Beethoven, Symphony 9/2, D minor Op 125 'Choral' Thielemann Vienna
Beethoven, Symphony 9/2, D minor Op 125 'Choral' Thielemann Vienna 02 Scherzo. Molto vivace. Presto, Beethoven Symphony 9/2 Choral Thielemann Vienna Philharmonic Orchestra The Symphony No. 9 in D minor, Op. 125, is the final complete symphony of Ludwig van Beethoven. Completed in 1824, the symphony is one of the best known works of the Western classical repertoire, and has been adapted for use as the European Anthem. It is considered by critics to be one of Beethoven's masterpieces and one of the greatest musical compositions ever written. The symphony was the first example of a major composer using voices in a symphony (thus making it a choral symphony). The words are sung during the final movement by four vocal soloists and a chorus. They were taken from the "Ode to Joy", a poem written by Friedrich Schiller in 1785 and revised in 1803, with additions made by the composer. The title of Schiller's poem "An die Freude" is literally translated as "To Joy", but is normally called the "Ode to Joy". It was written in 1785 and first published the following year in the poet's own literary journal, Thalia. Beethoven had made plans to set this poem to music as far back as 1793, when he was 22 years old. Beethoven was eager to have his work played in Berlin as soon as possible after finishing it, since he thought that musical taste in Vienna was dominated by Italian composers such as Rossini. When his friends and financiers heard this, they urged him to premiere the symphony in Vienna. The Ninth Symphony was premiered on 7 May 1824 in the ...
Beethoven Sonata Op57 Appassionata - Rudolf Serkin - 1° Part
Beethoven Sonata Op57 Appassionata - Rudolf Serkin - 1° Part Beethoven Sonata in F minor, Op.57 "Appassionata" 1° PART Piano: Rudolf Serkin --- 1° PART 2° PART (part1) 2° PART (part2) --- Listen to radio stations from your browser World version --- Digital Remastering of 78 RPM Records Only Classical Music Public Domain PromoClassical Copyright reserved
Beethoven - Minueto em Sol - Suzuki 2/11
Beethoven - Minueto em Sol - Suzuki 2/11 Música Erudita, Classical Music, estilo Clássico/Romântico do compositor e pianista alemão Ludwig Van Bethoven; Minuet in G Major; Lição 112 do Método Para Violino da CCB (Schmoll); Música nº 11 do Método Suzuki Violin School Volume 2; no violino Leandro Ferreira Ramos
Ludwig van Beethoven - Violin Concerto in D major I (1/2)
Ludwig van Beethoven - Violin Concerto in D major I (1/2) Violin Concerto in D major, Op. 61 (1806) I. Allegro ma non troppo II. Larghetto III. Rondò (Allegro) Josep Suk, violin Czech Philharmonic Orchestra Franz Konwitschny Beethoven wrote his Violin Concerto in D major, Op. 61 (1806), at the height of his so-called "second" period, one of the most fecund phases of his creativity. In the few years leading up to the violin concerto, Beethoven had produced such masterpieces as the Symphony No. 3, Op. 55 (1803), the Piano Concerto No. 4, Op. 58 (1805-1806), and two of his most important piano sonatas, No. 21 in C major, Op. 53 ("Waldstein," 1803-1804), and No. 23 in F minor, Op. 57 ("Appassionata," 1804-1805). The violin concerto represents a continuation -- indeed, one of the crowning achievements -- of Beethoven's exploration of the concerto, a form he would essay only once more, in the Piano Concerto No. 5 (1809). By the time of the violin concerto, Beethoven had employed the violin in concertante roles in a more limited context. Around the time of the first two symphonies, he produced two romances for violin and orchestra; a few years later, he used the violin as a member of the solo trio in the Triple Concerto (1803-1804). These works, despite their musical effectiveness, must still be regarded as studies and workings-out in relation to the violin concerto, which more clearly demonstrates Beethoven's mastery in marshalling the distinctive formal and dramatic forces of the concerto form. Characteristic of Beethoven's music ...
Beethoven, Symphony 5/1, Thielemann, Vienna Philharmonic Orchestra
Beethoven, Symphony 5/1, Thielemann, Vienna Philharmonic Orchestra 01 - Allegro con brio (Beethoven, Symphony 5/1, Thielemann, Vienna Philharmonic Orchestra) The Symphony No. 5 in C minor, Op. 67, was written by Ludwig van Beethoven in 1804--08. This symphony is one of the most popular and best-known compositions in all of classical music, and one of the most often played symphonies.[1] It comprises four movements: an opening sonata, an andante, and a fast scherzo which leads attacca to the finale. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterwards. ETA Hoffmann described the symphony as "one of the most important works of the time". The symphony, and the four-note opening motif in particular, are well known worldwide, with the motif appearing frequently in popular culture, from disco to rock and roll, to appearances in film and television.
Beethoven - Missa Solemnis (D-Dur, opus 123) Kyrie
Beethoven - Missa Solemnis (D-Dur, opus 123) Kyrie Kyrie Edda Moser - Sopran Hanna Schwarz - Mezzosopran Rene Kollo - Tenor Kurt Moll - Bass Concertgebouw Orchestra Conductor, Leonard Bernsrein
Classical Piano Duet 4-hands on Beethoven
Classical Piano Duet 4-hands on Beethoven really please to play with her! she's so musical! pardon me for my mistakes my friend!