Ludwig van Beethoven Sinfonie Nr. 3 in Es-Dur, Op. 55, „Eroica“ Videos
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2024-03-27
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Claudio Abbado Ludwig Van Beethoven Daniel Barenboim Teatro Scala 1770 1804 1827 1933 2014
Faces of Classical Music (http•••) • Ludwig Van Beethoven +••.••(...)) ♪ Symphony No.3 in E flat major, Op.55 "Eroica" (1804) ii. Marcia funebre: Adagio assai in C minor Philharmonic Orchestra of the Teatro alla Scala Daniel Barenboim Tribute to the Master of the Teatro alla Scala, Claudio Abbado (26 June 1933 / 20 January 2014) Teatro alla Scala in Milan, 27-01-2014 (HD 1080p) • Faces of Classical Music (http•••)
Beethoven Claudio Abbado London Symphony Orchestra 1852 1984
Ludwig van Beethoven Symphony No.3 in E flat major, op.55 "Eroica" 00:00 I. Allegro con brio 18:52 II. Marcia funebre, Adagio assai 35:10 III. Scherzo. Allegro vivace - Trio 41:07 IV. Finale. Allegro molto - Poco Andante - Presto London Symphony Orchestra Claudio Abbado Live Recording: 4/1984, London
Beethoven Carlos Kleiber Richard Wagner Haydn Vienna Philharmonic 1749 1809 1811 1812 1813 1832
Ludwig van Beethoven: Symphony No. 7 in A major, Op. 92 (with Score) Composed: 1811 - 12 Conductor: Carlos Kleiber Orchestra: Vienna Philharmonic 00:00 1. Poco sostenuto - Vivace (A major) 13:38 2. Allegretto (A minor) 21:44 3. Presto (F major) - Assai meno presto (D major) 29:59 4. Allegro con brio (A major) Ludwig van Beethoven completed this work in 1812, but withheld the first performance until December 8, 1813, in Vienna. It is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, plus timpani and string choir. 1812 was an eventful year for the very famous, seriously deafened Beethoven. July was especially noteworthy. At Teplitz he finally met Goethe +••.••(...)), but was disappointed to find (he felt) an aging courtier who was no longer a firebrand or kindred democrat; worse yet, a musical dilettante. A week before that only meeting of German giants, Beethoven had written the letter to his mysterious "immortal beloved" that was discovered posthumously in a secret drawer. Then, toward the end of the year, he meddled unbidden in the affairs of his youngest brother, Johann, who was cohabiting contentedly with a housekeeper. Somehow, he found time to compose the last of his ten sonatas for violin and piano and to complete a new pair of symphonies / the Seventh and Eighth / both begun in 1809. He introduced the Seventh at a charity concert for wounded soldiers, and repeated it four nights later by popular demand. Richard Wagner called Symphony No. 7 "the apotheosis of the dance," meaning of course to praise its Dionysian spirit. But this oxymoron stuck like feathers to hot tar, encouraging irrelevant and awkward choreography (by Isadore Duncan and Léonide Massine among others) and licensing the music appreciation racket to misinterpret Beethoven's intent as well as his content. Wholly abstract and utterly symphonic, the Seventh was his definitive break with stylistic conventions practiced by Mozart, Haydn, and a legion of lesser mortals who copied them. He stretched harmonic rules, and gave breadth to symphonic forms that Haydn and Mozart anticipated. If, in his orchestral music, Beethoven was the last Austro-German Classicist, he did point those who followed him to the path of Romanticism. While the poco sostenuto introduction begins by observing time-honored rules of harmony, within 62 measures it modulates from A major to the alien keys of C and F major, then back again! The transition from solemn 4/4 meter to 6/8 for the balance of an evergreen vivace movement (in sonata form) further exemplifies Beethoven's conceptual stretch. Coming from the 20-minute funeral march of his earlier Eroica Symphony, Beethoven created an allegretto "slow" movement. He established a funerary mood (without its being specifically elegiac) through the repetition of a 2/4 rhythmic motif in A minor, the most somber key of the tempered scale. A minor serves more than an expressive function, moreover; it readies us for the reappearance of F major in a tumultuous five-part Scherzo marked Presto. Two trios go slower (assai meno presto), in D major / a long distance harmonically in 1812 from the work's A major tonic. The beginning of a third trio turns into a short coda capped by five fortissimo chords. A major finally returns in the final movement. Here more than anywhere else in his orchestral music, Beethoven became a race-car driver. As in the "slow" movement, the rhythm is 2/4, but sonata-form replaces ABA. And there's a grand coda longer than the exposition, the development, or the reprise, which, furthermore, begins in B minor! But modulations bring it back to A major in time for a heart-pounding final lap with the accelerator pressed to the floor. ((http•••)
Beethoven Sir Georg Solti Chicago Symphony Orchestra 1787 1804 1809 1810 1956
Egmont, Op. 84 by Ludwig van Beethoven, is a set of incidental music pieces for the 1787 play of the same name by Johann Wolfgang von Goethe. It consists of an overture followed by a sequence of nine pieces for soprano, male narrator, and full symphony orchestra. The male narrator is optional; he is not used in the play and does not appear in all recordings of the complete incidental music. Beethoven wrote it between October 1809 and June 1810, and it was premiered on 15 June 1810. The subject of the music and dramatic narrative is the life and heroism of 16th-century nobleman Lamoral, Count of Egmont from the Low Countries. It was composed during the Napoleonic Wars when the First French Empire had extended its domination over vast swathes of Europe. Beethoven had famously expressed his great outrage over Napoleon Bonaparte's decision to crown himself Emperor in 1804, furiously scratching out his name in the dedication of the Eroica Symphony. In the music for Egmont, Beethoven expressed his own political concerns through the exaltation of the heroic sacrifice of a man condemned to death for having taken a valiant stand against oppression. The Overture became an unofficial anthem of the 1956 Hungarian revolution. Beethoven: Egmont Overture, Op. 84 · Chicago Symphony Orchestra · Sir Georg Solti
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