Ludwig van Beethoven 2 Trio per pianoforte, Opp. 70 Video
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Pré Bach Beethoven Richard Goode Mendelssohn Thomas Schippers Schumann Brahms Walter Trampler Spoleto Festival Teatro Caio Melisso 1100 1805 1965 1966
Questa è una rara registrazione, dalla mia collezione privata, dell'esibizione che Jacqueline Du Pré diede a Spoleto (Italia), nell'ambito del Festival dei Due Mondi, nel 1965 e nel 1966, presso il Teatro Caio Melisso. Un tesoro che deve essere di tutti. 1. J.S. Bach: Suite per violoncello solo n.3 in Do Magg BWV 1009 - JDP violoncello - 10 Luglio 1965 - 18:05 2. L. van Beethoven: Sonata per violoncello e pianoforte in Re Magg. Op. 102 n. 2 - JDP violoncello, Richard Goode pianoforte - 13 Luglio 1965 - 21:42 3. L. van Beethoven: Trio per pianoforte, violino e violoncello in Mib Magg. Op. 70 n. 2 - JDP violoncello, Michael Tree violino, Richard Goode pianoforte - 14 Luglio 1965 - 31:02 4. L. van Beethoven: Sonata per violoncello e pianoforte in La Magg. Op. 69 - JDP violoncello, Lawrence Smith pianoforte - 15 Luglio 1965 - 24:53 5. F. Mendelssohn: Trio per pianoforte, violino e violoncello in Re Min. Op. 49 - JDP violoncello, Thomas Schippers pianoforte, Arnold Steinhardt violino - 18 Luglio 1965 - 28:15 6. R. Schumann: Phantasiestücke per violoncello e pianoforte Op. 73 - JDP violoncello, Richard Goode pianoforte - 18 Luglio 1965 - 11:00 7. J. Brahms: Trio per pianoforte, violino e violoncello in Do Magg. Op. 87 - JDP violoncello, James Oliver Buswell IV violino, Richard Goode pianoforte - 10 Luglio 1966 - 28:36 8. L. van Beethoven: Trio per violino, viola e violoncello Op. 9 n. 1 - JDP violoncello, James Oliver Buswell IV violino, Walter Trampler viola - 12 Luglio 1966 - 26:35 9. J. Brahms: Sonata per violoncello e pianoforte in Mi Min. Op. 38 - JDP violoncello, Richard Goode pianoforte - 13 Luglio 1966 - 22:25
Leonore Piano Trio Haydn Dvořák Parry Beethoven Harrison Birtwistle Huw Watkins Rowland Matthews Leach Steven Isserlis 2012 2015 2019
The Programme • Haydn: Piano Trio no 35 in C major, Hob XV:21 • Dvořák: Piano Trio no 3 in F minor, op 65, B 130 The Leonore Piano Trio Benjamin Nabarro (violin) Gemma Rosefield (cello) Tim Horton (piano) Formed in 2012, the Leonore Piano Trio bring together three internationally acclaimed artists whose piano trio performances as part of Ensemble 360 were met with such an enthusiastic response that they decided to form a piano trio in their own right. The Trio have since given concerts both at home and in many other parts of the world, combining a comprehensive repertoire of works by the celebrated classical and romantic composers; an unrivalled exploration of lesser-known and forgotten pieces from the 19th century; exciting and innovative performances for young audiences and a range of contemporary and new works. The Leonore Piano Trio record for the Hyperion label and have released seven CDs for that label in as many years, including unjustly neglected or forgotten works, receiving praise and critical acclaim such as this from The Gramophone Magazine both nationally and internationally: “You’ll be purring with satisfaction at this exemplary new release from the Leonore Piano Trio. Enthusiasm isn’t always enough to prevent recordings of unfamiliar music from sounding raw but these performances feel fully matured — fresh, intelligent and strikingly stylish; edgy when they need to be and opening out generously when Parry’s romantic impulse demands it.” In 2015 the trio performed the complete Beethoven Piano Trios at Kings Place, London, as well as an even broader project including all his duo sonatas for piano with violin and cello. In 2019 they finished a complete cycle of trios and duos for Music in the Round, Sheffield. The members of the Leonore Trio are keen exponents of contemporary music and have performed works by distinguished composers including Harrison Birtwistle and Huw Watkins. They gave the first performance of Holkham Beach, a piece written for and dedicated to them by Simon Rowland-Jones. Their recording of the complete piano trios by David Matthews, for Toccata Classics, was hailed by the composer as “definitive”. As part of their commitment to education and outreach, the trio commissioned a narrated work for young audiences from Rachel Leach, based on the book by Steven Isserlis “Why Beethoven Threw the Stew”. It has proved to be an entertaining introduction to the music of Beethoven and the power of chamber music for all ages. More information: (http•••)
Beethoven Joseph Haydn Wolfgang Amadeus Mozart Christian Gottlob Neefe Antoine Reicha Nikolaus Simrock Franz Ries Ries Johann Georg Albrechtsberger Antonio Salieri Johannes Brahms Richard Wagner Herbert Karajan Berliner Philharmoniker 1770 1792 1794 1800 1811 1817 1827
Ludwig van Beethoven, +••.••(...)), born in Bonn, Germany, was the predominant musical figure in the transitional period between the Classical and Romantic eras. Widely regarded as the greatest composer who ever lived, he dominates a period of musical history as no one else before or since. Rooted in the Classical traditions of Joseph Haydn and Wolfgang Amadeus Mozart, his art reaches out to encompass the new spirit of humanism and incipient nationalism expressed in the works of Johann Wolfgang von Goethe and Friedrich von Schiller, his elder contemporaries in the world of literature, in the stringently redefined moral imperatives of the German philosopher Immanuel Kant, and in the ideals of the French Revolution, with its passionate concern for the freedom and dignity of the individual. He revealed more vividly than any of his predecessors the power of music to convey a philosophy of life without the aid of a spoken text; and in certain of his compositions is to be found the strongest assertion of the human will in all music, if not in all art. He received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. He moved to Vienna in 1792 to study with Joseph Haydn, and despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. His works also include the celebrated 9 symphonies; the opera Fidelio; 2 masses; 5 piano concertos; a violin concerto; 6 piano trios; 10 violin sonatas; 5 cello sonatas; and several concert overtures. Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. He profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works. The Romantic tradition of descriptive music began with Beethoven's "Pastoral" Symphony No. 6". Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Johannes Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Richard Wagner, who viewed the Symphony No.9 as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. He died in Vienna, Austria on March 26, 1827. Symphony No.9 in D minor, Op.125 I. Allegro ma non troppo, un poco maestoso Performed by the Berliner Philharmoniker Orchestra Herbert von Karajan, Conductor
Beethoven Christian Gottlob Neefe Antoine Reicha Nikolaus Simrock Franz Ries Ries Joseph Haydn Johann Georg Albrechtsberger Antonio Salieri Johannes Brahms Richard Wagner Dorati London Symphony Orchestra 1770 1792 1794 1800 1811 1817 1827
Ludwig van Beethoven, (1770 – 1827), born in the small city of Bonn, Germany, was the predominant musical figure in the transitional period between the Classical and Romantic eras. The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. He received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. He moved to Vienna in 1792 to study with Joseph Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. His works also include the celebrated 9 symphonies; the opera Fidelio; 2 masses; 5 piano concertos; a violin concerto; 6 piano trios; 10 violin sonatas; 5 cello sonatas; and several concert overtures. Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. He profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works. The Romantic tradition of descriptive music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Johannes Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Richard Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. Ludwig van Beethoven died in Vienna, Austria on March 26, 1827. Symphony No.7 in A, Op. 92 - Allegretto Performed by the London Symphony Orchestra Antal Dorati, Conductor
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