BEETHOVEN Cds UND Dvds
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574040-41 Itunes Beethoven
BEETHOVEN Chamber Music Piano Quartet in E flat major • Six German Dances Various Artists Ludwig van ¡ Piano Quartet in E flat major, Op. 16 (1797) 26:16 ™ I. Grave – Allegro ma non troppo 13:01 £ II. Andante cantabile 7:20 BEE(1T77H0–1O827V) En III. Rondo: Allegro, ma non troppo 5:54 1 ¢ 6 Minuets, WoO 9, Hess 26 (c. 1799) 12:20 March in D major, WoO 24 ‘Marsch zur grossen Wachtparade ∞ No. 1 in E flat major 2:05 No. 2 in G major 1:58 2 (Grosser Marsch no. 4)’ (1816) 8:17 § No. 3 in C major 2:29 March in C major, WoO 20 ‘Zapfenstreich no. 2’ (c. 1809–22/23) 4:27 ¶ 3 • No. 4 in F major 2:01 4 Polonaise in D major, WoO 21 (1810) 2:06 ª No. 5 in D major 1:50 Écossaise in D major, WoO 22 (c. 1809–10) 0:58 No. 6 in G major 1:56 5 3 Equali, WoO 30 (1812) 5:03 º 6 Ländlerische Tänze, WoO 15 (version for 2 violins and double bass) (1801–02) 5:06 6 No. 1. Andante 2:14 ⁄ No. 1 in D major 0:43 No. 2 in D major 0:42 7 No. 2. Poco adagio 1:42 ¤ No. 3. Poco sostenuto 1:05 ‹ No. 3 in D major 0:38 8 › No. 4 in D minor 0:43 Adagio in A flat major, Hess 297 (1815) 0:52 9 fi No. 5 in D major 0:42 March in B flat major, WoO 29, Hess 107 ‘Grenadier March’ No. -
Ludwig Van BEETHOVEN
BEETHOVEN Piano Pieces and Fragments Sergio Gallo, Piano Ludwig van BEE(1T77H0–1O827V) EN Piano Pieces and Fragments 1 ^ 13 Variations in A major on the Arietta ‘Es war einmal ein alter Mann’ Sketch in A major, Hess 60 (transcribed by A. Schmitz) (1818)* 0:31 & (‘Once Upon a Time there was an Old Man’) from Dittersdorf’s Theme with Variations in A major, Hess 72 (fragment) (1803) 2:42 Das rothe Käppchen (‘Red Riding Hood’), WoO 66 (1792) 13:10 * 2 Liedthema in G major, WoO 200, Hess 75 ‘O Hoffnung’ (1818) 0:22 Pastorella in C major, Bia. 622 (transcribed by F. Rovelli, b. 1979) (1815)* 0:23 ( Presto in G major, Bia. 277 (transcribed by A. Schmitz) (1793) 0:34 Ein Skizzenbuch aus den Jahren 1815 bis 1816 (Scheide-Skizzenbuch). Faksimile, Übertragung und Kommentar ) herausgegeben von Federica Rovelli gestützt auf Vorarbeiten von Dagmar von Busch-Weise, Bd. I: Faksimile, 4 Bagatelles, WoO 213: No. 2 in G major (transcribed by A. Schmitz) (1793) 0:29 ¡ Bd. II: Transkription, Bd. III: Kommentar, Verlag Beethoven-Haus (Beethoven, Skizzen und Entwürfe), Bonn. Piano Étude in B flat major, Hess 58 (c. 1800) 0:41 ™ 12 Piano Miniatures from the Sketchbooks (ed. J. van der Zanden, b. 1954) Piano Étude in C major, Hess 59 (c. 1800) 0:25 £ (Raptus Editions) (excerpts) (date unknown) 4:27 3 String Quintet in C major, WoO 62, Hess 41 No. 3. Klavierstück: Alla marcia in C major [Kafka Miscellany, f. 119v, 2–5] 0:25 4 I. Andante maestoso, ‘Letzter musikalischer Gedanke’ (‘Last musical idea’) No. -
Beethoven's Creative Process of Composition
Click here for Full Issue of Fidelio Volume 7, Number 3, Fall 1998 Beethoven’s Creative Process of Composition Reflections on Leonore (1806) And Fidelio (1814) by Anno Hellenbroich In the springtime of my life Fortune fled from me! I dared to boldly tell the truth, And chains are my reward. Florestan’s Aria, Fidelio, Act II Come, Hope! Let not the last star Of the weary be dimmed! Light my goal, be it ever so far, Love will attain it. I follow my inner impulse; I waver not; The duty of true married love Strengthens me! Leonore’s Aria, Fidelio, Act I t least three completely different productions of Beethoven’s Great Opera Fidelio (1814) were pre- Asented on German stages in 1997 alone. Can it be, that Beethoven’s musical personification of a great figure as wife, Leonore—who, in her singing celebrates Y not only “true married love,” but, by risking her life, N , n o i achieves the rescue of Florestan in the dramatic develop- t c e l l o ment of the “Great Opera”—might have a completely C r e unheard-of effect at the present historical turning point? g n a r G For sure, it is certain that the number of Fidelio perfor- e h T mances demonstrates, that, completely contrary to the Florestan is saved from Pizarro by Leonore. spirit of the times, people today are more than ever seek- ing the impact of Beethovenesque “Great Opera.” The musical changes from Leonore to If one examines the performances in detail, it is com- Fidelio—the dimly conscious metaphor pletely apparent from them, that there are still directors living in the old era of ’68-generation “director’s theater” of ‘liberation of creative power through (Regietheater).* According to one review, one of the freedom’—can be recognized as the __________ ‘loose cords’ through which the work of * A recent decades’ fad, according to which theatrical “freedom” is art is tightened and shaped. -
Ludwig Van BEETHOVEN
Ludwig van BEETHOVEN Romance cantabile, WoO 207 Violin Concerto in C major, WoO 5 Jakub Junek, Violin Czech Chamber Philharmonic Orchestra Pardubice Marek Štilec, Conductor Ludwig van Beethoven (1770–1827) Romance cantabile, WoO 207 Violin Concerto in C major, WoO 5 Ludwig van Beethoven was born in Bonn in counterpoint and with Salieri in Italian word- in 1770. His father was still employed as setting and the introductions he brought with a singer in the chapel of the Archbishop- him from Bonn ensured a favourable reception Elector of Cologne, of which his grandfather, from leading members of the nobility. His after whom he was named, had served as patrons, over the years, acted towards him Kapellmeister. The family was not a happy with extraordinary forbearance and generosity, one, with his mother always ready to reproach tolerating his increasing eccentricities. These Beethoven’s father with his own inadequacies, were accentuated by the onset of deafness his drunkenness and gambling, with the at the turn of the century and the necessity of example of the old Kapellmeister held up as abandoning his career as a virtuoso pianist in a standard of competence that he was unable favour of a concentration on composition. to match. In due course Beethoven followed During the following 25 years Beethoven family example and entered the service of the developed his powers as a composer. His early court, as organist, harpsichordist and string compositions had reflected the influences of the player, and his promise was such that he was age, but in the new century he began to enlarge sent by the Archbishop to Vienna for lessons the inherent possibilities of classical forms. -
Mūzikas Akadēmijas Raksti VI
Mūzikas akadēmijas raksti Jāzepa Vītola Latvijas Mūzikas akadēmija, 2009 VI Mūzikas akadēmijas raksti, 6 Rīga: Musica Baltica, 2009, 316 lpp. ISBN 978–9984–588–38–4 Redakcijas kolēģija: Boriss Avramecs (Rīgas Pedagoģijas un izglītības vadības akadēmija) Anda Beitāne (Jāzepa Vītola Latvijas Mūzikas akadēmija) Tamāra Bogdanova (Rīgas Pedagoģijas un izglītības vadības akadēmija) Mārtiņš Boiko (Jāzepa Vītola Latvijas Mūzikas akadēmija) Joahims Brauns (Joachim Braun; Bar-Ilanas Universitāte, Ramatgana) Jons Brūveris (Jonas Bruveris; Lietuvas mūzikas un teātra akadēmija) Ēvalds Daugulis (Daugavpils Universitāte) Lolita Fūrmane (Jāzepa Vītola Latvijas Mūzikas akadēmija) Ilma Grauzdiņa (Jāzepa Vītola Latvijas Mūzikas akadēmija) Ingrīda Gutberga (Bostonas Universitāte) Baiba Jaunslaviete (Jāzepa Vītola Latvijas Mūzikas akadēmija) Jefims Jofe (Efim Yoffe; Levinska Izglītības koledža, Telaviva) Kevins K. Kārnss (Kevin C. Karnes; Emorija Universitāte, Atlanta) Arnolds Klotiņš (Latvijas Universitātes Literatūras, folkloras un mākslas institūts) Jānis Kudiņš (Jāzepa Vītola Latvijas Mūzikas akadēmija) Tatjana Kuriševa (Tatjana Kurysheva; Pētera Čaikovska Maskavas Valsts konservatorija) Ilze Šarkovska-Liepiņa (Latvijas Universitātes Literatūras, folkloras un mākslas institūts) Jeļena Ļebedeva (Jāzepa Vītola Latvijas Mūzikas akadēmija) Georgs Pelēcis (Jāzepa Vītola Latvijas Mūzikas akadēmija) Jānis Torgāns (Jāzepa Vītola Latvijas Mūzikas akadēmija) Audrone Žuraitīte (Audronė Žiūraitytė; Lietuvas mūzikas un teātra akadēmija) Sastādītāja un atbildīgā redaktore -
Today's Worksheet
EPIDSODE 5: STARTS WITH A B, PART 1 BEETHOVEN 6 Ecossaises, WoO 83 TODAY’S WORKSHEET TIME SIGNATURES A time signature tells musicians important information about the music they are about to play. The bottom number tells us what note value, or type (half note, quarter note, eighth note, etc.) gets the beat. The top number tells us how many beats (or counts) will be in one measure of the music. So for a piece of music in 4/4 time, like in the image to the left, there will be 4 beats in each measure, and the quarter note (represented by the number 4) will be the note that gets the beat. TEST YOUR UNDERSTANDING _____ beats per measure _____ beats per measure ___________ note gets the beat ___________ note gets the beat _____ beats per measure ___________ note gets the beat EPIDSODE 5: STARTS WITH A B, PART 1 BEETHOVEN 6 Ecossaises, WoO 83 COUNT IT OUT! Below is the rhythm that you clapped along with Buddy during the piece. Using “ta” for quarter notes, and “ti” for eighth notes, write out the rhythm above the notes on each line. Then, practice clapping each line! _ta__ _ta__ _ti_ _ti_ _ta__ ____ ____ ___ ___ ____ ____ ____ ___ ___ ____ ___ ___ ___ ___ ___ ___ ___ ___ __ __ _____ ___ ___ ___ ____ ____ ___ ___ ____ ____ ____ ___ ___ ____ ___ ___ ___ ___ ___ ___ ___ ___ How many beats per measure are there in this piece? _______ What note value gets the beat? _________________ BONUS! One eighth note is HALF the value of one quarter note. -
Overture to Fidelio, Op. 72C
Listen for the piccolo toward the end of the last movement of Beethoven’s Fifth. It’s an iconic little bling from an instrument that had never been used in a symphony before — a wickedly fast, articulated scale that has to cut through the entire orchestra. ANNE WHALEY LANEY, NCS PRINCIPAL FLUTE In Beethoven’s Fifth Symphony, the trombones do not play until the triumphant C- major chords, which herald the beginning of the fourth movement. It’s a glorious moment that never grows old to play or to listen to. JOHN ILIKA, NCS PRINCIPAL TROMBONE Overture to Fidelio, Op. 72c LUDWIG VAN BEETHOVEN BORN December 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna PREMIERE Composed 1814; first performance May 26, 1814, in Vienna, conducted by the composer OVERVIEW Beethoven’s only opera, Fidelio, underwent numerous major revisions before the composer arrived at the final version. The overture to the opera underwent even greater transformations. We have today four different overtures, all of them popular in the concert hall. The first three are called Leonore (Nos.1, 2, and 3), after the heroine’s name and original title of the opera; the fourth is known as Fidelio, Leonora’s pseudonym and Beethoven’s final title of the opera. The complex plot is a paean to marital fidelity and political justice. Leonore disguises herself as a young man (Fidelio) to free her husband, Florestan, who has been incarcerated unjustly as a political prisoner. Beethoven’s difficulties with the earlier versions of the overture (the three entitled Leonore) stemmed from the fact that they were too dramatic and explicit, following the trajectory of the plot by including themes from the opera, thereby giving away the most dramatic and exciting moments. -
Beethoven's Fifth Symphony
NOTES ON THE PROGRAM BY LAURIE SHULMAN, ©2017 Beethoven’s Fifth Symphony ONE-MINUTE NOTES Beethoven: Overture to Coriolan. Coriolan is vintage Beethoven: a stormy sonata-form movement in the heroic key of C minor. Jolting chords and lurching accents in the principal theme portray the tortured, indecisive hero. This is Beethoven at his most tragic. Bartók: Piano Concerto No. 3. A kinder, gentler Bartók emerges in the Third Piano Concerto. Nascent neoromanticism blooms in his melodious, folk-inflected first movement. A noble chorale gives way to nature’s night sounds in the slow movement, leading to an exhilarating finale. Beethoven: Symphony No. 5. Fate knocks at the door in symphonic literature’s most famous opening. Beethoven takes us on a journey from struggle to triumph in his magnificent Fifth Symphony. BEETHOVEN: Overture to Coriolan, Op. 62 LUDWIG VAN BEETHOVEN Born: December 16, 1770, in Bonn, Germany Died: March 26, 1827, in Vienna, Austria Composed: 1807 World Premiere: March 1807 in Vienna NJSO Premiere: 1927–28 season; Philip James conducted. Duration: 8 minutes Beethoven’s overtures vary widely in content and quality. Some are occasional pieces with little dramatic import; others are middle-period masterpieces. The former category includes King Stephen and The Consecration of the House. The latter group is dominated by the three Leonore Overtures and the Overture to Fidelio; plus Egmont and this weekend’s featured overture, Coriolan. What they all share is a connection to staged drama. Beethoven only completed one opera, Fidelio, but we know that he considered several other operatic projects. His Creatures of Prometheus was one of the most popular ballets of the early 19th century. -
Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, Conductors
Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, conductors March 26, 2021 Friday Presented Virtually 7:30 pm Program The Hebrides Overture, Op. 26 Felix Mendelssohn (1809–1847) Wood Notes William Grant Still (1895–1978) II. Autumn Night Kensho Watanabe, conductor |Intermission| Serenade for Strings, Op. 22 Antonín Dvorák (1841–1904) I. Moderato II. Tempo di Valse Serenade for String Orchestra, Op. 20 Edward Elgar (1857–1934) I. Allegro piacevole II. Larghetto III. Allegretto Starburst Jessie Montgomery (b. 1981) José Luis Domínguez, conductor |Intermission| One hundred ninety-second performance of the 2020-2021 season. En Chasse, Mazurka Élégante Eugène Dédé (1867–1919) orchestrated by Edmond Dédé ed. Richard Rosenberg Coriolan Overture, Op. 62 Ludwig van Beethoven (1770–1827) Le Tombeau de Couperin Maurice Ravel (1875–1937) I. Prelude II. Forlane III. Menuet IV. Rigaudon Kensho Watanabe, conductor Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, conductors Mendelssohn & Grant Still Orchestra VIOLIN I BASS BASSOON TROMBONE Shirley Xuan Yao, Jonathan Haikes, Rick Barrantes, Jeffrey Dever, Concertmaster Principal Principal (Mendelssohn) Principal Zhanara Makhmutova Coby Lindenmuth Collin Odom, Samuel Johnson Yuan Tian Jiayu Liu Principal (Grant Still) Phillip Watts HARP Zi Wang FLUTE/PICCOLO HORN Katherine Ventura Ashley Oros, Lucy Smith, VIOLIN II Principal Principal CELESTE Dakota Kievman, Jill Krikorian Isaac Duquette Madalina Danila Principal Jane Pelgon OBOE TRUMPET TIMPANI/ Esmeralda -
Hugo Distler (1908-1942)
HUGO DISTLER (1908-1942): RECONTEXTUALIZING DISTLER’S MUSIC FOR PERFORMANCE IN THE TWENTY-FIRST CENTURY by Brad Pierson A dissertation Submitted in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Giselle Wyers Steven Morrison Program Authorized to Offer Degree: School of Music © Copyright 2014 Brad Pierson ii Acknowledgements It has been an absolute joy to study the life and music of Hugo Distler, and I owe a debt of gratitude to many people who have supported me in making this document possible. Thank you to Dr. Geoffrey Boers and Dr. Giselle Wyers, who have served as my primary mentors at the University of Washington. Your constant support and your excellence have challenged me to grow as a musician and as a person. Thank you to Dr. Steven Morrison and Dr. Steven Demorest for always having questions and forcing me to search for better answers. Joseph Schubert, thank you for your willingness to always read my writing and provide feedback even as you worked to complete your own dissertation. Thank you to Arndt Schnoor at the Hugo Distler Archive and to the many scholars whom I contacted to discuss research. Your thoughts and insights have been invaluable. Thank you to Jacob Finkle for working with me in the editing process and for your patience with my predilection for commas. Thank you to my colleagues at the University of Washington. Your friendship and support have gotten me through this degree. Finally, thank you to my family. You have always supported me in everything I do, and this journey would not have been possible without you. -
Opera Opposed to Opera: "Così Fan Tutte" and "Fidelio" Author(S): Edward W
Opera Opposed to Opera: "Così fan tutte" and "Fidelio" Author(s): Edward W. Said Source: Profession, (1998), pp. 23-29 Published by: Modern Language Association Stable URL: https://www.jstor.org/stable/25595634 Accessed: 05-02-2020 22:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to Profession This content downloaded from 128.32.10.230 on Wed, 05 Feb 2020 22:38:35 UTC All use subject to https://about.jstor.org/terms Opera Opposed to Opera: Cosi fan tutte and Fidelio EDWARD W. SAID The topic of influence and its anxieties, so rich in the history of literature, is less discussed in the history of music. Certainly the intimidating and in hibiting effect of Ludwig van Beethoven's Nine on subsequent symphon ists (Brahms, Mahler, Bruckner) is much referred to, but the dynamics of an active, energizing struggle with an antecedent both disliked and re spected have not often received much attention. This is a pity, since the case I want to consider here helps us make more sense of two popular and yet very problematic operas, one that I believe follows the other with consider able agitation. -
Www .Naxos.Com Ludwig Van BEETHOVEN
MILITARY BEETHOVEN Compositions and Transcriptions for Piano Wellington’s Victory • Variations on ‘Rule Britannia’ Variations on ‘God Save the King’ • Ballet of the Knights Carl Petersson Ludwig van Beethoven (1770–1827) During the course of his life Beethoven wrote a quantity of necessity of abandoning his career as a virtuoso pianist in Military Beethoven: Compositions and Transcriptions for Piano piano pieces. Many of these remained without an opus favour of a concentration on composition. number, their listing indicated, in a catalogue by Georg During the following 25 years Beethoven developed his Musik zu einem Ritterballett, WoO 1, Hess 89 & Zweite Abteilung: Sieges-Sinfonie Kinsky and Hans Halm as WoO, ‘Werke ohne Opuszahl’ powers as a composer. His early compositions had (‘Music for a Ballet of the Knights’) (1790–91) 13:12 (‘Part II: Victory Symphony’) (‘Works without Opus Number’), although they may have reflected the influences of the age, but in the new century 1 Marsch 1:55 Intrada: Allegro ma non troppo – Allegro con brio – been published in the composer’s lifetime. A catalogue by he began to enlarge the inherent possibilities of classical 2 Deutscher Gesang (‘German Song’): Allegro 0:50 Andante grazioso –Tempo I – the Swiss musicologist Willy Hess was issued in the forms. In his nine symphonies he created works of such 3 Jagdlied (‘Hunting Song’): Allegretto 0:35 Tempo di Menuetto moderato – Allegro 7:15 1950s, listing unpublished or unfinished pieces, some of size and intensity as to present a serious challenge to 4 Deutscher Gesang (‘German Song’): Allegro 0:51 Triumphmarsch zum Trauerspiel Tarpeja von which were included in the WoO catalogue.