Tag Archives: Ludwig

Beethoven | Piano Sonata No. 12 in A-flat major, Op. 26 | Daniel Barenboim: great compositions/performances

Beethoven | Piano Sonata No. 12 in A-flat major, Op. 26 | Daniel Barenboim

Español: Sonata para Piano nº12 en La bemol Mayor, Op. 26

* 1st Movement (Andante con Variazioni)
* 2nd Movement (Scherzo, Allegro Molto)
* 3rd Movement (Marcia funebre sulla morte d’un Eroe)
* 4th Movement (Allegro)

Work: Piano Sonata No. 12 in A-flat major, Op. 26
Composer: Ludwig van Beethoven
Soloist: Daniel Barenhoim

Ludwig van Beethoven – WoO 7 – 12 minuets for orchestra: make music part of your life series

Ludwig van Beethoven – WoO 7 – 12 minuets for orchestra

Ludwig van Beethoven: Piano Sonata No. 15 in D major, op. 28, “Pastoral”- Daniel Barenboim: great compositions/performances

Ludwig van Beethoven: Piano Sonata No. 15 in D major, op. 28, “Pastoral”. Daniel Barenboim, piano

Ludwig van Beethoven – Symphony No. 7 in A major, op. 92: make music part of your life series

Ludwig van Beethoven – Symphony No. 7 in A major, op. 92

Beethoven: Leonore Overture No. 3, Op. 72, Kurt Masur: great compositions/perform

Beethoven: Leonore Overture No. 3, Op. 72, Kurt Masur

Ludwig van Beethoven: Romance for Violin No.1 in G major, Op.40: great compositions/performances

Ludwig van Beethoven: Romance for Violin No.1 in G major, Op.40

Beethoven Namensfeier Overture in C major, Op.115: make music part of your life series


Beethoven Namensfeier Overture in C major, Op.115

Ludwig van Beethoven (1770 † 1827)

Work: Namensfeier ‘Name-Day Celebration‘ Overture in C major, Op.115

Movement: Maestoso – Allegro assai vivace

Herbert von Karajan
Berliner Philharmoniker Orchestra

Ludwig van Beethoven – Romance for Violin & Orchestra No. 1 (make music part of your life series)


Ludwig van Beethoven – Romance for Violin & Orchestra No. 1, in G major, op. 40 

Igor Ozim, violin
Vienna Opera Orchestra
Moshe Atzmon

Beethoven’s reputation as a pianist often obscures the fact that he was a very capable violinist. Although not an accomplished master, he possessed a profound love for and understanding of the instrument, evident in his ten violin sonatas, the violin concerto, and numerous quintets, quartets, and other chamber works. The two Romances for violin stand out because they are single-movement works in concerto settings. The Romance in G major was published in 1803 by Hoffmeister & Kühnel in Leipzig; the date of its first performance is not known. Despite the lower opus number, it was composed at least five years after the Romance in F, Op. 50, which was published in 1805. He retained the early Classical orchestra he employed for his earlier Piano Concerto in B flat, Op. 19: one flute, two oboes, two bassoons, two horns, and strings. Often described as a “preparation” for the Violin Concerto, Op. 61, of 1806, the Romance in G stands as a fine work in its own right, clearly demonstrating Beethoven’s mastery of the high-Classical style of Mozart and Haydn. Furthermore, Beethoven creates subtle connections between disparate sections of a work.

Cast in a two-episode rondo format (ABACA coda), the Romance in G is not imbued with sonata-form characteristics, as are many of Beethoven’s later rondo movements. The rondo theme (A) is in two parts, each performed first by the soloist then repeated by the orchestra. Descending sixteenth notes in the solo part mark the beginning of B, in which the orchestra is relegated to a purely accompanimental role, creating unity by including figures from the rondo. Section B spends a significant amount of time on the dominant (D major); however, this does not represent a modulation but a preparation for the return of the rondo in G major. Again, the soloist performs both segments of the A section alone, this time including a running eighth note accompaniment under each of the literally repeated themes. Beethoven set the second episode, C, in E minor. The minor mode, dotted rhythms, and staccato passages give the section a “gypsy” music tinge. The foray into a new key area ends with the return of the G major rondo theme, again played by the soloist, but with accompaniment by the orchestra. Beethoven forgoes the repetition of each of the two parts of the rondo and ends the work with a brief coda featuring a lengthy trill in the solo violin. The three fortissimo chords that close the piece seem oddly, possibly comically, out of place in this generally quiet work, but they do resemble the orchestral string parts at the end of each rondo section. [allmusic.com]

great compsitions/performances: Sviatoslav Richter – Beethoven – Piano Sonata No 9 in E major, Op 14


Sviatoslav Richter – Beethoven – Piano Sonata No 9 in E major, Op 14

00:00 Allegro
06:39 Allegretto. Maggiore
12:53 Rondo. Allegro comodo

Sviatoslav Richter, piano

make music part of your life: Alfred Brendel, Plays Ludwig van Beethoven’s – Rondo in G major Op. 51 No. 2


Ludwig van Beethoven – Rondo in G major Op. 51 No. 2

Alfred Brendel, Piano

GREAT COMPOSITIONS/PERFORMANCES: Beethoven – String Quartet No.2 in G major, Op.18 – Végh Quartet – 1952


Beethoven – String Quartet No.2 in G major, Op.18 – Végh Quartet – 1952

Ludwig van Beethoven: The Early String Quartets, Opus 18
String Quartet No. 2 in G major, Op. 18, No. 2
(Streichquartett Nr. 2 in G-dur, Op. 18, Nr. 2)

I. Allegro
II. Adagio cantabile — Allegro — Tempo I
III. Scherzo. Allegro
IV. Allegro molto, quasi presto

Végh Quartet
Sándor Végh, 1st violin
Sándor Zöldy, 2nd violin
Georges Janzer, viola
Paul Szabo, violoncello

The 1952 Haydn Society Recordings


The String Quartet No. 2 in G major, op. 18, No. 2, was written by Ludwig van Beethoven between 1798 and 1800 and published in 1801.

Of the Op. 18 string quartets, this one is the most grounded in 18th-century musical tradition.[1] According to Steinberg, “In German-speaking countries, the graceful curve of the first violin’s opening phrase has earned the work the nickname of Komplimentier-Quartett, which might be translated as ‘quartet of bows and curtseys’.”[2]

The nickname may have originated from one of Haydn’s last string quartets written about the same time (Op. 77, No. 1; 1799), which was also known as the Komplimentier-Quartett. Haydn was Beethoven’s teacher at the time, and there are similarities in style between the two quartets. They are also both in the key of G major.[3]

After he finished the quartet, Beethoven was not satisfied with the second movement and wrote a replacement. Sketches of the original slow movement survive and a complete version has been reconstructed by musicologist Barry Cooper.[4] It was performed publicly, possibly for the first time, by the Quatuor Danel in the Cosmo Rodewald Concert Hall at the Martin Harris Centre, University of Manchester, on 30 September 2011.


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Great Compositions/Performances: Beethoven Die Geschöpfe des Prometheus Overture Op.43 by Immerseel, Anima Eterna (2009)


Beethoven Die Geschöpfe des Prometheus Overture Op.43 by Immerseel, Anima Eterna (2009)

Ludwig van Beethoven:
Die Geschöpfe des Prometheus Overture Op.43
(The Creatures of Prometheus Overture Op.43)

Anima Eterna
Jos van Immerseel, Conductor

22nd September 2009
Live at Au Concert Nobel, Bruxelles

(Beethoven Symphony No.5, Mov.4 by Immerseel, Anima Eterna)

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Great Compositions/Performances: Beethoven Piano Sonata No. 4, in E-flat major, Op. 7


Beethoven Piano Sonata No. 4, in E-flat major, Op. 7

Ludwig van Beethoven
Piano Sonata No. 4, in E-flat major, Op. 7
Wilhelm Kempff (piano)
in 1951

0:00 1st mov. Allegro molto e con brio
8:41 2nd mov. Largo, con gran espressione
16:31 3rd mov. Allegro
21:50 4th mov. Rondo: Poco allegretto e grazioso

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Great Compositions/Performances: Emil Gilels plays Ludwig van Beethoven’s – Piano Sonata #31 in A-Flat, Op. 110


Ludwig van Beethoven – Piano Sonata #31 in A-Flat, Op. 110

Composed in 1821.

I. Moderato cantabile molto espressivo (@ 0:00)
II. Allegro molto (@ 7:29)
III. Adagio — Fuga (@ 9:49)

Performed by Emil Gilels.
Paintings by William Blake.

From Wikipedia, the free encyclopedia

The Piano Sonata No. 31 in A-flat major, Op. 110, by Ludwig van Beethoven was composed in 1821. It is the central piano sonata in the group of three opp. 109–111 which he wrote between 1820 and 1822, and the thirty-first of his published piano sonatas.

The sonata is in three movements. The moderato first movement in sonata form, marked con amabilità, is followed by a fast scherzo. The finale comprises a slow recitative and arioso dolente, a fugue, a return of the arioso lament, and a second fugue that builds to an affirmative conclusion.


In the summer of 1819 Moritz Schlesinger, from the Schlesinger firm of music publishers based in Berlin, met Beethoven and asked to purchase some compositions. After some negotiation by letter, and despite the publisher’s qualms about Beethoven’s retaining the rights for publication in England and Scotland, Schlesinger agreed to purchase 25 songs for 60 ducats and three piano sonatas at 90 ducats (Beethoven had originally asked 120 ducats for the sonatas). In May 1820 Beethoven agreed, the songs (op. 108) already being available, and he undertook to deliver the sonatas within three months. These three sonatas are the ones now known as opp. 109–111.

Beethoven was prevented from completing all three of the promised sonatas on schedule by factors including an attack of jaundice; Op. 109 was completed and delivered in 1820, but correspondence shows that Op. 110 was still not ready by the middle of December 1821, and the completed autograph score bears the date December 25, 1821. Presumably the sonata was delivered shortly thereafter, since Beethoven was paid the 30 ducats for this sonata in January 1822.


Alfred Brendel characterizes the main themes of the sonata as all derived from the hexachord – the first six notes of the diatonic scale – and the intervals of the third and fourth that divide it. He also points out that contrary motion is a feature of much of the work, particularly prominent in the scherzo second movement.

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Z.Francescatti – R.Casadesus: BEETHOVEN Sonata No.8 Op.30,3 (1961)

Ludwig van BEETHOVEN – The Sonatas for Violin & Piano
Violin Sonata No.8 in G major, Op.30/3
0:05 / I. Allegro assai [5’48”]
5:56 / II. Tempo di minuetto, molto moderato e grazioso [6’53”]
12:54 / III. Allegro vivace [3’22”]
Zino FRANCESCATTI, violin – Robert CASADESUS, piano 
(Rec. 1961 – vinyl CBS77426 (p) 1982)
audio restoring / vinyl remaster: Emilio Pessina, 2013
10 Violin Sonatashttp://www.youtube.com/playlist?list=…

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Make Music Part of Your Life: Ludwig van Beethoven: Bagatelle #4 Op 126/4

Two versions of Sviatoslav Richter Playing Ludwig van Beethoven‘s Bagatelle for piano in B minor, Op. 126 No. 4

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GREAT PERFORMANCES: Elly Ney plays Beethoven Andante favori WoO 57 in F major

Beethoven: Andante favori WoO 57 in F major
Elly Ney playing the historical Graf piano witch Ludwig van Beethoven played during the last years of his life. 
Recorded 1965


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Ludwig van Beethoven – Romance for Violin & Orchestra No. 1 in G major, Op. 40


Ludwig van Beethoven – Romance for Violin & Orchestra No. 1 in G major, Op. 40

Emmy Verhey, Violin. Brabant Orchestra, Eduardo Marturet


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Beethoven “12 Contredances”

12 Contredances for small Orchestra WoO 14 
by Ludwig van Beethoven
Chamber Orchestra Berlin
Helmut Koch, conductor


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Great Composers/Compositions: Igor Bukhvalov – Symphony no. 8 in F-Dur, Op. 93 by Ludwig van Beethoven

Igor Bukhvalov conducts Belarusian National Philharmonic performing Symphony #8 in F-Dur ,Op. 93 By Ludwig van Beethoven:

The Eighth Symphony consists of four movements:


  1. Allegro vivace e con brio
  2. Allegretto scherzando
  3. Tempo di Menuetto
  4. Allegro vivace
From Wikipedia, the free encyclopedia
 The Symphony No. 8 in F MajorOp. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as “my little Symphony in F,” distinguishing it from his Sixth Symphony, a longer work also in F.[1]

The Eighth Symphony is generally light-hearted, though not lightweight, and in many places cheerfully loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes.[2] As with various other Beethoven works such as the Opus 27 piano sonatas, the symphony deviates from Classical tradition in making the last movement the weightiest of the four.
The work was begun in the summer of 1812, immediately after the completion of the Seventh Symphony.[3]At the time Beethoven was 41 years old. As Antony Hopkins has noted, the cheerful mood of the work betrays nothing of the grossly unpleasant events that were taking place in Beethoven’s life at the time, which involved his interference in his brother Johann’s love life.[4] The work took Beethoven only four months to complete,[3] and is, unlike many of his works, without dedication.
The premiere took place on 24 February 1814, at a concert in the RedoutensaalVienna, at which theSeventh Symphony (which had been premiered two months earlier) was also played.[5] Beethoven was growing increasingly deaf at the time, but nevertheless led the premiere. Reportedly, “the orchestra largely ignored his ungainly gestures and followed the principal violinist instead.”[6]


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FABULOUS COMPOSERS/COMPOSITIONS: Beethoven – Missa Solemnis – Philharmonia / Karajan

Ludwig van Beethoven

Missa Solemnis op.123

Kyrie 0:00
Gloria 11:12
Credo 28:33
Sanctus 50:54
Agnus Dei 01:07:59

Elisabeth Schwarzkopf
Christa Ludwig
Nicolai Gedda
Nicola Zaccaria
Singverein des Gesellschaft der Musikfreunde in Wien
Philharmonia Orchestra
Herbert von Karajan

Studio recording (11-15.IX.1958)

 Donald Tovey has connected Beethoven to the earlier tradition in a different way:

Not even Bach or Handel can show a greater sense of space and of sonority. There is no earlier choral writing that comes so near to recovering some of the lost secrets of the style of Palestrina. There is no choral and no orchestral writing, earlier or later, that shows a more thrilling sense of the individual colour of every chord, every position, and every doubled third or discord.

In this famous portrait of Beethoven byJoseph Karl Stieler, Beethoven can be seen working on the Missa solemnis in D major.

The Missa solemnis in D major, Op. 123 was composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in St. PetersburgRussia, under the auspices of Beethoven’s patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.[1] It is generally considered to be one of the composer’s supreme achievements. Together with Bach’s Mass in B minor, it is the most significantMass setting of the common practice period.

Despite critical recognition as one of Beethoven’s great works from the height of his composing career,Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed.[citation needed] Written around the same time as his Ninth Symphony, it is Beethoven’s second setting of the Mass, after his Mass in C, Op. 86.

The Mass is scored for 2 flutes; 2 oboes, 2 clarinets (in A, C, and B♭); 2 bassoonscontrabassoon; 4horns (in D, E♭, B♭ basso, E, and G); 2 trumpets (D, B♭, and C); alto, tenor, and bass trombonetimpani;organ continuo; strings (violins I and II, violascellos, and basses); sopranoaltotenor, and bass soloists; and mixed choir.

Like most Masses, Beethoven’s Missa solemnis is in five movements:

  • Kyrie: Perhaps the most traditional of the Mass movements, the Kyrie is in a traditional ABA’ structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
  • Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the work’s two massive fugues, on the text “In gloria Dei patris. Amen”, leading into a recapitulation of the initial Gloria text and music.
  • Credo: One of the most remarkable movements to come from Beethoven’s pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the “et incarnatus” yield to ever more expressive heights through the “crucifixus”, and into a remarkable, a cappella setting of the “et resurrexit”that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on “et vitam venturi” that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.
    The form of the Credo is divided into four parts: (I) allegro ma non troppo through “descendit de coelis” in B-flat; (II) “Incarnatus est” through”Resurrexit” in D; (III) “Et ascendit” through the Credo recapitulation in F; (IV) Fugue and Coda “et vitam venturi saeculi, amen” in B-flat.
  • Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range — representing the Holy Spirit descending to earth — and begins the Missa’s most transcendently beautiful music, in a remarkably long extension of the text.
  • Agnus Dei: A setting of the plea “miserere nobis” (“have mercy on us”) that begins with the men’s voices alone in B minor yields, eventually, to a bright D-major prayer “dona nobis pacem” (“grant us peace”) in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn‘s Missa in tempore belli), but after repeated pleas of “miserere!”,eventually recovers and brings itself to a stately conclusion.


Fabulous Performers: VICTOR MERZHANOV Plays – Beethoven’s Sonata no. 10 in G Major, op. 14, no. 2


Ludwig van Beethoven. Piano Sonata no. 10 in G Major, op. 14, no. 2
1. Allegro 
2. Andante variations 06:21
3. Scherzo: Allegro assai 11:09
Recorded in 1954.

 The Piano Sonata No. 10 in G major, Op. 14, No. 2, composed in 1798–1799, is an early-period work by Ludwig van Beethoven, dedicated to Baroness Josefa von Braun. A typical performance lasts 15 minutes. While it is not as well known as some of the more original sonatas of Beethoven’s youth, such as the ‘Pathetique’ or ‘Moonlight’ sonatas, Tovey[1] described it as an ‘exquisite little work.’

From Wikipedia, the free encyclopedia
Victor Merzhanov

Victor Merzhanov at Moscow Conservatory (2010)
Background information
Birth name Victor Karpovich Merzhanov
Born August 15, 1919
Died December 20, 2012 (aged 93)
Genres Classical
Occupations PianistPedagogue
Instruments Piano

Victor Karpovich Merzhanov (Russian: Ви́ктор Ка́рпович Мержа́нов) (August 15, 1919 – December 20, 2012) was a Russian pianist

Merzhanov was born in Tambov and studied at Tambov Musical College with Solomon Starikov and Alexander Poltoratsky. Between 1936-1941 he studied at the Moscow Conservatory in the classes ofSamuil Feinberg (piano) and Alexander Goedicke (organ), graduating with distinction.


He achieved international recognition as a pianist in 1945 when he won the first prize (shared withSviatoslav Richter) at the Third All-Soviet-Union Piano Competition. In 1949, he was placed tenth at theInternational Chopin Piano Competition in Warsaw. Merzhanov became a Moscow Philharmony soloist in 1946.


Merzhanov was a Professor at the Moscow Conservatory from 1947 until his death. Among his students are prize-winners of international competitions: Vladimir Bunin, Oleg Volkov, Igor Girfanov, Yuri DidenkoMikhail OlenevHideyo HaradaNazzareno CarusiTatiana ShebanovaRuslan SviridovIrina KhovanskayaAnna YarovayaAnahit NersesyanElena Ulyanova and many others. His name is inscribed on the Moscow Conservatory’s marble wall along with those of Alexander Scriabin andSergei Rachmaninoff. He was also a professor at the Tambov Rachmaninov Institute.


During his 60-year stage career, Merzhanov gave more than 2,000 recitals and concerts in Russia, Europe, the United States, China, and other countries, with such conductors as Lorin MaazelKurt SanderlingKirill Kondrashin, Nikolai Anosov, Aleksandr GaukGennady RozhdestvenskyYuri Temirkanov and Yevgeny Svetlanov.


His recordings (on major labels in the United States, Italy, Japan and the USSR) show his repertoire, including works from the Baroque period to contemporary music, from works by Bach and Beethoven to those by Prokofiev and Shostakovich.



Beethoven Symphony No. 7 in A Major, Op.92

The Western Connecticut Youth Orchestra spring concert 2013. The orchestra plays Symphony No. 7 in A Major, Op. 92 by Ludwig van Beethoven. Performed in the Clune Auditorium at Wilton High School on 3rd March 2013.


Bernstein Beethoven Leonore Overture Nº3

Leonore Overture Nº 3 in C major, Op. 72b

The Amnesty International Concert

Orchestra: Bavarian Broadcast Symphony Orchestra
Venue: Munich, Germany.
Date: 17/10/1976

Ludwig van Beethoven (1770 – 1827)
Leonard Bernstein (1918 – 1990)


Ludvig van Beethoven: 5 variationen über “Rule Britannia” (für klavier d-dur, 1803), WoO 79

komponiert von Ludwig van Beethoven (1770-1827)
Yoshio Watanabe, fortepiano [Ferdinand Hofmann (1756-1829), Vienna c.1790]