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Igor Levit: Beethoven Piano Concerto No. 2 in B flat Major

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Igor Levit - Live from Wigmore Hall

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Beethoven - Sonata No. 2 in A major, Op. 2, No.2 - Igor Levit

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Usual Name Ludwig Van Beethoven
On Wikipedia Ludwig_van_Beethoven
Dedicated pieces Franz Schubert: 8 Variations on a French Song in E minor, D 624

Images

Title Subname Catalogue Key Year Type
Symphony #1 Op. 21 C Major Symphony
Symphony #2 Op. 36 D Major 1802 Symphony
Symphony #4 Op. 60 B-flat Major Symphony
Symphony #5 Op. 67 C Minor 1808 Symphony
Symphony #3 Eroica Op. 55 E-flat Major Symphony
Symphony #6 Pastoral Op. 68 F Major 1808 Symphony
Symphony #7 Op. 92 A Major Symphony
Symphony #8 Op. 93 F Major Symphony
Symphony #9 The Ode to Joy Op. 125
Piano Concerto #1 Op. 15 C Major 1797 Concerto
Piano Concerto #2 Op. 19 B-flat Major 1795 Concerto
Piano Concerto #3 Op. 37 C Minor 1801 Concerto
Piano Concerto #4 Op. 58 G Major 1806 Concerto
Piano Concerto #5 Emperor Op. 73 E-flat Major 1810 Concerto
Fantasia for piano, chorus, and orchestra Choral Fantasy Op. 80 C Minor 1808 Fantaisie
Rondo for Piano and Orchestra WoO 6 B-flat Major 1793 Rondo
Romance for Violin and Orchestra #1 Op. 40 G Major 1802 Romance
Romance for Violin and Orchestra #2 Op. 50 F Major 1798 Romance
The Creatures of Prometheus Op. 43 1801
Corolian Overture Op. 62 1807
Fidelio Overture Op. 72 1814 Overture
Leonore Overture #2 Op. 72a 1805 Overture
Leonore Overture #3 Op. 72b 1806 Overture
Egmont Op. 84 1810 Overture
Wellington's Victory Battle Symphony Op. 91 1813
The Ruins of Athens Op. 113 1811 Overture
King Stephen Op. 117 1811 Overture
Feastday Op. 115 1815 Overture
Consecration of the House Op. 124 1822 Overture
Piano Sonata #1 Op. 2 F Minor 1795 Sonata
Piano Sonata #2 Op. 2 A Major 1795 Sonata
Piano Sonata #3 Op. 2 C Major 1796 Sonata
Piano Sonata #4 Grand Sonata Op. 7 E Major 1796 Sonata
Piano Sonata #5 Op. 10 C Minor 1796 Sonata
Piano Sonata #6 Op. 10 F Major 1797 Sonata
Piano Sonata #7 Op. 10 D Major 1798 Sonata
Piano Sonata #8 Sonata Pathetique Op. 13 C Minor 1798 Sonata
Piano Sonata #9 Op. 14 E Major 1798 Sonata
Piano Sonata #10 Op. 14 G Major 1798 Sonata
Piano Sonata #11 Op. 22 B-flat Major 1800 Sonata
Piano Sonata #12 Op. 26 A-flat Major 1800 Sonata
Piano Sonata #13 Quasi una fantasia Op. 27 E-flat Major 1800 Sonata
Piano Sonata #14 Quasi una fantasia/Moonlight Sonata Op. 27 C-sharp Minor 1801 Sonata
Piano Sonata #15 Op. 28 D Major 1801 Sonata
Piano Sonata #16 Op. 31 G Major 1802 Sonata
Piano Sonata #17 The Tempest Op. 31 D Minor 1802 Sonata
Piano Sonata #18 The Hunt Op. 31 E-flat Major 1802 Sonata
Piano Sonata #19 Op. 49 G Minor 1803 Sonata
Piano Sonata #20 Op. 49 G Major 1803 Sonata
Piano Sonata #21 Waldstein Op. 53 C Major 1804 Sonata
Piano Sonata #22 Op. 54 F Major 1804 Sonata
Piano Sonata #23 Appassionata Op. 57 F Minor 1805 Sonata
Piano Sonata #24 a Therese Op. 78 F-sharp Major 1809 Sonata
Piano Sonata #25 Op. 79 G Major 1809 Sonata
Piano Sonata #26 Les Adieux Op. 81a E-flat Major 1810 Sonata
Piano Sonata #27 Op. 90 E Minor 1814 Sonata
Piano Sonata #28 Op. 101 A Major 1816 Sonata
Piano Sonata #29 Hammerklavier Op. 106 B-flat Major 1818 Sonata
Piano Sonata #30 Op. 109 E Major 1820 Sonata
Piano Sonata #31 Op. 110 A-flat Major 1821 Sonata
Piano Sonata #32 Op. 111 C Minor 1822 Sonata
Concerto Triple Concerto Op. 56 C Major 1803 Concerto
Violin Concerto Op. 61 D Major 1806 Concerto
Six String Quartets #1 String Quartet Op. 18 F Major 1798
Six String Quartets #2 Op. 18 G Major 1799 String Quartet
Six String Quartets #3 Op. 18 D Major 1799 String Quartet
Six String Quartets #4 Op. 18 C Minor 1799 String Quartet
Six String Quartets #5 Op. 18 A Major 1799 String Quartet
Six String Quartets #6 Op. 18 B-flat Major 1800 String Quartet
Three String Quartets #7 Razumovsky Op. 59 F Major 1806 String Quartet
Three String Quartets #8 Razumovsky Op. 59 E Minor 1806 String Quartet
Three String Quartets #9 Razumovsky Op. 59 C Major 1806 String Quartet
String Quartet #10 Op. 74 E-flat Major 1809 String Quartet
String Quartet #11 Op. 95 F Minor 1810 String Quartet
String Quartet #12 Op. 127 E-flat Major 1825 String Quartet
String Quartet #14 Op. 131 C-sharp Minor 1826 String Quartet
String Quartet #15 Op. 132 A Minor 1825 String Quartet
String Quartet #16 Op. 135 F Major 1826 String Quartet
String Quintet Op. 4 E-flat Major 1795 String Quintet
String Quintet Op. 29 C Major 1801 String Quintet
String Quintet Op. 104 C Minor 1817 String Quintet
Fugue for String Quintet Op. 137 D Major 1817 String Quintet
Quintettsatz Hess 40 D Minor 1817 String Quintet
Piano Trio #1 Op. 1 E-flat Major Piano Trio
Piano Trio #2 Op. 1 G Major Piano Trio
Piano Trio #3 Op. 1 C Minor Piano Trio
Piano Trio #4 Gassenhauer Trio Op. 11 B-flat Major 1797 Piano Trio
Piano Trio #5 Ghost Op. 70 D Major 1808 Piano Trio
Piano Trio #6 Op. 70 E-flat Major 1808 Piano Trio
Piano Trio #7 Archduke Trio Op. 97 B-flat Major 1811 Piano Trio
String Trio #1 Op. 3 E-flat Minor 1794 String Trio
String Trio #2 Serenade for Violin, Viola, and Cello Op. 8 D Major 1796 String Trio
Three String Trios #3 Op. 9 G Major 1797 String Trio
Three String Trios #4 Op. 9 D Major 1797 String Trio
Three String Trios #5 Op. 9 C Minor 1797 String Trio
Quintet for Piano and Winds Op. 16 E-flat Major 1796 Quintet
Septet Op. 20 E-flat Major 1799 Septet
Octet Op. 103 E-flat Major 1792 Octet
Trio WoO 37 1786 Trio
Serenade Op. 25 D Major 1795 Serenade
Trio Op. 38 E-flat Major 1803 Trio
Sextet Op. 71 E-flat Major Sextet
Sextet Op. 81b E-flat Major 1795 Sextet
Trio Op. 87 C Major 1795 Trio
6 National Airs with Variations Op. 105 1818
6 Lieder Op. 48 1801 Lieder
Violin Sonata #1 Op. 12 D Major 1798 Sonata
Violin Sonata #2 Op. 12 A Major 1997 Sonata
Violin Sonata #3 Op. 12 E-flat Major 1798 Sonata
Violin Sonata #4 Op. 23 A Minor 1801 Sonata
Violin Sonata #5 Spring Op. 24 F Major 1801 Sonata
Violin Sonata #6 Op. 30 A Major 1801 Sonata
Violin Sonata #7 Op. 30 C Minor 1801 Sonata
Violin Sonata #8 Op. 30 G Major 1802 Sonata
Violin Sonata #9 Op. 47 A Major 1803 Sonata
Violin Sonata #10 Op. 96 G Major 1812 Sonata
Cello Sonata #1 Op. 5 F Major 1796 Sonata
Cello Sonata #2 Op. 5 G Minor 1796 Sonata
Cello Sonata #3 Op. 69 A Major 1808 Sonata
Cello Sonata #4 Op. 102 C Major 1815 Sonata
Cello Sonata #5 Op. 102 D Major 1815 Sonata
Horn Sonata Op. 17 F Major 1800 Sonata
6 Variations Op. 34 F Major 1802 Theme and variations
Variations and Fugue for Piano Eroica Variations Op. 35 E-flat Major 1802 Variations
6 Variations Op. 76 D Major 1809 Variations
33 Variations on a waltz by Anton Diabelli Diabelli Variations Op. 120 C Major 1819 Variations
9 Variations on a March by Dressler WoO 63 C Minor 1782 Variations
Six Variations on a Swiss song for piano or harp WoO 64 Variations
24 Variations on 'Venni Amore' by Vincenzio Righini WoO 65
13 Variations on 'Es war einmal ein alter Mann' WoO 66 Variations
12 Variations on 'Menuet a la Vigano' Variations
9 Variations on 'Quant'e piu bello' Variations
6 Variations on 'Nel cor piu non mi sento' WoO 70 Variations
Twelve variations for piano on the Russian dance from Paul Wranitzky's ballet Das Waldmädchen WoO 71 1796 Variations
Eight variations for piano on "Une fièvre brûlante" from André Grétry's opera Richard Coeur-de-lion WoO 72 1795 Variations
Ten variations for piano on "La stessa, la stessissima" from Antonio Salieri's opera Falstaff WoO 73 1799 Variations
Seven variations for piano on "Kind, willst du ruhig schlafen" from Peter Winter's opera Das unterbrochene Opferfest WoO 75 1799 Variations
Eight variations for piano on "Tändeln und scherzen" from Franz Xaver Süssmayr's opera Soliman II WoO 76 Variations
Six easy variations on an original theme for piano WoO 77 G Major Variations
Seven variations for piano on "God Save the King" WoO 78 Variations
Five variations for piano on "Rule, Britannia!" WoO 79 1803 Variations
32 Variations C Minor 1806 Variations
An die Hoffnung Op. 32 E-flat Major 1805 Lied
Seven Bagatelles Op. 33 1802
2 Preludes Zwei Präludien durch alle Dur-Tonarten für das Pianoforte oder die Orgel (Two Preludes through All Major Keys for Piano or Organ) Op. 39 C Major 1789 Prelude
Notturno Op. 42 D Major 1803
Piano Trio #10 Variations on an original theme in E flat major Op. 44 E-flat Major 1800 Variations
Drei Märsche für des Pianoforte zu vier Händen Op. 45 1803 Marche
Adelaide Op. 46 B-flat Major 1796 Lied
Two Rondos Op. 51 1797 Rondo
Acht Gesänge und Lieder Op. 52 1805 Lieder
4 Ariettas and a Duet Op. 82 A Major 1809
Drei Gesänge von Goethe Op. 83 1810
Christ on the Mount of Olives Op. 85 E-flat Major 1803 Oratorio
Mass Op. 86 C Major 1807 Mass
The Happiness of Friendship Op. 88 A Major 1803 Lied
Polonaise Op. 89 C Major 1814 Polonaise
An die Hoffnung Op. 94 B-flat Major 1815 Lied
An die ferne Geliebte Op. 98 1816 Song(s)
Der Mann von Wort Op. 99 G Major 1816 Lied
Merkenstein Op. 100 F Major 1814 Lied
10 National Airs with Variations Op. 107 1819
Twenty-Five Scottish Songs Op. 108 1818 Song(s)
Meerestille und gluckliche Fahrt Op. 112 D Major 1815 Cantata
Tremate, Empi, Tremate (Trio for voices and orchestra) Op. 116 B-flat Major
Elegischer Gesang Op. 118 E Major 1814
Eleven New Bagatelles Op. 119 1823
Opferlied Op. 121b E Major 1824 Lied
Bundeslied Song of Fellowship Op. 122 B-flat Major 1824 Lied
Mass Missa solemnis Op. 123 D Major 1823 Mass
6 Bagatelles Op. 126 1824
The Kiss Op. 128 A Major 1822 Lied
Rondo a Capriccio Rage Over a Lost Penny Op. 129 G Major 1795
String Quartet #13 Op. 130 B-flat Major 1826 String Quartet
Great Fugue or Grand Fugue Op. 133 B-flat Major 1826 Fugue
Der glorreiche Augenblick Op. 136 1814
Fugue for String Quintet Op. 137 D Major 1817 Fugue
Leonora Overture #1 Op. 138 C Major 1807 Overture
Musik zu einem Ritterballet WoO 1 D Major 1790
Triumphal March for Christoph Kuffner's tragedy Tarpeja WoO 2a C Major 1813
Allegretto Gratulations-Menuett WoO 3 E-flat Major 1822
12 Minuets WoO 7 1795
6 Minuets WoO 10 1796
7 Ländler WoO 11 D Major 1799
12 German Dances WoO 13 D Major 1797
12 Contredanses WoO 14 1802 Contredanse
11 Mödlinger Tänze WoO 17 1819 Dance
2 Marches for Military Band WoO 18-19 F Major 1808
March for Military Band WoO 20 C Major 1822
Polonaise for Military Band WoO 21 D Major 1810 Polonaise
Ecossaise for Wind Band WoO 22 D Major 1810 Ecossaise
Ecossaise WoO 23 G Major 1810 Ecossaise
March for Military Band WoO 24 D Major 1816 Marche
Rondino WoO 25 E-flat Major 1793
Duo for 2 Flutes Allegro and Minuet WoO 26 G Major 1792
3 Duets for Clarinet and Bassoon WoO 27 1792 Duet
Variations on "Là ci darem la mano" from Mozart's opera Don Giovanni WoO 28 C Major 1795 Theme and variations
March for Wind Sextet WoO 29 B-flat Major 1798 Marche
3 Equali WoO 30 D Minor 1812
Fugue for Organ WoO 31 D Major 1783
Eyeglass Duo WoO 32 E-flat Major 1796
5 pieces for mechanical organ WoO 33 1799
Piano Quartet #1 WoO 36 E-flat Major 1785 Piano Quartet
Piano Quartet #2 WoO 36 D Major 1785 Piano Quartet
Piano Quartet #3 WoO 36 C Major 1785
Trio for Piano, Flute and Bassoon WoO 37 G Major 1790 Trio
Piano Trio WoO 38 E-flat Major 1791 Piano Trio
Allegretto for Piano Trio WoO 39 B-flat Major 1812 Piano Trio
12 Variations on 'Se vuol ballare WoO 40 F Major 1793 Duet
Rondo WoO 41 G Major 1794 Rondo
6 German Dances WoO 42 1796 Dance
Sonatina for Mandolin and Harpsichord WoO 43a C Minor 1796 Sonatina
Adagio for Mandolin and Harpsichord WoO 43b E-flat Major 1796 Adagio
Sonatina for Mandolin and Piano WoO 44a C Major 1796 Sonatina
12 Variations on 'See the conqu'ring hero comes' WoO 45 G Major 1796 Variations
7 Variations on 'Bei Männern welche Liebe fühlen' Titre alternatif WoO 46 E-flat Major 1801 Variations
3 Piano Sonatas WoO 47 1783 Sonata
Rondo WoO 48 C Major Rondo
Rondo WoO 49 A Major 1783 Rondo
Piano Sonata WoO 51 C Major Sonata
Bagatelle WoO 52 C Minor
Allegretto WoO 53 C Minor 1797
Bagatelle Happy-Sad Bagatelle Op. 54 C Minor 1802
Prelude for Piano F-dur WoO 55 F Minor 1803
Bagatelle WoO 56 C Major 1803
Andante favori WoO 57 F Major 1804
Bagatelle #25 Für Elise WoO 59 A Minor 1810
Bagatelle WoO 60 B-flat Major 1818
Allegretto WoO 61 B Minor 1821
Allegretto quasi Andante WoO 61a G Minor 1825
String Quintet Letzter musikalischer Gedanke WoO 62 C Major 1826
Nine variations for piano on a march by Ernst Christoph Dressler WoO 63 C Minor 1782 Theme and variations
Six variations for piano or harp on a Swiss song WoO 64 Variations
Twenty-four variations for piano on Vincenzo Righini's aria 'Venni Amore WoO 65 Variations
13 Variations for Piano on the Aria 'Es war einmal ein alter Mann' from Dittersdorf's Opera Das rote Käppchen WoO 66 Variations
Eight Variations in C major on a Theme by Count Waldstein for Piano WoO 67 1792
Twelve variations for piano on the 'Menuet à la Viganò' from Jakob Haibel's ballet 'Le nozze disturbate WoO 68 Variations
Nine variations for piano on 'Quant'è più bello' from Giovanni Paisiello's opera 'La Molinara' WoO 69 Variations
Six variations for piano on 'Nel cor più non mi sento' from Giovanni Paisiello's opera 'La Molinara' WoO 70
12 Variations on the Russian Dance from the Ballet 'Das Waldmädchen' by Paul Wranitzky WoO 71 1797
8 Variations on 'Une fièvre brûlante' from the opera 'Richard Cœur de Lion' by Grétry WoO 72 1795 Variations
10 Variations on 'La stessa, la stessissima' from the Opera 'Falstaff' by Salieri WoO 73 1799
ix Variations in D Major on Beethoven's 'Ich denke dein' for Piano, Four Hands WoO 74 D Major 1803
7 Variations on 'Kind, willst du ruhig schlafen' from the opera 'Das unterbrocene Opferfest' by Peter Winter WoO 75 1799
Acht Variationen über das Trio "Tändeln und Scherzen" aus der Oper "Soliman oder die drei Sultaninnen" von Süssmayr WoO 76 1799
Six easy variations for piano on an original theme WoO 77 G Major Variations
Variations on 'God Save the King' WoO 78
5 Variations on 'Rule Britannia' WoO 79 1803
Thirty-two variations in C minor on an original theme WoO 80 C Minor 1806 Variations
Allemande WoO 81 A Major 1793 Dance
Minuet WoO 82 E-flat Major
6 Ecossaises for Piano WoO 83 E-flat Major 1806
Waltz WoO 84 Waltz
Waltz WoO 85 1825 Waltz
Ecossaise WoO 86 E-flat Major 1825 Ecossaise
Quartet for Strings #10 Harp Op. 74 E-flat Major 1809 Quartet
Quartet for Strings #11 Serioso Op. 95 F Minor 1810 String Quartet
Quartet for Strings #7 Op. 59 No.1 F Major 1806 String Quartet
Quartet for Strings #8 Razumovsky Op. 59 no. 2 E Minor 1806 String Quartet
Quartet for Strings #9 Razumovsky Op. 59 No. 3 C Major 1806 String Quartet
12 Variations on Ein Mädchen oder Weibchen Op. 66 F Major 1796

Igor Levit: Beethoven Piano Concerto No. 2 in B flat Major

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Igor Levit - Live from Wigmore Hall

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Beethoven - Sonata No. 2 in A major, Op. 2, No.2 - Igor Levit

Igor Levit performs Beethoven - Sonata No. 2 in A major, Op. 2, No.2 at the Arthur Rubinstein Piano Master Competition (March, 2005, Tel Aviv). Since its inception in 1974, the Arthur Rubinstein International Piano Master Competition is one of the foremost Piano Competitions in the world. Arthur Rubinstein, who gave his blessing to the competition, headed the jury of the first two competitions (1974 & 1977). The competition, is held every three years in Tel Aviv, Israel. Subscribe for more classical piano music videos: http://www.youtube.com/AthurRubinstein http://www.arims.org.il

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Lars Vogt Recital Kioi Hall, Tokyo, 29/06/15 Schubert, Schönberg, Beethoven

Lars Vogt Recital Kioi Hall, Tokyo, 29/06/15 Schubert, Schönberg, Beethoven

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Beethoven - Symphony No. 5 in C minor, Op. 67

Symphony No. 5 in C minor, Op. 67, "Fate" Chamber Orchestra of Europe, conducted by Nikolaus Harnoncourt. I. Allegro con brio II. Andante con moto III. Allegro (Scherzo) IV. Allegro

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Beethoven - Symphony No 5 in C minor Op 67

Beethoven - Sinfonia No 5 in C minor Op 67

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Beethoven Symphony No.5 op.67

Ludwig van Beethoven 1770-1827 Symphony No.5 in C minor op.67 00:00 1. Allegro con brio 07:17 2. Andante con moto 17:11 3. Allegro 22:20 4. Allegro - Presto Riccardo Muti, conductor The Philadelphia Orchestra ~~音樂會訊息~~ 芝加哥交響樂團 Chicago Symphony Orchestra with Riccardo Muti 2016/1/15,16 7:30pm 臺北國家音樂廳 學生1200 2400 3000 3300 3600 4500 4800 5400 6800 8800 企業贊助區 音樂總監:里卡多‧慕提 Music Director: Riccardo Muti 1/15 普羅高菲夫:第一號《古典》交響曲,D大調,作品25 亨德密特: 協奏曲,為弦樂和銅管所作 柴可夫斯基:第四號交響曲,F小調,作品36 Prokofiev: Symphony No. 1 in D major, Op. 25 “Classical” Hindemith: Concert Music for Strings and Brass Tchaikovsky: Symphony No. 4 in F minor, Op. 36 1/16 貝多芬:第五號《命運》交響曲,C小調,作品67 馬勒:第一號《巨人》交響曲,D大調 Beethoven: Symphony No. 5 in C minor, Op. 67 Mahler: Symphony No. 1 in D major, “Titan”

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https://www.youtube.com/watch?v=0Y9lJZ9GgLs

Beethoven : Symphony No. 5 in C minor, Op. 67 Erich Kleiber (Conductor) Amsterdam Concertgebouw Orchestra (Rec.1953) Public Domain

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Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 - Leonard Bernstein

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Symphony No. 9 in D Minor, Op. 125: IV. Finale, Ode "to Joy"

Provided to YouTube by The Orchard Enterprises Symphony No. 9 in D Minor, Op. 125: IV. Finale, Ode "to Joy" · Ludwig van Beethoven · Michael Tilson Thomas · San Francisco Symphony · San Francisco Symphony Chorus · Ragnar Bohlin · Nathan Berg · William Burden · Kendall Gladen · Erin Wall Beethoven: Symphony No. 9 ℗ 2013 San Francisco Symphony Released on: 2013-04-09 Producer: Jack Vad Auto-generated by YouTube.

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Beethoven Symphony No. 9 in D minor, Op. 125 - Ode to Joy - Karajan

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. Among critics, it is universally considered to be among Beethoven's greatest works, and is considered by some to be the greatest piece of music ever written. It has been adapted for use as the European Anthem. 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. A sinfonia n.º 9 em ré menor, op. 125, "Coral", é a última sinfonia completa composta por Ludwig van Beethoven. Finalizada em 1824, a Nona Sinfonia é uma das maiores obras conhecidas do repertório ocidental, considerada tanto ícone quanto predecessora da música romântica, e uma das grandes obras-primas de Beethoven. A nona sinfonia de Beethoven incorpora parte do poema An die Freude "Ode à Alegria", escrito por Friedrich Schiller em 1785 e revisado em 1803, com seu texto cantado por solistas e um coro em seu último movimento. Foi o primeiro exemplo de um compositor importante que tenha utilizado a voz humana com o mesmo destaque que a dos instrumentos, numa sinfonia, criando assim uma obra de grande alcance, que deu o tom para a forma sinfônica que viria a ser adotada pelos compositores românticos. Foi executada pela primeira vez no dia 7 de maio de 1824, no Kärntnertortheaterem, em Viena, na Áustria. O regente foi Michael Umlauf, diretor musical do teatro, e Beethoven, dissuadido da regência pelo estágio avançado de sua surdez, teve direito a um lugar especial no palco, junto ao maestro. A sinfonia n.º 9 tem um papel cultural de extrema relevância no mundo atual. Em especial, a música do último movimento, chamado informalmente de "Ode à Alegria", foi rearranjada por Herbert von Karajan para se tornar o hino da União Européia. Outra prova de sua importância na cultura atual foi o valor de 3,3 milhões de dólares atingido pela venda de um dos seus manuscritos originais, feita em 2003 pela Sotheby's, de Londres. Segundo o chefe do departamento de manuscritos da Sotheby's à época, Stephen Roe, a sinfonia "é um dos maiores feitos do homem, ao lado do Hamlet e do Rei Lear de Shakespeare". Poema Ode à Alegria, de Friedrich Schiller, em português: Ó, amigos, mudemos de tom! Entoemos algo mais prazeroso E mais alegre! Alegria, formosa centelha divina, Filha do Elíseo, Ébrios de fogo entramos Em teu santuário celeste! Tua magia volta a unir O que o costume rigorosamente dividiu. Todos os homens se irmanam Ali onde teu doce vôo se detém. Quem já conseguiu o maior tesouro De ser o amigo de um amigo, Quem já conquistou uma mulher amável Rejubile-se conosco! Sim, mesmo se alguém conquistar apenas uma alma, Uma única em todo o mundo. Mas aquele que falhou nisso Que fique chorando sozinho! Alegria bebem todos os seres No seio da Natureza: Todos os bons, todos os maus, Seguem seu rastro de rosas. Ela nos deu beijos e vinho e Um amigo leal até a morte; Deu força para a vida aos mais humildes E ao querubim que se ergue diante de Deus! Alegremente, como seus sóis voem Através do esplêndido espaço celeste Se expressem, irmãos, em seus caminhos, Alegremente como o herói diante da vitória. Abracem-se milhões! Enviem este beijo para todo o mundo! Irmãos, além do céu estrelado Mora um Pai Amado. Milhões, vocês estão ajoelhados diante Dele? Mundo, você percebe seu Criador? Procure-o mais acima do Céu estrelado! Sobre as estrelas onde Ele mora! Saiba mais: http://en.wikipedia.org/wiki/Symphony_No._9_(Beethoven) Editado por: Ida Monica

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Beethoven, Ludwig van - Symphony No. 9 in D minor, Op. 125 ('Ode to Joy')

Performed by: Hamburg Phiharmonic Orchestra, Hamburg Phiharmonic Chorus, Gerd Albrecht. Symphony #9 In D Minor, Op. 125, 'Choral' - 4. Presto, 'O Freunde, Nicht Diese Tone!' - Allegro Assai" Recorded by: INgrooves The Symphony No. 9 in D minor, Op. 125, is the final complete symphony of Ludwig van Beethoven (1770--1827). Completed in 1824, the symphony is one of the best-known works of the Western classical repertoire. Among critics, it is almost universally considered to be among Beethoven's greatest works, and is considered by some to be the greatest piece of music 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. Today, it stands as one of the most played symphonies in the world.

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Beethoven ~ 9th Symphony, Finale ~ Ode to Joy

Beethoven ~ 9th Symphony, Finale ~ Ode to Joy (Ode à la Joie). Histoire ~ History (Français ~ English): La Symphonie no 9 de Beethoven, op. 125, est une symphonie en ré mineur en quatre mouvements pour grand orchestre, solos et chœur mixte composée par Ludwig van Beethoven, de la fin de 1822 à février 1824 créée à Vienne le 7 mai 18241, et dédiée au roi Frédéric-Guillaume III de Prusse. Son finale (25 minutes environ) est aussi long que la Huitième symphonie tout entière; il introduit des sections chantées sur l'Ode à la joie (Ode an die Freude) de Friedrich von Schiller. Cette œuvre monumentale, en laquelle Richard Wagner voyait « la dernière des symphonies », marqua un tournant décisif dans ce style musical et est souvent considérée comme un grand chef-d'œuvre du répertoire occidental et l'une des plus grandes symphonies et musiques de tous les temps. Source: https://fr.wikipedia.org/wiki/Symphonie_n%C2%BA_9_de_Beethoven The Symphony No. 9 in D minor, Op. 125 (also known as "the Choral"), is Ludwig van Beethoven's final complete symphony. Completed in 1824, the symphony is one of the best-known works in classical music. Among critics, it is almost universally considered Beethoven's greatest work, and many consider it one of the greatest pieces of western music. 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. Today, it stands as one of the most played symphonies in the world. In 2001, Beethoven's autograph score of the Ninth Symphony, held by the Berlin State Library, was added to the United Nations Memory of the World Programme Heritage list in 2001, becoming the first musical score so honoured. Source: https://en.wikipedia.org/wiki/Symphony_No._9_%28Beethoven%29 Photo: https://pixabay.com/static/uploads/photo/2010/12/01/aconcagua-740__180.jpg

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Beethoven : Symphony No. 9 in D minor, Op. 125 - (IV. Finale "Ode to Joy")

The Symphony No. 9 in D minor, Op. 125, also known as "the Choral", is the final complete symphony composed from 1822 to 1824 by the German composer Ludwig van Beethoven. It was first performed in Vienna on 7 May 1824. The symphony is one of the best-known works in common practice music. 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 text additions made by the composer. The famous choral finale is Beethoven's musical representation of universal brotherhood. The movement has a thematic unity in which every part is based on either the main theme, the "Seid umschlungen" theme, or some combination of the two. The text is largely taken from Schiller's "Ode to Joy", with a few additional introductory words written specifically by Beethoven. Source: Wikipedia

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BEETHOVEN - Piano Concerto No. 5 in E-Flat, Op. 73 - Emperor - Serkin/Ozawa/Boston Symphony. TELARC.

Emperor Concerto, byname of Piano Concerto No. 5 in E-flat Major, Op. 73, piano concerto by Ludwig van Beethoven known for its grandeur, bold melodies, and heroic spirit. The work was dedicated to Archduke Rudolf, who was a friend and student of the composer. It premiered in Leipzig, Germany, in 1811, and it remains the best known and most frequently performed of Beethoven’s five piano concerti. Beethoven began his work on this piece in 1808, about the time that he completed his fifth and sixth symphonies and fourth piano concerto. Despite difficult living conditions—in 1809 the city of Vienna was under bombardment by Napoleon’s troops—the composer finished it promptly. Because his profound deafness prevented his own performance of the solo part, the honour fell to a 25-year-old church organist, Friedrich Schneider. In February 1812, three months after its premiere, the concerto was given its first performance in Vienna. The pianist on that occasion was Beethoven’s student Carl Czerny, a performer still renowned today in keyboard circles for his own piano compositions. The success of the Emperor Concerto was due in part to technological developments in piano production that enabled a greater measure of expressive power. The piece quickly won for itself a place in the piano repertoire, and it became a great favourite of Franz Liszt. The concerto’s sobriquet “Emperor” dates from Beethoven’s time, and it is sometimes attributed to German-born English pianist and music publisher Johann Baptist Cramer, whom Beethoven reportedly regarded as the greatest pianist of the day. Whatever the origins of the concerto’s nickname, it is unlikely to have pleased Beethoven himself, who reconsidered the dedication of his third symphony—initially to have been dedicated to Napoleon—after Bonaparte assumed the title of emperor in 1804. Pianist - Rudolf Serkin: Rudolf Serkin (28 March 1903 – 8 May 1991) was a Bohemian-born pianist. He is widely regarded as one of the greatest Beethoven interpreters of the 20th century. For more information on Rudolf Serkin, please go to: https://en.wikipedia.org/wiki/Rudolf_Serkin Conductor - Seiji Ozawa: Seiji Ozawa, born September 1, 1935, is a Japanese conductor, known for his advocacy of modern composers and his work with the San Francisco Symphony and the Boston Symphony. He is the recipient of numerous international awards. For more information on Seiji Ozawa, please go to: https://en.wikipedia.org/wiki/Seiji_Ozawa Boston Symphony Orchestra: The Boston Symphony Orchestra (BSO) is an American orchestra based in Boston, Massachusetts. It is one of the five major American symphony orchestras commonly referred to as the "Big Five". Founded in 1881, the BSO plays most of its concerts at Boston's Symphony Hall and in the summer performs at Tanglewood. Andris Nelsons is the current music director of the BSO. Bernard Haitink currently holds the title of conductor emeritus of the BSO, and Seiji Ozawa has the title of BSO music director laureate. For more information on the Boston Symphony Orchestra, please visit their official site @ https://www.bso.org/ and https://en.wikipedia.org/wiki/Boston_Symphony_Orchestra

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Alina Bercu performs Beethoven's Piano Concerto No. 5 in E flat major op. 73 (full)

0:00 I. Allego | 20:45 II. Adagio un poco mosso | 28:02 III. Rondo. Allegro Alina Bercu, piano Orchestra of the University of Music FRANZ LISZT Weimar Conductor: Nicolás Pasquet The Weimar students taking degrees in orchestral instruments come together in this large orchestra, to dedicate themselves to the treasures and hidden gemstones of music history, in fresh interpretations with youthful drive. More information about the University of Music FRANZ LISZT Weimar: www.hfm-weimar.de Recorded on November 16, 2017 at the Weimarhalle, Weimar.

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Beethoven-Piano Concerto No. 5 in E flat Major Op. 73 ("Emperor")

Rudolf Serkin: piano-Philadelphia Orchestra-Eugene Ormandy: conductor-1950-allegro-adagio un poco mosso-rondo (allegro)

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Beethoven - Piano Concerto No. 5 in Eb 'Emperor', Op. 73

Ludwig van Beethoven - Piano Concerto No. 5 in Eb 'Emperor', Op. 73 The Piano Concerto No. 5 in E♭ major, Op. 73, by Ludwig van Beethoven, popularly known as the Emperor Concerto, was his last completed piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven's patron and pupil. The first performance took place on 13 January 1811 at the Palace of Prince Joseph Lobkowitz in Vienna, with Archduke Rudolf as the soloist, followed by a public concert on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz, the soloist being Friedrich Schneider. On 12 February 1812, Carl Czerny, another student of Beethoven's, gave the Vienna debut of this work. The epithet of Emperor for this concerto was not Beethoven's own but was coined by Johann Baptist Cramer, the English publisher of the concerto. Its duration is approximately forty minutes. For more: http://www.melhoresmusicasclassicas.blogspot.com

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Beethoven Piano Concerto No.5 in E flat major op.73 "Emperor"

Beethoven Piano Concerto No.5 in E flat major op.73 "Emperor" 00:00 1. Allegro 20:08 2. Adagio un poco mosso 28:13 3. Rondo. Allegro Hélène Grimaud Vladimir Jurowski Staatskapelle Dresden Recording:December,2006,Dresden I saw some people talk about her Rachmaninov,this is my another video I put these few days. http://www.youtube.com/watch?v=OfHc8Esvwu8

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Barenboim: Beethoven - Sonata No. 13 in E-flat major, Op. 27 No. 1 ''Quasi una fantasia''

At Palais Rasumofsky, Vienna, 1983-1984 Daniel Barenboim - piano Ludwig van Beethoven - Sonata No. 13 in E-flat major, Op. 27 No. 1 "Quasi una fantasia" 0:22 Andante - Allegro -Tempo I 5:50 Allegro molto e vivace 8:00 Adagio con espressione 11:13 Allegro vivace. Presto Watch other Beethoven Sonatas performed by Barenboim: https://goo.gl/Z589Zz Watch other performances of Daniel Barenboim: https://goo.gl/ABAVKt Subscribe to EuroArts: https://goo.gl/jrui3M Composed between 1800 and 1801, the Sonatas Nos. 11-13 bridge two very different periods in Beethoven's piano sonatas. Scholar Charles Rosen has described the Sonata No. 11 in B-flat major, Op. 22 (composed in 1800) as the composer's 'farewell to the eighteenth century'. lt was for Beethoven the culmination of the older classical style. With the Sonata No. 12 in A-flat major, Op. 26 on the other hand, Beethoven departs from tradition. Published in Vienna in 1802, only the last movement, a Rondo allegro, is in a conventional form. The third movement, a funeral march 'for an unknown hero', is especially admired, an was played at the composer's own funeral. The stylistic departure began in Op. 26 continued in the two sonatas of Op. 27, which Beethoven completed in 1801 and published together with the description 'quasi una fantasia'. As with the preceding sonata, in Sonata No. 13 in E flat major, Op. 27 No. 1, Beethoven again chose unconventional forms, beginning with the opening movement: an Andante-Allegro-Andante structure that suggests a suite, particularly in the middle 6/8 section. The Grammy award-winning pianist Daniel Barenboim has been active on the concert stage since the age of seven when he made his stage debut in his hometown of Buenos Aires. Well known for his work with the East-Western Divan Orchestra, a group of young Arab and Israeli musicians, he is currently the director of the Berlin State Opera, La Scala (Milan) and the Staatskapelle Berlin. Barenboim is described as "one of the few musicians in the world today who could accurately be describe as legendary". #EuroartsBarenboim

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Beethoven piano sonata no. 13 op. 27 in E flat major

Piano: Wilhelm Kempff Ludwig van Beethoven's Piano Sonata No. 13 in E-flat major "Quasi una fantasia", Op. 27, No. 1, was composed in 1800--1801. Be apart of my Facebook page! http://www.facebook.com/Blop888

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David Kaplan: Beethoven Sonata No 13 in E flat Major, Op 27, No 1, “Quasi una Fantasia”

WQXR's Beethoven Piano Sonata Marathon, which took place in The Greene Space on Nov. 20, 2011 featured a lineup which spanned a range of personalities and national schools. It included the flamboyant individualists Evan Shinners and Timothy Andres; the Russian powerhouses Daria Rabotkina and Natasha Paremski; and the Chinese up-and-comers Qi Xu and Yuchong Wu. Some, including Jeremy Denk, Jonathan Biss and Alessio Bax, are already boldface names on the international concert circuit; others are on their way.

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Beethoven - Sonata No. 13 in E-flat major, Op. 27, No. 1, 'Quasi una fantasia' (Richard Goode)

00:00 - Andante - Allegro - Andante 05:17 - Allegro molto e vivace 07:05 - Adagio con espressione 09:52 - Allegro vivace Richard Goode, 1993

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Beethoven: Sonata No. 13 in E-flat Major, Op. 27, No. 1 'Quasi una fantasia'

The Complete Sonatas of Beethoven (Live) Joel Schoenhals, piano www.joelschoenhals.com Eastern Michigan University Pease Auditorium March 21, 2014 Greg Knollmeyer, video production http://www.video.gregknollmeyer.com/ Sonata No. 13 in E-flat Major, Op. 27, No. 1 'Quasi una fantasia' (1800/01) This sonata departs even further from tradition. Again, there is no sonata form in the entire work. Beethoven adds the title "Sonata una quasi fantasia" or "Sonata in the style of a fantasy". The work is a fusion of sonata, or formalized music, and fantasy, or improvisatory free composition. He also indicates that the movements are to played "attaca" or continuously. The movements are inextricably linked and the sonata is conceived of more as a whole. The first movement is uncharacteristically simple. Beethoven, the great improviser, even chooses the simplest means to vary the opening theme. Despite the musical simplicity, the movement has a great emotional depth, pointing perhaps to a hidden sadness underneath a naive surface. The second movement in C minor moves from this hidden sadness to a dark night of the soul with psychological turmoil at the surface. A dramatic struggle ends the movement and moves directly to the sublime third movement that reflects a spiritual search common in the later works of Beethoven. An improvisation connects the third movement to the virtuosic and youthful fourth movement. Before the romp that ends the sonata, the third movement theme returns transformed from a sense of seeking to a sense of gratitude, further unifying the work. A theme in Beethoven's life and music is the idea of overcoming struggle. It is difficult not to see this work as just that. - Notes by Joel Schoenhals, 2014 Dan Harteau, piano technician Concert Instrument: This performance features Steinway Model D, serial number 213668. It was manufactured in the Steinway & Sons factory in Queens, New York on March 28, 1922. Presumably, it returned to the Steinway factory for additional work in the 1950s, as there are Steinway 100th anniversary medallions on the fallboard. Sampson R. Field, a former president of the New York Philharmonic and chairman of the Marlboro School of Music and Marlboro Festival in Vermont purchased the instrument in 1953. "Mr. Field headed the Philharmonic from 1978 to 1981 and was a member of its board for more than 20 years. He was an amateur pianist who occasionally played with professionals, and he worked for many years as a volunteer for several organizations that aided the growth and development of the careers of young musicians" (New York Times, obituary, 1991). AC Pianocraft of New York City acquired the piano and it was rebuilt in 2006.

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Barenboim: Beethoven - Sonata No. 23 in F minor, Op. 57 "Appassionata"

At Palais Rasumofsky, Vienna, 1983-1984 Daniel Barenboim - piano Ludwig van Beethoven - Sonata No. 23 in F minor, Op. 57 "Appassionata" 0:19 I. Allegro assai 11:08 II. Andante con moto 18:37 III. Allegro ma non troppo - Presto Watch other Beethoven Sonatas performed by Barenboim: https://goo.gl/Z589Zz Watch other performances of Daniel Barenboim: https://goo.gl/ABAVKt Subscribe to EuroArts: https://goo.gl/jrui3M Christened the "Appassionata" by a later nineteenth-century publisher, the name has nevertheless stuck, redolent as it is of the intensely emotional quality of the Sonata No. 23 in F minor, Op. 57. Indeed, Beethoven would not compose again in this genre for four years. Barenboim pushes the piano to its limits in the first movement, which leads to a disarming middle movement: a series of variations. A virtuosic finale, with several written-out cadenzas, rounds out the work. The Grammy award-winning pianist Daniel Barenboim has been active on the concert stage since the age of seven when he made his stage debut in his hometown of Buenos Aires. Well known for his work with the East-Western Divan Orchestra, a group of young Arab and Israeli musicians, he is currently the director of the Berlin State Opera, La Scala (Milan) and the Staatskapelle Berlin. Barenboim is described as "one of the few musicians in the world today who could accurately be describe as legendary". #EuroartsBarenboim

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BRENDEL, Beethoven Piano Sonata No.23 in F minor, Op.57 "Appassionata"

Alfred Brendel, piano Sep 1970 1.Allegro assai 9:52 2.Andante con moto 6:38 3.Allegro ma non troppo 8:08

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Beethoven - Sonata no. 23 in F minor, op. 57 ("Appassionata") - Anna Fedorova

Anna Fedorova performs Beethoven - Sonata no. 23 in F minor op. 57 ("Appassionata") at the Arthur Rubinstein Piano Master Competition (May, 2011, Tel Aviv). Since its inception in 1974, the Arthur Rubinstein International Piano Master Competition is one of the foremost Piano Competitions in the world. Arthur Rubinstein, who gave his blessing to the competition, headed the jury of the first two competitions (1974 & 1977). The competition, is held every three years in Tel Aviv, Israel. Subscribe for more classical piano music videos: http://www.youtube.com/AthurRubinstein http://www.arims.org.il

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Benjamin Hochman: Beethoven Sonata No 23 in F Minor, Op 57, “Appassionata”

WQXR's Beethoven Piano Sonata Marathon, which took place in The Greene Space on Nov. 20, 2011 featured a lineup which spanned a range of personalities and national schools. It included the flamboyant individualists Evan Shinners and Timothy Andres; the Russian powerhouses Daria Rabotkina and Natasha Paremski; and the Chinese up-and-comers Qi Xu and Yuchong Wu. Some, including Jeremy Denk, Jonathan Biss and Alessio Bax, are already boldface names on the international concert circuit; others are on their way.

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Arthur Rubinstein - Beethoven Sonata No. 23, Op. 57 "Appassionata"

I. Allegro assai: 00:00 II. Andante con moto: 09:26 III. Allegro ma non troppo: 15:59

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Beethoven: Piano Trio No. 5 in D "Ghost" Op. 70/1

0:27 Allegro vivace con brio 8:10 Largo assai ed espressivo 16:50 Presto violin: Chihiro Inda violoncello: Yasutaka Takeuchi piano: Satomi Hayakawa ヴァイオリン 印田千裕、 チェロ 竹内康高、 ピアノ 早川聡美

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Beethoven: Piano Trio in D major, “Ghost” - Harriet Krijgh & Friends

On Wednesday the 27th of June the Utrecht International Chamber Music Festival 2018 opened with a spectaculair openingsconcert by cellist Harriet Krijgh & Friends. Among two other brilliant pieces, they focused on Beethoven's wonderful 'Piano Trio in D major, Op. 70 No. 1', nicknamed "Ghost". This nickname has probably been born out of a quote by Beethoven's pupil Carl Czerny. According to him, "The character of the very slow to perform Largo is spooky and eerie, like a vision of the underworld." 0:03 Allegro vivace e con brio 7:25 Largo assai ed espressivo 19:06 Presto Ludwig van Beethoven: Piano Trio in D major, Op. 70 No. 1 “Ghost” Emmanuel Tjeknavorian [violin] Harriet Krijgh [cello] Magda Amara [piano] Ab Nieuwdorp [presenter] Recording: Wednesday the 27th of June 2018, during The Utrecht International Chamber Music Festival in TivoliVredenburg in Utrecht. More AVROTROS Klassiek: ♬ Facebook: https://www.facebook.com/AVROTROS.Klassiek/ ♬ Twitter: https://twitter.com/klassiekonline ♬ Instagram: https://www.instagram.com/avrotrosklassiek/

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Piano Trio in D Major, Op. 70 No. 1 "Ghost" by Beethoven

Piano Trio in D Major, Op 70 No. 1 "Ghost" Ludwig van Beethoven, composer Performers: Wei He, violin Bonnie Hampton, cello Paul Hersh, piano

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Beethoven - Piano Trio 5, Op.70, No. 1 "Ghost"

I. Allegro vivace e con brio 0:00 II. Largo assai ed espressivo 10:18 III. Presto 21:58 The Annotations feature has been discontinued on the YouTube platform so the section labels unfortunately no longer appear. However they can be found on my analysis blog here: https://lvbandmore.blogspot.com/p/color-analysis-beethoven-concertos.html Performed by the Beaux Arts Trio For more videos of this type see: Color-Coded Analysis of Beethoven's Music (INDEX): http://lvbandmore.blogspot.com/p/color-coded-analysis-of-beethovens-music.html Introduction to Sonata Form: http://lvbandmore.blogspot.com/p/about-sonata-form-and-analysis.html My Analysis Cheat Sheet: -SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. The basic sequence is Intro, Exposition, Development, Recapitulation and Coda. -EXPOSITION: Main theme(s) are presented, usually in the home key and then a modulated key -THEME / THEME GROUP: musical "paragraph". These can be broken down into 1 or more "tunes". These are grouped according to key and end on cadences. The 1st Theme Group is in the home key. The 2nd Theme Group is in the dominant or other key. -CLOSING/CADENCE SECTION: a theme group which closes the Expo or Recap (it follows the 2nd theme) and revives Theme 1 to provide closure. -MODULATING BRIDGE/TRANSITION: material to get from 1 key/theme group to another, often w sequencing. -DEVELOPMENT: free-form "working out"/"fantasia" section where earlier themes are subjected to variations and atomizations. Possibly a new theme is introduced ("Eroica"). -RECAPITULATION: Repeat of the Expo, except that this section remains in the same key throughout and there can be theme variations from the initial Expo versions of themes. -CODA: Follows the Recap, kind of a second development designed to finish off the work. -SEQUENCING: repeating a phrase on different starting notes (keys) -TERNARY FORM: 3-part form in A-B-A, usually a Scherzo or Minuet -SCHERZO/MINUET: 1st pt. of a 3-pt. Scherzo form, usually AA.BA'.BA' in 3/4 time. Lively. -TRIO: Middle section of a Scherzo movement, slower, broader than the Scherzo section -RONDO: Similar to Sonata form except that the Development is replaced by a new section and there is less transition material. A principal theme (A) alternates with contrasting themes (BCD...). (Ex.ABACABA.) -FUGUE: form in which a subject(s) undergoes canonical permutations -VARIATION: repeat of a theme with variation -CADENZA: unaccompanied instrumental solo -BINARY FORM: Structure in AB. 2-Part Song form. (Disclaimer: I do not have a music degree, all of the above is purely from memory and observation) Piano Trio 5 in D, Op.70, No. 1 "Ghost" (1808) I. Allegro vivace e con brio (Sonata form) Exposition: 1st theme / 2nd theme (BROWN) 2nd Theme (BLUE) 3rd theme (GREEN) Exposition (repeat): 1st theme / 2nd theme (LT BROWN) 2nd Theme (LT BLUE) 3rd theme (LT GREEN) Development: 1st theme (PURPLE) 2nd theme (PURPLE) 1st theme (PURPLE) Recapitulation: 1st theme (BROWN) 2nd theme (BLUE) 3rd theme (GREEN) Development (repeat): 1st theme (LT PURPLE) 2nd theme (LT PURPLE) 1st theme (LT PURPLE) Recapitulation (repeat): 1st theme (BROWN) 2nd theme (BLUE) 3rd theme (GREEN) Coda (PURPLE) II. Largo assai ed espressivo (Sonata form) from 10:18 Exposition: 1st theme (BROWN) 2nd theme (BLUE) 3rd theme (GREEN) Development: (PURPLE) 1st theme 2nd theme 1st theme (return) Exposition (repeat): 1st theme (LT BROWN) 2nd theme (LT BLUE) 3rd theme (LT GREEN) Development (repeat): (LT PURPLE) 1st theme 2nd theme 1st theme (return) Coda (3rd theme) (MAROON) III. Presto (Sonata form) from 21:58 Exposition: 1st theme (BROWN) 2nd theme (BLUE) 3rd theme (GREEN) Exposition (repeat): 1st theme (LT BROWN) 2nd theme (LT BLUE) 3rd theme (LT GREEN) Development: (VIOLET) 3rd theme 1st theme Recapitulation: 1st theme (BROWN) 2nd theme (BLUE) 3rd theme (GREEN) Coda (PURPLE) (from Alan Rich's Play by Play) http://lvbandmore.blogspot.com/2011/03/331-ghost-piano-trio-color-analysis.html

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Beethoven : Piano Trio in D Major Op.70 No1, "Ghost" - Beaux Arts Trio

◈ Beethoven : Piano Trio in D Major Op.70 No1 1st Movement Allegro vivace e con brio 2nd Movement Largo assai ed espressivo 3nd Movement Presto 베토벤이 1808년에 작곡한 피아노 3중주 5번은 제 2악장의 대담한 수법과 거기에서 빚어지는 침울하고 신비스러운 정서 때문에 '유령'이라는 부제가 있다. 이 곡은 스타카토로 시작하여 첼로의 완만한 선율을 바이올리과 피아노가 따라가는 제 1악장, 전개부가 따로없이 피아노를 중심으로 한 소나타 형식에 의하여 파악하기 어려운 환상을 그려내는 불가사의한 제 2악장, 그리고 이와는 대조적으로 화려하고 명랑한 느낌의 제 3악장으로 구성되어있다.

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Beethoven: Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2 - "Moonlight"

Ludwig van Beethoven (1770 - 1827) Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2 - "Moonlight" The name "Moonlight Sonata" has its origins in remarks by the German music critic and poet Ludwig Rellstab. In 1832, five years after Beethoven's death, Rellstab likened the effect of the first movement to that of moonlight shining upon Lake Lucerne. I. Adagio Sostenuto - (0:00) II. Allegretto - (5:22) III. Presto - (7:42) Steven Lubin (Fortepiano) Historically Informed Performance on Period Instrument

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Barenboim: Beethoven - Sonata No. 14 in C sharp minor, Op. 27 No. 2 "Moonlight"

At Palais Kinsky, Vienna, 1983-1984 Daniel Barenboim - piano Ludwig van Beethoven - Sonata No. 14 in C sharp minor, Op. 27 No. 2 "Moonlight" 0:19 Adagio Sostenuto 7:03 Allegreto 9:20 Presto agitato Watch other Beethoven Sonatas performed by Barenboim: https://goo.gl/Z589Zz Watch other performances of Daniel Barenboim: https://goo.gl/ABAVKt Subscribe to EuroArts: https://goo.gl/jrui3M Sonata No. 14 in C sharp minor, Op. 27 No. 2, has long been a favourite on recital programs. Dubbed the 'Moonlight' after Beethoven's death by the poet Ludwig Rellstab, whose verses ware set by Schubert, this evocative name has stuck. The tranquil opening movement contrasts with the boisterous finale. The Grammy award-winning pianist Daniel Barenboim has been active on the concert stage since the age of seven when he made his stage debut in his hometown of Buenos Aires. Well known for his work with the East-Western Divan Orchestra, a group of young Arab and Israeli musicians, he is currently the director of the Berlin State Opera, La Scala (Milan) and the Staatskapelle Berlin. Barenboim is described as "one of the few musicians in the world today who could accurately be describe as legendary". #EuroartsBarenboim

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Beethoven Piano Sonata No. 14 in C-sharp minor, Op. 27 No. 2 -Moonlight- - Artur Schnabel

0:00 Adagio Sostenuto 4:51 Allegretto 7:03 Presto agitato Played by Artur Schnabel

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SEAN CHEN - Beethoven - Sonata No. 14 in C-sharp Minor, Op. 27, No. 2 ("Moonlight")

Sean Chen performed Ludwig van Beethoven's Moonlight Sonata as part of the Gilmore Keyboard Festival's 2016-17 Rising Stars Series. Learn more at https://www.thegilmore.org/ BEETHOVEN - Sonata No. 14 in C-sharp Minor, Op. 27, No. 2 ("Moonlight") I. Adagio sostenuto (00:00) II. Allegretto (05:40) III. Presto agitato (08:05) Facebook: https://www.facebook.com/GilmoreFestival Twitter: https://twitter.com/GilmoreFestival Instagram: https://www.instagram.com/GilmoreFestival Recording and broadcast by Public Media Network Audio engineering by Doug Decker Subscribe to stay up to date on our latest Livestreams, interviews, and concert dates.

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GULDA, Beethoven Piano Sonata No.14 in C sharp minor op.27,No.2 "Moonlight"

Friedrich Gulda, piano 1967 1.Adagio sostenuto 6:27 2.Allegretto 2:25 3.Presto agitato 6:53

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