Ludwig Van Beethoven

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

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

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

Beethoven - Sinfonia No 5 in C minor 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”

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

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.

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

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.

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

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

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

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 University of Music FRANZ LISZT Weimar: Website: https://www.hfm-weimar.de Instagram: https://www.instagram.com/hfmweimar Facebook: https://www.facebook.com/hfmweimar YouTube: https://www.youtube.com/hfmfranzlisztweimar Recorded on November 16, 2017 at the Weimarhalle, Weimar.

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

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 #MusicHistory #ClassicalMusic #Beethoven

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

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

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

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.

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

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.

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

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

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

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.

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

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

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/

Participants of the 2013 San Francisco Conservatory of Music-Shanghai International Chamber Music Festival perform Beethoven "Ghost" Piano Trio in D Major, Op 70 No. 1. To learn more about SFCM's Strings and Piano Chamber Program, visit http://bit.ly/3pa4TX9 Performers: Wei He, violin Bonnie Hampton, cello Paul Hersh, piano Connect with us on Social Media: Instagram: https://www.instagram.com/sfconservmusic/ Facebook: https://www.facebook.com/SanFranciscoConservatoryOfMusic Twitter: https://twitter.com/SFConservMusic LinkedIn: https://www.linkedin.com/school/san-francisco-conservatory-of-music/

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

◈ 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.

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

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

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

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.

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

Ludwig van Beethoven Sonata No. 21 in C major "Waldstein", Op. 53 II. Introduzione: Adagio molto - attacca III. Rondo. Allegretto moderato - Prestissimo Michael Korstick, Piano Recorded August 2003 Oehms Classics

I Allegro 0:00 II Adagio molto espressivo 9:21 III Scherzo. Allegro molto 15:56 IV Rondo. Allegro ma non troppo 17:17 The complete recordings of Beethoven’s works for violin and piano by Thomas Albertus Irnberger and Michael Korstick are now available on 2 DVD and high-resolution Blu-ray discs: https://www.gramola.at/en/shop/produkte/kammermusik/gramola/irnberger,korstick/ludwig+van+beethoven/133228/ The 4-SACD Box with the complete recordings is available here: https://www.gramola.at/en/shop/produkte/kammermusik/gramola/irnberger,korstick/ludwig+van+beethoven/132703/ Producer: Richard Winter Sound / Audio Editing: Bernhard Hanke Cinematography / Cameras: Christoph Ainedter, Stefan Hermes Video Editing / Cut: Christoph Ainedter Video Direction: Stefan Hermes