Beethoven Violin Concerto

DSpace Repository

Beethoven Violin Concerto

Show simple item record

dc.contributor.other Ludwig van Beethoven es
dc.contributor.other Itzhak Perlman es
dc.contributor.other Philharmonia Orchestra es
dc.contributor.other Carlo Maria Giulini es
dc.coverage.spatial London, England es
dc.date.accessioned 2013-08-21T21:20:00Z
dc.date.available 1981
dc.date.available 2013-08-21T21:20:00Z
dc.date.copyright 1998
dc.date.issued 2013-08-21
dc.identifier.uri http://hdl.handle.net/123456789/3666
dc.description.abstract The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. Born in the small German city of Bonn on or around December 16, 1770, he received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. Beethoven moved to Vienna in 1792 to study with Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. However, the Symphony No. 3, "Eroica," of 1803 began a sustained period of groundbreaking creative triumph. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew, Karl. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed once again over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. Beethoven died in Vienna on March 26, 1827. Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. Beethoven profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works as the "Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle An die ferne Geliebte of 1816 set the pattern for similar cycles by all the Romantic song composers, from Schubert to Wolf. The Romantic tradition of descriptive or "program" music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. © AMG, All Music Guide es
dc.description.tableofcontents Concerto for Violin and Orchestra in D Op. 61 ; I Allegro ma non troppo (Cadenza), II Larguetto, III Rondo (Allegro) (Cadenza)-- es
dc.format.extent 44:00 min. es
dc.format.medium 1 CD Rom (44 min., 00 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 757733874 es
dc.subject.lcsh Concertos, Orchestral & Symphonic es
dc.title Beethoven Violin Concerto es
dc.title.alternative Concerto for Violin and Orchestra in D Op. 61 es
dc.title.alternative Konzert für Violine und Orchestre D-dur Op. 61 es
dc.title.alternative Concerto pour violon et orchestre en ré majeur es
dc.title.alternative Concierto para Violín de Beethoven es
dc.title.alternative Concierto para Violín y Orquesta en Re Op. 61 es
dc.language.rfc3066 eng es
dc.rights.holder EMI Records Ltd. es
dc.identifier.classification 724356695221 es
dc.subject.cdu Bee.39 es


Files in this item

Files Length Size Format View Description
1. Concerto for ... a non troppo (Cadenza).mp3 24:22 33.41Mb MPEG Audio mp3
2. & 3. Concert ... do (Allegro) (Cadenza).mp3 19:32 26.78Mb MPEG Audio mp3
Concerto for Vi ... in D Op. 61 - Completo.wav 43:50 442.5Mb WAV audio wav

This item appears in the following Collection(s)

Show simple item record