Complete Works

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Complete Works

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dc.contributor.other Ludwig van Beethoven es
dc.contributor.other Arthur Grumiaux es
dc.contributor.other Clara Haskil es
dc.coverage.spatial Vienna - Austria es
dc.date.accessioned 2012-07-28T03:17:37Z
dc.date.available 2012-07-28T03:17:37Z
dc.date.issued 2012-07-27
dc.identifier.uri http://hdl.handle.net/123456789/459
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 CD 32-- Violin sonata in G major Op. 30 No. 3 ; Allegro assai, Tempo di minuetto, Allegro vivace-- Violin sonata in A major Op. 47 “Kreutzer” ; Adagio sostenuto (Presto), Andante con variazioni, Finale (Presto)-- Violin sonata in G major Op. 96 ; Allegretto moderato, Adagio espressivo, Sherzo (Allegro), Poco allegretto-- es
dc.format.medium 1 CD Rom (76 min., 34 seg.) : Stereo ; 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte fm stereo es
dc.subject.lcc 5028421935256 es
dc.subject.lcsh Sonatas (violín y piano) es
dc.title Complete Works es
dc.title.alternative L'oeuvre Intégrale es
dc.title.alternative Violin Sonatas III es
dc.language.rfc3066 eng es
dc.rights.holder Decca Music Group es
dc.identifier.classification 5028421525327 es
dc.subject.cdu Bee.38 es


Files in this item

Files Length Size Format View Description
1. Violin sonat ... No. 3 - Allegro assai.mp3 6:05 8.341Mb Unknown mp3
2. Violin sonat ... 3 - Tempo di menuetto.mp3 7:50 10.74Mb Unknown mp3
3. Violin sonat ... No. 3 - Allegro vivace.mp3 3:22 4.623Mb Unknown mp3
4. Violin sonat ... gio sostenuto (Presto).mp3 10:54 14.94Mb Unknown mp3
5. Violin sonat ... Andante con variazioni.mp3 16:09 22.14Mb Unknown mp3
6. Violin sonat ... tzer” - Finale (Presto.mp3 6:38 9.091Mb Unknown mp3
7. Violin sonat ... - Allegretto moderato.mp3 9:28 12.98Mb Unknown mp3
8 - 9. Violin s ... 96 - Adagio espressivo.mp3 7:19 10.04Mb Unknown mp3
10. Violin sona ... 96 - Poco (Allegretto).mp3 8:23 11.50Mb Unknown mp3
Violin sonata i ... p. 30 No. 3 - Completo.wav 17:09 173.0Mb WAV audio wav
Violin sonata i ... “Kreutzer” - Completo.wav 33:34 338.8Mb WAV audio wav
Violin sonata in G major Op. 96 - Completo.wav 25:02 252.6Mb WAV audio wav

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