Complete Works

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Complete Works

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dc.contributor.other Ludwig van Beethoven es
dc.contributor.other Alla Simoni es
dc.contributor.other Francesca Pedaci es
dc.contributor.other Jeremy Ovenden es
dc.contributor.other Robert Gierlach es
dc.contributor.other Coro della Radio Svizzera es
dc.contributor.other Orchestra della Svizzera Italiana es
dc.contributor.other Diego Fasolis es
dc.contributor.other Heike Heilmann es
dc.contributor.other Anne Bierwirth es
dc.contributor.other Daniel Johannsen es
dc.contributor.other Manfred Bittner es
dc.contributor.other Elisabeth Grünert es
dc.coverage.spatial Lugano - Switzerland es
dc.date.accessioned 2012-07-28T03:30:56Z
dc.date.available 2012-07-28T03:30:56Z
dc.date.issued 2012-07-27
dc.identifier.uri http://hdl.handle.net/123456789/496
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 70-- Cantata for soloists chorus & orchestra Op. 136 (Text : Aloys Weissenbach) ; Chorus : Europa steht!, Recitativo : O sht sie nah und näher treten chorus (Vienna, Vienna, Vienna), Aria with chorus : Alle die herrscher darf ich grüssen, Recitativo : Das auge schaut cavatine with duetto : Dem die erste zähre, Recitativo & quartet : Der den bund im sturme festgehalten quartet : In meinen mauern bauen sich neue zeiten auf, Chorus : Es treten vor die scharen der frauen-- Mehrstimmige italienische Gesänge WoO 99 ; Bei labbri che amore / Heike Heilmann, Daniel Johannsen, Sei mio ben / Heike Heilmann, Daniel Johannsen, Scrivo in te / Heike Heilmann, Daniel Johannsen, Fra tutte le pene I / Daniel Johannsen, Manfred Bittner, Fra tutte le pene II / Daniel Johannsen, Manfred Bittner, Salvo tu voi lo sposo? / Heike Heilmann, Daniel Johannsen, Ma tu tremi / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Giura il nocchier / Heike Heilmann, Anne Bierwirth, Manfred Bittner, Per te dʼamico aprie / Heike Heilmann, Anne Bierwirth, Manfred Bittner, Fra tutte le pense I / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Fra tutte le pense II / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Quella cetra ah pur tu sei / Heike Heilmann, Daniel Johannsen, Manfred Bittner, Chi mai di questo / Heike Heilmann, Daniel Johannsen, Manfred Bittner, Gia la notte / Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Nei campi e nelle selve I / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Nei campi e nelle selve II / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Fra tutte le pene I / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Fra tutte le pene II / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Quella cetra ah pur tu sei in G major / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Quella cetra ah pur tu sei in F major / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Giura il nocchier in C major / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Giura il nocchier in B flat major / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, Gia la note / Heike Heilmann, Anne Bierwirth, Daniel Johannsen, Manfred Bittner, E pur fra le tempest / Daniel Johannsen, Piano-- es
dc.format.medium 1 CD Rom (61 min., 50 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 Cantatas, Secular, Vocal Duets, Trios and quartets with orchestra es
dc.title Complete Works es
dc.title.alternative L'oeuvre Intégrale es
dc.title.alternative Der Glorreiche Augenblick Op. 136 es
dc.language.rfc3066 eng es
dc.rights.holder Radio Svizzera es
dc.identifier.classification 5028421525709 es
dc.subject.cdu Bee.38 es


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1 al 6. Cantata ... tra Op. 136 - Completo.wav 35:16 356.0Mb WAV audio wav
7 al 30. Mehrst ... änge WoO 99 - Completo.wav 24:22 245.8Mb WAV audio wav

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