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Ludwig van Beethoven

Biography

Born: 1770, Germany   Died: 1827, Austria   Period: Classical, Romantic
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 Read more 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. Read less
Beethoven: Cantata On The Death Of Emperor Joseph Ii, Cantata On The Accession Of Emperor Leopold II
Release Date: 08/12/2014   Label: Helios  
Catalog: 55479   Number of Discs: 1
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Beethoven: Creatures of Prometheus / Mackerras, Scottish CO
Release Date: 05/10/2005   Label: Helios  
Catalog: 55196   Number of Discs: 1
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Beethoven: Complete Works for Cello & Piano / Steven Isserlis, Robert Levin
Release Date: 01/14/2014   Label: Hyperion  
Catalog: 67981   Number of Discs: 2
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Helene Grimaud Piano Recital - Bach, Beethoven, Brahms, Rachimaninov
Release Date: 10/29/2013   Label: Kultur Video  
Catalog: 4891   Number of Discs: 1
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Beethoven: Piano Sonatas Op. 22, Op. 31 No. 3, Op. 101 / Angela Hewitt
Release Date: 12/10/2013   Label: Hyperion  
Catalog: 67974   Number of Discs: 1
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Work: Symphony no 1 in C major, Op. 21

 

About This Work
The year 1800 marked a watershed in Beethoven's development. On April 2 in Vienna, he made his debut as a composer of symphonies during a concert he had arranged and financed himself. Beethoven began to work intensively on the symphony in 1799, Read more completing the work the following year. The symphony, though enthusiastically received at its premiere, already carried portents of the composer's coming radicalism. At the time, some observers commented upon the work's prominent use of wind instruments, but few noted the first symphony's masterstroke; it opens with the "wrong" chord -- a dominant seventh of the subdominant key of F major, and not the expected tonic chord of C major. The English musicologist Sir Donald Francis Tovey dubbed this work "a comedy of manners." It is, in some sense, a skit on the deeply engrained style and vocabulary of Classicism itself, though the humor is unquestionably Beethoven's own. The opening movement begins with the celebrated discord mentioned above, which ushers in the slow introduction, questioning and insistent. It leads to the start of the exposition, again interrogatory in character. Fanfares add a martial flavor to the music, which is offset by the more lyrically inclined second subject group. The exposition is repeated, according to Classical convention, and the development that follows is terse and far more acerbic in manner, and does not allow the same contrast between songful and martial elements. Already extremely mature and "studied," this austere development is relieved only when the recapitulation arrives, now with great forcefulness. The imitative dialogues between wind and strings are predictably Classical in style, as is the jubilant coda. The Andante seems more subdued and relaxed, but the manner in which it preserves the latent drama associated with symphonic form is particularly subtle and entertaining. It begins with a fugal motif, derived from the rising tonic triad heard at the start of the first movement's exposition, and used so emphatically in its coda. An ingenious piece of orchestration occurs at the close of the Andante's exposition. Triplet figures in the violins and flute and off-beat accompanying chords are supported by regular drum taps, perhaps pointing forward to the start of the Concerto for violin and orchestra, Op. 61, and to the closing bars of the Concerto for piano and orchestra, No. 5, Op. 73, "Emperor." The third movement's marking raises the question of whether Beethoven could have intended this to be a stately Haydn minuet before he increased the tempo indication. The incisive rhythmic energy suggests something wholly new, and the movement already has the manner of Beethoven's later scherzi -- it is one in all but name. While a more static episode in D flat follows the main material, and the central trio section is more reserved, it is significant, surely, that several Beethoven manuscripts (including that of his Symphony No. 3 in E flat, "Eroica") contain similar third-movement tempo markings. Tovey likened the explosive start of the finale to the release of "a cat from a bag." The whole orchestra plays a unison fortissimo chord of G, the dominant, an effect that recalls the slow introduction of the first movement. The main motif is derived from nothing more complex than a rising scale on the tonic, but throughout the movement, Beethoven's use of scalar figures becomes increasingly obsessive, as the theme is heard in a variety of keys, and is often heard in inversion when various instruments are in dialogue. The development features a daring harmonic treatment of the scale theme, and Beethoven employs much dense counterpoint before the work ends in a positive and triumphant reassertion of C major. Read less

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