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Itzhak Perlman - Beethoven Violin Concerto - Daniel Barenboim
 
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Ludwig van Beethoven - Violin Concerto in D major, Op. 61

I. Allegro ma non troppo (00:00)
II. Larghetto (24:37)
III. Rondo. Allegro (33:33)

Itzhak Perlman, violin
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Andras Schiff: The Lectures
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Fryderyk Chopin - Daniel Barenboim, Warsaw Recital 2010 (Full HD 1080p)
 
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Faces of Classical Music
http://facesofclassicalmusic.blogspot.gr/


i. Fantasia in F minor, Op.49
ii. Nocturne in D flat major, Op.27, No.2
iii. Sonata in B flat minor, Op.35
iv. Barcarolle in F sharp major, Op.60
v. Waltz in F major, Op.34, No.3
vi. Waltz in A minor, Op.34, No.2
vii. Waltz in C sharp minor, Op.64, No.2
viii. Berceuse in D flat major, Op.57
ix. Polonaise in A flat major, Op.53
x. Mazurka in F minor, Op.7, No.3
xi. Waltz in D flat major, Op.64, No.1

Daniel Barenboim, piano

Recorded live at the Filharmonia Narodowa, Warsaw, 28 February 2010

(HD 1080p)


Faces of Classical Music
http://facesofclassicalmusic.blogspot.gr/
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Beethoven, Triple Concierto y Fantasía Coral. Yo-Yo Ma, Perlman, Barenboim
 
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Ludwig van Beethoven (1770 - 1827)
Concierto para violín, violonchelo y piano en Do mayor, Opus 56
1. Allegro
2. Largo (attacca)
3. Rondo alla polacca
Itzhak Perlman, violín
Yo-Yo Ma, violonchelo
Daniel Barenboim, piano y director.
Sala de la Berliner Philharmonie en Berlín-Tiergarten.

El Concierto para violín, violonchelo y piano en Do mayor, op. 56, es una obra escrita por Ludwig van Beethoven y conocida comúnmente como su Triple concierto. Fue compuesta entre 1804 y 1805. Fue estrenada en 1808 en los conciertos de verano "Augarten" de Viena.
Este es el único concierto que compuso Beethoven para más de un instrumento solista. Uno de los primeros biografos del compositor, Anton Schindler, sostenía que el Triple concierto fue escrito para el pupilo de Beethoven, el archiduque Rodolfo de Austria. El archiduque, que bajo el tutelaje de Beethoven logró ser un consumado pianista y compositor, era apenas un joven cuando se compuso la pieza, y esta sería la razón por la cual la parte para piano es a la vez vistosa y fácil, soportada por otros dos solistas más maduros y hábiles. Sin embargo, no hay conocimiento de que Rodolfo interpretara la pieza. Al momento de su publicación, la dedicatoria era para otro de sus mecenas, el Príncipe Lobkowitz.
Además del violín, violonchelo y piano solistas, la pieza está orquestada para una flauta, dos oboes, dos clarinetes, dos fagotes, dos trompas, dos trompetas, tímpano y cuerdas.
-
Fantasía para piano, coro y orquesta en do menor, Opus 80
(37' 30''~)
1. Adagio
2. Allegro
3. Meno allegro
4. Adagio ma non troppo
5. Marcia, assai vivace
6. Allegretto, ma non troppo
7. Presto
Carola Höhn, Katharina Kammerloher, Andrea Böning,
Endrik Wottrich, Pär Lindskog, René Pape.
Chor Der Deutschen Staatsoper Berlin.
Orquesta Filarmónica de Berlín.
Daniel Barenboim, director.

La Fantasía comienza con una introducción de 26 compases lenta pero virtuosa para piano, que modula de Do menor a Do mayor y regresa a la primera. La parte principal de la obra, marcada "Finale", comienza con un tema en Allegro tocado por los cellos y los contrabajos. Después , el piano solo introduce el tema coral en una versión ornamentada. Variaciones sobre el tema son entonces tocadas por las flautas, oboes, clarinetes y las cuerdas solistas, respectivamente. Una versión del tema con toda la orquesta, tocada en forte lleva a una parte de piano más lírica.
La orquesta acompaña a un parte del piano en semicorcheas mientras la obra va modulando de Do menor a Do mayor. Una sección calmada y fluida en La mayor, que termina con una sección de pregunta-respuesta entre las lengüetas dobles, corno y piano, lleva a una Marcia, una variación en Fa mayor del tema principal al estilo de una marcha. Una repetición del tema instrumental del primer allegro es una transición a la entrada coral.
El coro entra con las sopranos y contraltos cantando el tema principal, armonizado en triadas. Los tenores y bajos entonces cantan el tema, y después al coro se le une la orquesta en un tutti. Una coda en presto con orquesta, coro y piano da final a la obra.

TEXTO:
Schmeichelnd hold und lieblich klingen
unsers Lebens Harmonien,
und dem Schönheitssinn entschwingen
Blumen sich, die ewig blüh'n.
Fried und Freude gleiten freundlich
wie der Wellen Wechselspiel;
was sich drängte rauh und feindlich,
ordnet sich zu Hochgefühl.
Wenn der Töne Zauber walten
und des Wortes Weihe spricht,
muss sich Herrliches gestalten,
Nacht und Stürme werden Licht,
äuß're Ruhe, inn're Wonne,
herrschen für den Glücklichen
Doch der Künste Frühlingssonne
lässt aus beiden Licht entsteh'n.
Großes, das ins Herz gedrungen,
blüht dann neu und schön empor,
hat ein Geist sich aufgeschwungen,
hallt ihm stets ein Geisterchor.
Nehmt denn hin, ihr schönen Seelen,
froh die Gaben schöner Kunst.
Wenn sich Lieb und Kraft vermählen,
lohnt dem Menschen Göttergunst.

EN CASTELLANO:
Con gracia y dulzura resuenan
las armonías de nuestra vida
y el sentido de la belleza engendra
flores que eternamente florecen.
La paz y la alegría avanzan cual amigas
como el juego alternante de la olas;
y lo que insistía en ser rudo y hostil
entra a formar parte de lo sublime.
Cuando en los tonos reina la magia
y en las palabras la inspiración
se configura lo maravilloso,
noche y tempestad se vuelven luz.
Calma exterior y alegría interior
priman para el bienaventurado;
y el sol primaveral de las artes
permite que de ambas nazca luz.
Algo grande contenido en el pecho
florece de nuevo en toda su belleza;
si un espíritu se ha encumbrado
todo un coro de espíritus resuena siempre a su alrededor.
Aceptad, pues, almas bellas,
alegremente los dones del buen arte.
Cuando se unen el amor y la fuerza
el favor de los dioses al hombre recompensa.
---
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Barenboim plays Beethoven Sonata No. 10 in G Major Op. 14 No. 2, 2nd and 3rd Mov.
 
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Daniel Barenboim plays Beethoven Sonata No. 10 in G Major Op. 14 No. 2, 2nd and 3rd Mov.
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Barenboim plays Beethoven Sonata No. 10 in G Major Op. 14 No. 2, 1st Mov.
 
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Daniel Barenboim plays Beethoven Sonata No. 10 in G Major Op. 14 No. 2, 1st Mov.
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Daniel Barenboim plays Beethoven Sonata No. 12 in A flat Major Op. 26 Funeral March 1st Mov.
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Martha Argerich and Daniel Barenboim
 
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Both come from Buenos Aires, both have made global careers for themselves. Martha Argerich and Daniel Barenboim are not only fellow countrymen; they also both began to give concerts in their youth, as soloists and with an orchestra. In addition, the two have a particular interest in chamber music in common - the repertoire spanning from the classics to modernism. They now appear together: a summit meeting of two of the most eminent pianists of the past few decades and of the present, something which is well worth looking forward to.
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Barenboim plays Beethoven Sonata No. 11 in B flat Major Op. 22, 3rd and 4th Mov.
 
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Barenboim plays Beethoven Sonata No. 11 in B flat Major Op. 22, 3rd and 4th Mov.
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Beethoven. Sonata para piano n.º 11 en Si ♭ mayor, Opus 22 - IV. Rondó: Allegretto.
 
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Enlace Lista de reproducción "BARENBOIM ON BEETHOVEN - Live from Berlin": http://www.youtube.com/view_play_list?p=4D277212DAA763AB


Enlaces de sonatas de Beethoven del ciclo de conciertos "Barenboim on Beethoven - live from Berlin":


Sonata para piano n.º 11 en Si b Mayor, Opus 22
I. Allegro con brio: http://www.youtube.com/watch?v=SPehpCCXjz8
II. Adagio con molto espressione: http://www.youtube.com/watch?v=QPRzp9C6tUo
III. Minuetto: http://www.youtube.com/watch?v=sPHdWZS6itI
IV. Rondó: Allegretto: http://www.youtube.com/watch?v=9O_5NZ2kNhQ


Sonata para piano n.º 12 en La b Mayor, Opus 26
I. Andante con variazione: http://www.youtube.com/watch?v=HMLglQwCuv4
II. Scherzo: Allegro molto -- Trio: http://www.youtube.com/watch?v=oQiOZSHbM8w
III. Marcia funebre sulla morte d'un Eroe: http://www.youtube.com/watch?v=syJ6lAngQ04
IV. Allegro: http://www.youtube.com/watch?v=MtkAs-_IDwU


Sonata para piano n.º 13 en Mi b Mayor, Opus 27 n.º 1
I. Andante -- Allegro -- Tempo I: http://www.youtube.com/watch?v=7fOMwLlsPrI
II. Scherzo: Allegro molto vivace: http://www.youtube.com/watch?v=H780h0zB9Mw
III. Adagio con espressione: http://www.youtube.com/watch?v=-bmmvg5bGJk
IV. Allegro vivace -Tempo I -- Presto: http://www.youtube.com/watch?v=ecOdXI16mvM


Sonata para piano n.º 14 en Do sostenido menor, Opus 27 n.º 2 "Quasi una fantasia"
I. Adagio sostenuto: http://www.youtube.com/watch?v=yq8BSnbCN8M
II. Allegretto: http://www.youtube.com/watch?v=89hvC6ylVqM
III. Presto agitato: http://www.youtube.com/watch?v=qFdPRb4ZrWQ


Sonata para piano n.º 15 en Re Mayor, Opus 28 "Pastoral"
I. Allegro: http://www.youtube.com/watch?v=8zvCIVLhoog
II. Andante: http://www.youtube.com/watch?v=0o5pZAvknW4
III. Scherzo: Allegro vivace. IV. Rondó: Allegro ma non troppo: http://www.youtube.com/watch?v=bdV2xpjJgO0

Intérprete:
Daniel Barenboim, piano
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From the Complete Beethoven Piano Sonatas Nos 1-32 cycle recorded 1983-84

Piano Sonata No. 14 in C Sharp Minor, Op. 27 No. 2 "Moonlight"

Daniel Barenboim, piano
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Prom 18: Beethoven Cycle -- Symphony No. 9, 'Choral'
Friday 27 July
6.30pm -- c. 7.55pm
Royal Albert Hall

Anna Samuil (soprano)
Waltraud Meier (mezzo-soprano)
Michael König (tenor)
René Pape (bass)
National Youth Choir of Great Britain
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Daniel Barenboim plays Beethoven Sonata No. 11 in B flat Major Op. 22 1st and 2nd Mov.
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Krystian Zimerman plays Beethoven Sonata No. 8 in C minor, Op. 13 (Pathetique) (Complete)
 
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Krystian Zimerman's fresh and brilliant take on this timeless Sonata by Beethoven..

I Grave -- Allegro di molto e con brio - 0:00
II Adagio cantabile - 10:59
III Rondo Allegro - 16:04

The posting of this video meets the requirements of Fair Use. I do not own any copyright licenses for this video nor do I stand to gain financially from it's posting in any way whatsoever.
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Sviatoslav Richter plays Beethoven Sonata No. 9 in E major Op. 14 No. 1
 
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1. Allegro
2. Allegretto (6:48)
3. Rondo. Allegro comodo (13:02)

live, 1963
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Sibelius Violin Concerto - Maxim Vengerov, Daniel Barenboim, Chicago S.O. (CSO)
 
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Jean Sibelius - The Violin Concerto in D minor, Op. 47
http://www.agoravox.tv/culture-loisirs/culture/article/barenboim-vengerov-repondent-a-31880
Violin : Maxim Vengerov
Conductor : Daniel Barenboim
( http://www.agoravox.tv/culture-loisirs/culture/article/barenboim-vengerov-repondent-a-31880 "Barenboim & Vengerov répondent à Fergus - Concerto pour violon de Sibelius" )
Chicago Symphony Orchestra (CSO)

Jean Sibelius - Le Concerto pour violon en ré mineur, op. 47
Violon : Maxim Vengerov
Chef d'orchestre : Daniel Barenboim
Orchestre Symphonique de Chicago

1. Allegro moderato in D minor
2. Adagio di molto in B-flat major
3. Allegro, ma non tanto in D major

1. Allegro moderato en ré mineur
2. Adagio di molto en si bémol majeur
3. Allegro ma non tanto en ré majeur

Das Violinkonzert in d-Moll op. 47
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Daniel Barenboim plays Beethoven Sonata No. 8 Op. 13 (Pathetique)
 
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Master of all things Beethoven Daniel Barenboim breathes fresh life into the Pathetique Sonata. With a rare combination of artistic prowess and erudite knowledge, Barenboim demonstrates a deep understanding of this music that can be simultaneously appreciated on both a cerebral and sensual level.

I. Grave -- Allegro di molto e con brio 0:19
II. Adagio cantabile 9:46
III. Rondo: Allegro 15:11

The posting of this video meets the requirements of Fair Use. I do not own any copyright licenses for this video nor do I stand to gain financially from it's posting in any way whatsoever. This video has been posted for educational purposes to incite commentary, criticism and analysis. I strongly encourage all viewers to buy this fantastic DVD collection by following this link:

http://www.amazon.com/Barenboim-Beethoven-Complete-Sonatas-Berlin/dp/B000KWZ7VU/ref=sr_1_2?ie=UTF8&qid=1375724619&sr=8-2&keywords=barenboim+on+beethoven
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Beethoven - Moonlight Sonata (FULL)
 
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Beethoven - Moonlight Sonata (FULL) - Piano Sonata No. 14

Fan page:
http://www.facebook.com/9Beethoven

The Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", op. 27, No. 2, by Ludwig van Beethoven

The sonata has three movements:

1 mvt: Adagio sostenuto.
2 mvt: Allegretto (click to go at 6:00 min).
3 mvt: Presto agitato (click to go at 8:05 min).

Adagio sostenuto

The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a "lamentation", mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or "very quietly", and the loudest it gets is mezzo forte or "moderately loud".

The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it "is one of those poems that human language does not know how to qualify. The work was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Carl Czerny, "Surely I've written better things.


Allegretto

The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as "a flower between two chasms."[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movement's cheerful disposition.


Presto agitato

The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.

It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopin's Fantaisie-Impromptu, which manifests the key relationships of the sonata's three movements.

Of the final movement, Charles Rosen has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.

Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethoven's pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals

At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: "Si deve suonare tutto questo pezzo delicatissimamente e senza sordino". ("One must play this whole piece [meaning "movement"] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethoven's day, leaving for a rather blurry and dissonant tone.

One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethoven's original direction.

For performance on the modern piano, most performers today try to achieve an effect similar to what Beethoven asked for by using pedal changes only where necessary to avoid excessive dissonance. For instance, the Ricordi edition of the score posted at the external link given below does include pedal marks throughout the first movement. These are the work of a 20th century editor, meant to facilitate performance on a modern instrument.

Half pedaling — a technique involving a partial depression of the damper pedal — is also often used to simulate the shorter sustain of the early nineteenth century pedal. Charles Rosen suggests both half-pedaling and releasing the pedal a fraction of a second late.

Banowetz offers a further suggestion: to pedal cleanly while allowing sympathetic vibration of the low bass strings to provide the desired "blur." This is accomplished before beginning the movement by silently depressing the piano's lowest bass notes and then holding these dampers up with the sostenuto pedal for the duration of the movement.
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BISES.
Grabación completa desde que terminaron las obras del programa, hasta el final del concierto.
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Страницы: 12 3 4 5 »