Видео похожее на "Barenboim plays Beethoven Sonata No. 9 in E Major Op. 14 No. 1, 2nd and 3rd Mov.", с 1 по 23 из (примерно) 87
Barenboim plays Beethoven Sonata No. 9 in E Major Op. 14 No. 1, 1st Mov.
 
7:50
Daniel Barenboim plays Beethoven Sonata No. 9 in E Major Op. 14 No. 1, 1st Mov.
Просмотров: 61025
Beethoven, Triple Concierto y Fantasía Coral. Yo-Yo Ma, Perlman, Barenboim
 
58:47
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.
---
Просмотров: 234495
Barenboim plays Beethoven Sonata No. 10 in G Major Op. 14 No. 2, 1st Mov.
 
8:02
Daniel Barenboim plays Beethoven Sonata No. 10 in G Major Op. 14 No. 2, 1st Mov.
Просмотров: 11190
Barenboim plays Beethoven Sonata No. 12 in A flat Major Op. 26 Funeral March 1st Mov.
 
7:07
Daniel Barenboim plays Beethoven Sonata No. 12 in A flat Major Op. 26 Funeral March 1st Mov.
Просмотров: 40780
Barenboim plays Beethoven Sonata No. 10 in G Major Op. 14 No. 2, 2nd and 3rd Mov.
 
8:04
Daniel Barenboim plays Beethoven Sonata No. 10 in G Major Op. 14 No. 2, 2nd and 3rd Mov.
Просмотров: 8604
Beethoven Sonata N° 14 'moonlight'   Daniel Barenboim
 
16:50
У этого видео еще нет комментариев.
Просмотров: 282095
Beethoven | Piano Sonata No. 10 in G major | Daniel Barenboim
 
16:14
Español: Sonata para Piano nº10 en Sol Mayor, Op. 14 nº2

1st Movement (Allegro)
2nd Movement (Andante)
3rd Movement (Scherzo, Allegro Assai)

Work: Piano Sonata No. 10 in G major, Op. 14, No. 2
Composer: Ludwig van Beethoven
Soloist: Daniel Barenhoim
Просмотров: 16065
L. van Beethoven: Piano Sonata No. 9, Op. 14 No 1 in E major (Complete)
 
14:24
Ludwig van Beethoven (1770-1827)

Piano Sonata No. 9, Op. 14 No 1 in E major

00:05 I. Allegro
06:53 II. Allegretto
10:59 III. Rondo -- Allegro comodo

Performance on Acoustic Piano Player created by S.Nicolosi
Просмотров: 25984
Gilels plays Beethoven Sonata No.5, op.10 no.1 (I)
 
7:09
1985 recording of Beethoven Sonata No.5 in C minor, op.10 no.1; composed in 1796, dedicated to Countess Anna Margarete von Browne.

PART I :
- Allegro molto e con brio

PART II : http://www.youtube.com/watch?v=XGyK_gWwQjQ
- Adagio molto

PART III : http://www.youtube.com/watch?v=PBqRmKCU7mE
- Prestissimo

~~~

Husband of the Countess, Count Johann Georg von Browne-Camus, was a nobleman of Irish ancestry in the Russian Imperial service in Vienna, who was Beethovens chief patron between 1797 and 1803. Beethoven had dedicated his three String Trios, op. 9, to the Count, to whom he was indebted in various ways.

The story is such that, after his dedication of the op.10 Sonatas to the Countess, the Brownes gave Beethoven a gift of a riding horse, which he promptly forgot about. One of his more enterprising servants hired out the horse and it wasnt until Beethoven received a large bill for fodder that he curtailed the servants illicit entrepreneurial activities and got rid of the animal.

~~~
Просмотров: 43969
Sviatoslav Richter plays Beethoven Sonata No. 9 in E major Op. 14 No. 1
 
16:05
1. Allegro
2. Allegretto (6:48)
3. Rondo. Allegro comodo (13:02)

live, 1963
Просмотров: 8925
Barenboim plays Beethoven Sonata No. 11 in B flat Major Op. 22 1st and 2nd Mov.
 
9:04
Daniel Barenboim plays Beethoven Sonata No. 11 in B flat Major Op. 22 1st and 2nd Mov.
Просмотров: 84113
Wilhelm Kempff plays Beethoven's Moonlight Sonata mvt. 3
 
7:34
Wilhelm Kempff plays Beethoven's Moonlight Sonata mvt. 3
Просмотров: 10824409
Barenboim plays Beethoven Sonata No. 11 in B flat Major Op. 22, 3rd and 4th Mov.
 
9:12
Barenboim plays Beethoven Sonata No. 11 in B flat Major Op. 22, 3rd and 4th Mov.
Просмотров: 15258
Brendel plays Beethoven Piano Sonata No.9, Op.14 No.1
 
14:35
У этого видео еще нет комментариев.
Просмотров: 17264
Beethoven - Moonlight Sonata (FULL)
 
15:01
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.
Просмотров: 21918198
Beethoven Piano Sonata 9 E major Barenboim
 
15:00
Ludwig van Beethoven Piano Sonata No. 9 in E major, Op. 14, No. 1
Daniel Barenboim, piano
Allegro in E major
Allegretto in E minor with a trio in C major (which returns in the Coda) 7:00
Rondo -- Allegro comodo in E major 11:34
Просмотров: 2509
Barenboim on Beethoven - The 32 Piano Sonatas - Concert 1 (HD 1080p)
 
93:30
2005

♪ Sonata No.1 in F minor Op.2 No.1 (1793-1795)
i. Allegro
ii. Adagio
iii. Menuetto: Allegretto — Trio
iv. Prestissimo

♪ Sonata No.18 in E flat major Op.31 No.3 (1802)
i. Allegro
ii. Scherzo: Allegretto vivace
iii. Menuetto: Moderato e grazioso — Trio
iv. Presto con fuoco

♪ Sonata No.29 in B flat major Op.106 "Hammerklavier" (1817-1818)
i. Allegro
ii. Scherzo: Assai vivace
iii. Adagio sosteouto, appassionato e con molto sentimento
iv. Largo — Allegro risoluto

Πρόσωπα της Κλασικής Μουσικής (Faces of Classical Music)
http://facesofclassicalmusic.blogspot.gr/
Просмотров: 29930
Barenboim plays Beethoven Sonata No. 7 in D Major Op. 10 No. 3, 2nd Mov.
 
8:33
Daniel Barenboim plays Beethoven Sonata No. 7 in D Major Op. 10 No. 3, 2nd Mov.
Просмотров: 12901
Sibelius Violin Concerto - Maxim Vengerov, Daniel Barenboim, Chicago S.O. (CSO)
 
35:14
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
Просмотров: 1080448
Itzhak Perlman - Beethoven Violin Concerto - Daniel Barenboim
 
45:41
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
Daniel Barenboim, conductor
Berlin Philharmonic
Просмотров: 53607
Barenboim plays Beethoven Sonata No. 25 in G Major, Op. 79, 1st, 2nd and 3rd Mov.
 
9:49
Daniel Barenboim plays Beethoven Sonata No. 25 in G Major, Op. 79, 1st, 2nd and 3rd Mov.
Просмотров: 95524
Beethoven Sonata N° 21 'Waldstein'   Daniel Barenboim
 
27:01
У этого видео еще нет комментариев.
Просмотров: 203452
Страницы: 12 3 4 »