Ludwig van Beethoven
Text in englischer Sprache verfügbarThe 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. His compositions, which frequently pushed the boundaries of tradition and startled audiences with their originality and power, are considered by many to be the foundation of 19th century musical principals. 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 19th 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 19th 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.
© Rovi Staff /TiVo Mehr lesen
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. His compositions, which frequently pushed the boundaries of tradition and startled audiences with their originality and power, are considered by many to be the foundation of 19th century musical principals.
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 19th 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 19th 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.
© Rovi Staff /TiVo
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Beethoven: Complete Sonatas for Piano and Violin
Ludwig van Beethoven
Klassik - Erschienen bei Challenge Classics am 25.09.2014
16-Bit CD Quality 44.1 kHz - Stereo -
Classical Best Of
Ludwig van Beethoven
World Music - Erschienen bei Essential World Masters am 01.06.2009
16-Bit CD Quality 44.1 kHz - Stereo -
Beethoven : The Complete 32 Piano Sonatas on Period Instruments (In addition, the three Bonn - Kurfürsten - Sonatas) [Deluxe Edition]
Ludwig van Beethoven
Klassik - Erschienen bei Claves Records am 01.01.1997
16-Bit CD Quality 44.1 kHz - Stereo -
Beethoven: The Complete Piano Concertos
Ludwig van Beethoven
Klassik - Erschienen bei Challenge Classics am 02.06.2017
24-Bit 44.1 kHz - Stereo -
Beethoven: The Sonatas & Variations for Cello and Piano
Ludwig van Beethoven
Kammermusik - Erschienen bei Onyx Classics am 09.12.2016
5 de Diapason24-Bit 96.0 kHz - Stereo -
Beethoven: Complete Sonatas for Piano & Violin
Ludwig van Beethoven
Kammermusik - Erschienen bei Claves Records am 01.01.2006
24-Bit 44.1 kHz - Stereo -
Beethoven Live: 9 Symphonies
Ludwig van Beethoven
Klassik - Erschienen bei Analekta am 26.01.2010
16-Bit CD Quality 44.1 kHz - Stereo -
Les 50 Trésors de Beethoven - Les Trésors de la Musique Classique
Ludwig van Beethoven
Klassik - Erschienen bei Sony Classical - Sony Music am 16.04.2020
16-Bit CD Quality 44.1 kHz - Stereo -
The 32 Piano Sonatas
Ludwig van Beethoven
Klassik - Erschienen bei Avie Records am 10.02.2015
16-Bit CD Quality 44.1 kHz - Stereo -
Beethoven: Piano Concertos Nos. 3 & 4
Ludwig van Beethoven
Klassik - Erschienen bei Onyx Classics am 30.06.2014
This release on the Onyx Classics label has no right to be as good as it is. Pianist Maria-João Pires, 70 years old when the album appeared in 2014, h ...
24-Bit 48.0 kHz - Stereo -
Beethoven : The Complete 32 Piano Sonatas on Period Instruments (In addition, the three Bonn - Kurfürsten - Sonatas)
Ludwig van Beethoven
Klassik - Erschienen bei Claves Records am 01.01.1997
16-Bit CD Quality 44.1 kHz - Stereo -
Beethoven: 5th Symphony
Ludwig van Beethoven
Klassik - Erschienen bei Art Studio am 29.07.2014
16-Bit CD Quality 44.1 kHz - Stereo -
Beethoven: Three Last Piano Sonatas Op. 109, 110 & 111
Ludwig van Beethoven
Klassik - Erschienen bei Claves Records am 17.03.2009
24-Bit 44.1 kHz - Stereo -
Beethoven: The Late String Quartets
Ludwig van Beethoven
Kammermusik - Erschienen bei Avie Records am 06.03.2012
24-Bit 96.0 kHz - Stereo -
Beethoven Complete Symphonies
Ludwig van Beethoven
Symphonieorchester - Erschienen bei Master Classics Records am 01.03.2011
16-Bit CD Quality 44.1 kHz - Stereo -
Beethoven: The Complete String Quartets, Vol. 2
Ludwig van Beethoven
Kammermusik - Erschienen bei Wigmore Hall Live am 04.11.2016
24-Bit 96.0 kHz - Stereo -
Beethoven Symphony No. 8 & No. 9
Ludwig van Beethoven
Klassik - Erschienen bei Audio Fidelity am 19.12.1966
24-Bit 96.0 kHz - Stereo -
Beethoven for Smarter Babies
Ludwig van Beethoven
Klassik - Erschienen bei Dream Collection am 13.01.2017
24-Bit 48.0 kHz - Stereo -
Beethoven: The Piano Sonatas
Ludwig van Beethoven
Klassik - Erschienen bei Regis Records am 27.05.2013
16-Bit CD Quality 44.1 kHz - Stereo -
Beethoven Sonatas opus 111, opus 14 No. 2 and opus 31 No. 2
Ludwig van Beethoven
Klassik - Erschienen bei Navis Classics am 01.12.2014
16-Bit CD Quality 44.1 kHz - Stereo -
Ludwig van Beethoven : Sonates pour violon et piano (Vol. 1)
Ludwig van Beethoven
Klassik - Erschienen bei Wigmore Hall Live am 05.07.2010
5 de Diapason16-Bit CD Quality 44.1 kHz - Stereo