tag:blogger.com,1999:blog-46698759242397695972024-03-14T11:20:19.170-04:00The Daily BeethovenThe life and music of Beethoven is endlessly fascinating. His work is timeless. I'll be posting something interesting about B. on this blog daily. In general, Thursdays present analysis, Friday is devoted to art/oddities, and weekends feature longer concerts and documentaries. Have fun!Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.comBlogger370125tag:blogger.com,1999:blog-4669875924239769597.post-62881170047357447152020-03-09T00:07:00.001-04:002020-03-09T02:03:17.062-04:00The New Complete Edition Beethoven (2019)<div class="separator" style="clear: both; text-align: center;">
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In anticipation of Beethoven's 250th birthday, in 2019 Deutsche Grammophon released a new box set of Beethoven works. The last release of this kind from DG was the 1997 20-volume "Complete Edition" (87 CDs). Therefore the 2019 release is titled <i>The New Complete Edition</i>. This revamped version includes 118 CDs, 3 Blu-ray audio discs and 2 DVDs. A detailed breakdown can be seen below.<br />
<br />
<u><b>Summary:</b></u><br />
1. Symphonies 1 and 2; Prometheus and Leonore III Overtures<br />
2. Symphonies 3 and 4<br />
3. Coriolan Overture; Symphonies 5 and 6<br />
4. Symphonies 7 and 8; Namensfeier Overture; Wellington’s Victory<br />
5. Symphony 9<br />
6. Vienna Cycle I: Symphonies 1 and 2; Incidental Music to Egmont<br />
7. Vienna Cycle II: Symphonies 3 and 4<br />
8. Vienna Cycle III: Symphonies 5 and 7<br />
9. Vienna Cycle IV: Symphonies 6 and 8<br />
10. Vienna Cycle V: Symphony 9<br />
11. Period Cycle I: Symphonies 1 and 2<br />
12. Period Cycle II: Symphonies 3 and 4<br />
13. Period Cycle III: Symphonies 5 and 6<br />
14. Period Cycle IV: Symphonies 7 and 8<br />
15. Period Cycle V: Symphony 9; Fantasia for Piano, Chorus and Orchestra<br />
16. Piano Concerto WoO 4; Piano Concertos 1 and 2<br />
17. Piano Concertos 3 and 4<br />
18. Piano Concerto 5; Violin Concerto<br />
19. Violin Concertos: Anne-Sophie Mutter<br />
20. Piano Concertos 2 and 1; Rondo in B♭<br />
21. Piano Concertos: Maurizio Pollini<br />
22. Piano Concerto 5; Piano Concerto in D<br />
23. Triple Concerto; Violin Concerto in C; Mozart Piano Concerto 20<br />
24. Dances I: Ritterballett; Creatures of Prometheus<br />
25. Dances II: Minuets and Marches<br />
26. Stage Music I<br />
27. Stage Music II<br />
28. Leonore I<br />
29. Leonore II<br />
30. Fidelio I<br />
31. Fidelio II and Other Stage Music<br />
32. Piano Sonatas 1-3<br />
33. Piano Sonatas 4, 5, 6, 8<br />
34. Piano Sonatas 7, 9, 10, 11<br />
35. Piano Sonatas 12, 13, 14, 15, 19<br />
36. Piano Sonatas 16, 17, 18, 20<br />
37. Piano Sonatas 21-25<br />
38. Piano Sonatas 26, 27, 29<br />
39. Piano Sonatas 28 and 29<br />
40. Piano Sonatas 30-32<br />
41. Named Piano Sonatas I<br />
42. Named Piano Sonatas II<br />
43. Last Piano Sonatas<br />
44. Piano Bagatelles<br />
45. Electoral Piano Sonatas; Sonata Movements<br />
46. Piano Dances, Miscellaneous Works<br />
47. Piano Variations I: WoO 63-66, 68-71<br />
48. Piano Variations II: WoO 72, 73, 75-77; Op. 34; Op. 35 “Eroica”<br />
49. Piano Variations III: WoO 78-80; Op. 76; Op. 120 “Diabelli”<br />
50. Piano Variations IV: Op. 120 “Diabelli”, Op. 35 “Eroica”<br />
51. Piano 4 Hands; Organ; Harp<br />
52. Violin Sonatas 1-4<br />
53. Violin Sonatas 5 and 6; 12 Variations WoO 40; Rondo WoO 41; 6 Dances WoO 42<br />
54. Violin Sonatas 7 and 9<br />
55. Violin Sonatas 8–10<br />
56. Cello Duos I<br />
57. Cello Duos II<br />
58. Flute Duos<br />
59. Misc Duos<br />
60. Piano Trios 1, 2, 9<br />
61. Piano Trios 3, 5, 6<br />
62. Piano Trios 7, 8, 10, 11<br />
63. Piano Trio 4<br />
64. Misc Wind Trios<br />
65. String Trios 1, 2<br />
66. String Trios 3-5<br />
67. Misc String Trios<br />
68. String Quartets 1-3: Emerson Quartet<br />
69. String Quartets 4-6: Emerson Quartet<br />
70. String Quartets 7 and 8: Emerson Quartet<br />
71. String Quartets 9 and 10: Emerson Quartet<br />
72. String Quartets 11 and 13: Takács Quartet<br />
73. String Quartets 12 and 14: Takács Quartet<br />
74. String Quartets 15 and 16: Takács Quartet<br />
75. String Quartets 12 and 15: Hagen Quartet<br />
76. String Quartets 13 and 14: Hagen Quartet<br />
77. Misc String Quartets<br />
78. Piano Quartets, Equali<br />
79. Quintets for Strings and Winds<br />
80. String Quintets, Wind Sextets<br />
81. Large Chamber Works<br />
82. Lieder I: Dietrich Fischer-Dieskau and Jörg Demus<br />
83. Lieder II: Dietrich Fischer-Dieskau and Jörg Demus and others<br />
84. Lieder III: Peter Schreier and Walter Olbertz and others<br />
85. Partsongs; Canons and Musical Jokes<br />
86. Folksongs I: 25 Scottish Songs, Op.108 <br />
87. Folksongs II: 25 Irish Songs, WoO 152 <br />
88. Folksongs III: 20 Irish Songs, WoO 153 <br />
89. Folksongs IV: WoO 154 and 57<br />
90. Folksongs V: 26 Welsh Songs WoO 155 <br />
91. Folksongs VI: WoO 156, 158b and 158c<br />
92. Folksongs VII: 23 Songs of Various Nationalities WoO 158a<br />
93. Arias with Orchestra<br />
94. Choral Music I: Emperor Cantatas<br />
95. Choral Music II<br />
96. Choral Music III: Missa solemnis (Period Instruments)<br />
97. Choral Music IV: Missa solemnis (Modern)<br />
98. Choral Music V: Christus am Ölberge<br />
99. Rare Solo Piano Works<br />
100. Rare Chamber Music<br />
101. Student Contrapuntal Studies<br />
102. Historic Orchestral Movements<br />
103. Historic Orchestral: Wilhelm Furtwängler<br />
104. Historic Orchestral: Erich Kleiber<br />
105. Historic Orchestral: Ferenc Fricsay<br />
106. Historic Concertos<br />
107. Historic Piano Sonatas I<br />
108. Historic Piano Sonatas II<br />
109. Historic Piano Sonatas III<br />
110. Historic Trios<br />
111. Historic String Quartets<br />
112. Historic Quartets: Quartetto Italiano<br />
113. Historic Arias and Lieder<br />
114. Period Instruments I: Piano Concertos<br />
115. Period Instruments II: Concertos<br />
116. Period Instruments III: Piano Sonatas; Lieder; Horn Sonata<br />
117. Period Instruments IV: Chamber Music<br />
118. Period Instruments V: Orchestral<br />
119. Blu-ray Audio: Symphonies 1-9 (BP/Karajan 1962)<br />
120. Blu-ray Audio: Piano Sonatas 1-32 (Wilhelm Kempff 1960s)<br />
121. Blu-ray Audio: String Quartets 1-16 (Amadeus Quartet 1960s)<br />
<br />
<u><b>Detailed: </b></u><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">SYMPHONIES<br /><br />MODERN INSTRUMENT CYCLE</span></span><br />
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"></span></span><br />
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">1. Symphonies 1 and 2; Prometheus and Leonore III Overtures</span></span><br />
<ul>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 1 (Op. 21, 1799-1800) (Gewandhausorchester Leipzig, Riccardo Chailly, 2007)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">The Creatures of Prometheus: Overture (Op 43, 1801) (Gewandhausorchester Leipzig, Riccardo Chailly, 2009)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 2 (Op. 36, 1801-02) (Gewandhausorchester Leipzig, Riccardo Chailly, 2009)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Leonore: Overture III (Op. 72b, 1806) (Gewandhausorchester Leipzig, Riccardo Chailly, 2009)</span></span></li>
</ul>
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />2. Symphonies 3 and 4</span></span><br />
<ul>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 3 ('Eroica') (Op. 55, 1803) (Berliner Philharmoniker, Claudio Abbado, 2001)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 4 (Op. 60, 1806) (Berliner Philharmoniker, Claudio Abbado, 2001)</span></span></li>
</ul>
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />3. Coriolan Overture; Symphonies 5 and 6</span></span><br />
<ul>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Coriolan Overture (Op. 62, 1807) (Gewandhausorchester Leipzig, Riccardo Chailly, 2007)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 5 (Op. 67, 1807-08) (Los Angeles Philharmonic, Carlo Maria Giulini, 1981)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 6 ('Pastoral') (Op. 68, 1808) (Berliner Philharmoniker, Claudio Abbado, 2001)</span></span></li>
</ul>
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />4. Symphonies 7 and 8; Namensfeier Overture; Wellington’s Victory</span></span><br />
<ul>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 7 (Op. 92, 1811-1812) (Wiener Philharmoniker, Andris Nelsons, 2017)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 8 (Op. 93, 1812) (Gewandhausorchester Leipzig, Riccardo Chailly, 2009)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Name-day Overture (Op. 115, 1814-15) (Gewandhausorchester Leipzig, Riccardo Chailly, 2009)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Wellington's Victory, or The Battle of Vittoria (Op. 91, 1813) (Berliner Philharmoniker, Herbert von Karajan, 1969)</span></span></li>
</ul>
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />5. Symphony 9</span></span><br />
<ul>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 9 (Op. 125, 1823-24) (Anna Tomowa-Sintow, Agnes Baltsa, Peter Schreier, José van Dam, BP, Herbert von Karajan, 1976)</span></span></li>
</ul>
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />VIENNA CYCLE</span></span><br />
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />6. Vienna Cycle I: Symphonies 1 and 2; Incidental Music to Egmont</span></span><br />
<ul>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 1 (Op. 21, 1799-1800) (Wiener Philharmoniker, Leonard Bernstein, 1978)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 2 (Op. 36, 1801-02) (Wiener Philharmoniker, Leonard Bernstein, 1978)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Egmont (Op. 84, 1809-10) (Wiener Philharmoniker, George Szell, Pilar Lorengar, 1969)</span></span></li>
</ul>
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">7. Vienna Cycle II: Symphonies 3 and 4</span></span><br />
<ul>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 3 ('Eroica') (Op. 55, 1803) (Wiener Philharmoniker, Pierre Monteux, 1957)</span></span></li>
<li><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 4 (Op. 60, 1806) (Wiener Philharmoniker, Hans Schmidt-Isserstedt, 1966)</span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">8. Vienna Cycle III: Symphonies 5 and 7 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 5 (Op. 67, 1807-08) (Wiener Philharmoniker, Carlos Kleiber, 1974)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 7 (Op. 92, 1811-1812) (Wiener Philharmoniker, Carlos Kleiber, 1976)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">9. Vienna Cycle IV: Symphonies 6 and 8</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 6 ('Pastoral') (Op. 68, 1808) (Wiener Philharmoniker, Karl Böhm, 1971)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 8 (Op. 93, 1812) (Wiener Philharmoniker, Andris Nelsons, 2017)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">10. Vienna Cycle V: Symphony 9</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 9 (Op. 125, 1823-24) (Gwyneth Jones, Hanna Schwarz, René Kollo, Kurt Moll , Wiener Philharmoniker, Leonard Bernstein, 1979)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />PERIOD INSTRUMENT CYCLE<br /> </span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">11. Period Cycle I: Symphonies 1 and 2 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 1 (Op. 21, 1799-1800) (Orchestre Révolutionnaire et Romantique, John Eliot Gardiner, 1993)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 2 (Op. 36, 1801-02) (Gardiner, 1991)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />12. Period Cycle II: Symphonies 3 and 4 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 3 ('Eroica') (Op. 55, 1803) (Gardiner, 1993)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 4 (Op. 60, 1806) (Gardiner, 1993)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />13. Period Cycle III: Symphonies 5 and 6</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 5 (Op. 67, 1807-08) (Gardiner, 1994)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 6 ('Pastoral') (Op. 68, 1808) (Gardiner, 1992)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />14. Period Cycle IV: Symphonies 7 and 8 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 7 (Op. 92, 1811-1812) (Gardiner, 1992)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 8 (Op. 93, 1812) (Gardiner, 1992)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />15. Period Cycle V: Symphony 9; Fantasia for Piano, Chorus and Orchestra</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 9 (Op. 125, 1823-24) (Luba Orgonasova, Anne Sofie von Otter, Anthony Rolfe Johnson, Gilles Cachemaille, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner, The Monteverdi Choir, 1992)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fantasia for piano, chorus and orchestra in Cm (Choral Fantasy) (Op. 80, 1808-09) (Robert Levin, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner, 1995)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />CONCERTOS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />16. Piano Concerto WoO 4; Piano Concertos 1 and 2</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto in Eb (WoO 4, 1784) (Ronald Ronald Brautigam, Norrköping Symphony Orchestra, Andrew Parrott, 2008) (Cad. by Ronald Brautigam)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 2 (Op. 19, 1788-1801) (Martha Argerich, Orchestra Della Svizzera Italiana, Gabriel Chmura, 2009) (Cad.: LvB 1809)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 1 (Op. 15, 1795/1800) (Martha Argerich, Mito Chamber Orchestra, Seiji Ozawa, 2017) (Cad.: LvB 1809)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />17. Piano Concertos 3 and 4 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 3 (Op. 37, 1800-03) (Alfred Brendel, Wiener Philharmoniker, Simon Rattle, 1998) (Cad.: LvB 1809)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 4 (Op. 58, 1804-06/07) (Alfred Brendel, Rattle, 1997) (Cad.: LvB)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />18. Piano Concerto 5; Violin Concerto</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 5 - Emperor (Op. 73, 1809) (Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein, 1989)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Concerto (Op. 61, 1806) (Vadim Repin, Wiener Philharmoniker, Riccardo Muti, 2007) (Cad.: Kreisler)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />19. Violin Concertos: Anne-Sophie Mutter</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Concerto (Op. 61, 1806) (Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan, 1979) (Cad.: Kreisler)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Romance for Violin and Orchestra in G (Op. 40, 1800-02) (Anne-Sophie Mutter, New York Phil, Kurt Masur, 2002): Andante</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Romance for Violin and Orchestra in F (Op. 50, 1798) (Mutter, Masur, 2002): Andante cantabile</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Romance cantabile for piano, flute, bassoon, oboes and string orchestra (WoO 213/Hess 13, 1786?) (Patrick Gallois, Pascal Gallois, Myung Whun Chung, Philharmonia Orchestra, 1996)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />20. Piano Concertos 2 and 1; Rondo in B♭</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 1 (Op. 15, 1795/1800) (Rudolf Buchbinder, Berliner Philharmoniker, Christian Thielemann, 2016) (Cad.: LvB 1809)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 2 (Op. 19, 1788-1801) (Friedrich Gulda, Wiener Philharmoniker, Horst Stein, 1970) (Cad.: LvB 1809)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo for Piano and Orchester in B-flat (WoO 6, 1793, w Czerny) (Sviatoslav Richter, Wiener Symphoniker, Kurt Sanderling, 1962)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 1: 1 Allegro con brio (cadenza reconstruction) (Claudio Arrau, Staatskapelle Dresden, Colin Davis, 1987)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />21. Piano Concertos: Maurizio Pollini</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 3 (Op. 37, 1800-03) (Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado, 1992) (Cad.: LvB 1809)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 4 (Op. 58, 1804-06/07) (Maurizio Pollini, Wiener Philharmoniker, Karl Böhm, 1976) (Cad.: LvB)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fantasia for piano, chorus and orchestra in Cm ('Choral Fantasy') (Op. 80, 1808, 09) (Maurizio Pollini, Wiener Philharmoniker, Claudio Abbado, 1986)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />22. Piano Concerto 5; Piano Concerto in D </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 5 ('Emperor') (Op. 73, 1809) (Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner, 1961)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Concerto for Piano and Orchestra in D (Op. 61, 1807, from Violin Cto) (Daniel Barenboim, English Chamber Orchestra, 1973)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />23. Triple Concerto; Violin Concerto in C; Mozart Piano Concerto 20</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Triple Concerto (Op. 56, 1804-05) (Chung Trio, Philharmonia Orchestra, Myung Whun Chung, 1996)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Concerto in C (fragment) (WoO 5, 1790-92, w Fischer) (Gidon Kremer, London Symphony Orchestra, Emil Tchakarov, 1981, Cad.: Takaya Urakawa)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Mozart: Piano Concerto 20 in Dm (KV 466) (Rudolf Serkin, London Symphony Orchestra, Claudio Abbado, 1981) (Cadenza by Beethoven, WoO 58, 1802-1809)</span></span></span></li>
</ul>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />MUSIC FOR THE STAGE</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />24. Dances I: Ritterballett; Creatures of Prometheus</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ritterballett (Music to a) (WoO 1, 1790-91) (Berliner Philharmoniker, Herbert von Karajan)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">The Creatures of Prometheus (Ballet) (Op. 43, 1800-01) (Orpheus Chamber Orchestra)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />25. Dances II: Minuets and Marches</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 Minuets for Orcherstra (Woo 7, 1795) (Academy of St. Martin in the Fields, Neville Marriner)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 German Dances (WoO 8. 1795) (Academy of St. Martin in the Fields, Neville Marriner)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 Contredances for Orchestra (WoO 14, 1791-1801) (Berliner Philharmoniker, Lorin Maazel)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Ländler for 2 Violins and Bass (WoO 15, 1802) (Bayerische Kammerphilharmonie, Karl Anton Rickenbacher)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">March in F for Military Music (York'scher Marsch) (WoO 18, 1809) (Berlin Philharmonic Wind Ensemble, Herbert von Karajan)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">March in F for Military Music (WoO 19, 1810) (Berlin Philharmonic Wind Ensemble, Hans Priem-Bergrath)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">March No.2 in C, Wo0 20 (Berlin Philharmonic Wind Ensemble, Hans Priem-Bergrath)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Polonaise in D for Military Music (WoO 21, 1809) (Netherlands Wind Ensemble)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ecossaise in D for Military Music (WoO 22, 1809/10) (Berlin Philharmonic Wind Ensemble, Hans Priem-Bergrath)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">March in D for Military Music (WoO 24, 1816) (Berlin Philharmonic Wind Ensemble, Hans Priem-Bergrath)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />26. Stage Music I</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Egmont (Op. 84, 1809-10) (Cheryl Studer, Bruno Ganz, Berliner Philharmoniker, Abbado)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">The Ruins of Athens (Op. 113, 1811) (Klaus Hirte, Arleen Augér, RIAS Vocal Chamber Orch., Berliner Philharmoniker, Bernhard Klee)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Gratulations-Menuett (Congratulations Minuet) in Eb for Orchestra (WoO 3, 1822) (Berliner Philharmoniker, Herbert von Karajan)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />27. Stage Music II</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">King Stephan, or Hungary's First Benefactor (Op. 117, 1811) (Dietrich Fischer-Dieskau, Orchestra dell'Accademia Nazionale di Santa Cecilia, Myung Whun Chung)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">“Triumphal Marsch” from Christoph Kuffner's Tragedy "Tarpeja" (WoO 2a, 1813) (BBC Symphony Orchestra, Andrew Davis)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">The Consecration of the House (Music for) (Op. 124, Hess 118, 1822) (Berliner Philharmoniker, Claudio Abbado)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Leonore Prohaska (WoO 96, 1815) (Sylvia McNair, Bruno Ganz, Karoline Eichhorn, Berliner Philharmoniker, Claudio Abbado, Rundfunkchor Berlin)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />28-29. Leonore, or the Triumph of Married Love (1804-05) (Hillevi Martinpelto, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner)<br /><br />30-31. Fidelio and Other Stage Music</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fidelio (Op. 72, 1814) (Lucerne Festival Orchestra, Mahler Chamber Orchestra, Claudio Abbado) </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Leonore Overture I (Op. 138, 1808) (Wiener Philharmoniker, Claudio Abbado)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two Arias from "The Beautiful Shoemaker's Wife, or the Puce-Coloured Shoes" (WoO 91, 1795) (Nicolai Gedda, Convivium musicum München, Erich Keller)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Scene 1 for vocal quartet and Orchestra from 'Vestas Feuer' (Vesta's Fire) (Hess 115, 1803) (Susan Gritton, David Kübler, Robin Leggate, Gerald Finley, BBC Symphony Orchestra, Andrew Davis)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Germania (Germany's Rebirth) for bass, choir and orchestra, from "The Good News" (WoO 94, 1814) (Gerald Finley, BBC Symphony Orchestra, Andrew Davis, BBC Singers)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Es ist vollbracht (It is achieved)(Finale) for bass, choir and orchestra, from "The Triumphal Arches" (WoO 97, 1815) (Gerald Finley, BBC Symphony Orchestra, Andrew Davis, BBC Singers)</span></span></span></li>
</ul>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />PIANO SONATAS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />32. Piano Sonatas 1-3</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 1 in Fm (Op. 2, Nr. 1, 1793-95) (Maurizio Pollini)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 2 in A (Op. 2, Nr. 2, 1794-95) (Maurizio Pollini)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 3 in C (Op. 2, Nr. 3, 1794-95) (Maurizio Pollini) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />33. Piano Sonatas 4, 5, 6, 8 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 4 in Eb (Op. 7, 1796-97) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 5 in Cm (Op. 10, Nr. 1, 1795-97) (Zoltán Kocsis)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 6 in F (Op. 10, Nr. 2, 1796-97) (Claudio Arrau)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 8 in Cm (Op. 13, 'Pathétique', 1797-98) (Stephen Kovacevich, 1971) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />34. Piano Sonatas 7, 9, 10, 11</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 7 in D (Op. 10, Nr. 3, 1797-98) (Claudio Arrau, 1985)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 9 in E (Op. 14, Nr. 1, 1798) (Alfred Brendel, 1995)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 10 in G (Op. 14, Nr. 2, 1798) (Vladimir Ashkenazy)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 11 in Bb (Op. 22, 1800) (Alfred Brendel, 1977) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />35. Piano Sonatas 12, 13, 14, 15, 19</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 12 in Ab (Op. 26, 1800-01) (Alfred Brendel, 1994)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 13 in Eb (Op. 27. Nr. 1, 1801) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 14 in C Sharp minor (Moonlight) (Op. 27, Nr. 2, 1801) (Nelson Freire)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 15 in D (Op. 28, 1801) ('Pastorale') (Alfred Brendel, 1977)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 19 in Gm (Op. 49, Nr. 1, 1797) (Radu Lupu) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />36. Piano Sonatas 16, 17, 18, 20</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 16 in G (Op. 31, Nr. 1, 1802) (Alfred Brendel, 1992)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 17 in Dm (The Tempest) (Op. 31, Nr. 2, 1802) (Arrau)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 18 in Eb (Op. 31, Nr. 3, 1802) (Stephen Kovacevich, 1971)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 20 in G (Op. 49, Nr. 2, 1795-96) (Radu Lupu)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />37. Piano Sonatas 21 and 25, 22, 23, 24</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 21 in C (Waldstein) (Op. 53, 1803-04) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 22 in F (Op. 54, 1803-04) (Alfred Brendel, 1977)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 23 in Fm (Appassionata) (Op. 57, 1804-05) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 24 in F (Op. 78, 1809) (Vladimir Ashkenazy)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 25 in G (Op. 79, 1809) (Emil Gilels) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />38. Piano Sonatas 26, 27 and 29</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 26 in E ('Les Adieux') (Op. 81a, 1809-10) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 27 in Em (Op. 90, 1814) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 29 in B (Hammerklavier) (Op. 106, 1817-18) (Emil Gilels) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />39. Piano Sonatas 28 and 29 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 28 in A (Op. 101, 1816) (Maurizio Pollini)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 29 in B (Hammerklavier) (Op. 106, 1817-18) (Maurizio Pollini) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />40. Piano Sonatas 30-32</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 30 in E (Op. 109, 1820) (Maurizio Pollini)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 31 in A (Op. 110, 1821-22) (Maurizio Pollini)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 32 in Cm (Op. 111, 1821-22) (Maurizio Pollini) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />41. Named Piano Sonatas I</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 8 in Cm (Op. 13, 'Pathétique', 1797-98) (Radu Lupu)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 14 in C Sharp minor ('Moonlight') (Op. 27, Nr. 2, 1801) (Murray Perahia)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 17 in Dm ('The Tempes') (Op. 31, Nr. 2, 1802) (Hélène Grimaud)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 21 in C ('Waldstein') (Op. 53, 1803-04) (Nelson Freire) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />42. Named Piano Sonatas II</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 23 in Fm ('Appassionata') (Op. 57, 1804-05) (Friedrich Gulda)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 26 in E ('Les Adieux') (Op. 81a, 1809-10) (Evgeny Kissin)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 29 in B ('Hammerklavier') (Op. 106, 1817-18) (Murray Perahia) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />43. Last Piano Sonatas</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 30 in E (Op. 109, 1820) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 31 in A (Op. 110, 1821-22) (Alfred Brendel)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 32 in Cm (Op. 111, 1821-22) (Mitsuko Uchida)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />OTHER KEYBOARD WORKS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />44. Piano Bagatelles </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">7 Bagatelles (Op. 33, 1801-02) (Alicia de Larrocha)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">11 Bagatelles (Op. 119, 1820-22) (Alfred Brendel)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Bagatelles (Op. 126, 1824) (Stephen Kovacevich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegretto in Bm (WoO 61, 1821) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Bagatelle in Am ('Für Elise') (WoO 59, 1808/10) (Lang Lang)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Lustig-Traurig in C, Cm (WoO 54, 1802) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Bagatelle in Bb (WoO 60, 1818) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allemande in A (WoO 81, 1793/1822) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegretto in Cm (WoO 53/Hess 69, 1796-97) (Gianluca Cascioli) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />45. Electoral Piano Sonatas; Sonata Movements</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Kurfürsten-Sonate (Electoral Sonata) Nr.1 in Eb (WoO 47, 1783) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Kurfürsten-Sonate (Electoral Sonata) Nr.2 in Fm (WoO 47, 1783) (Emil Gilels)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Kurfürsten-Sonate (Electoral Sonata) Nr.3 in D (WoO 47, 1783) (Jörg Demus)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo in C (WoO 48, 1783) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo in A (WoO 49, 1783) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">2 Sonata Movements in F (WoO 50, 1790-92) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata in C (WoO 51, 1790-92) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Bagatelle in Cm (WoO 52, 1795, 98, 1822) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegretto in Cm (WoO 53, 1796-97) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Andante in F (Andante favori) (WoO 57, 1803): Andante grazioso con moto (Alice Sara Ott)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo a capriccio in G ("Rage Over A Lost Penny") (Op. 129, 1795) (Anatol Ugorski) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />46. Piano Dances and Others</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo in C (Op. 51, Nr.1, 1796-97) (Radu Lupu)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo in G (Op. 51, Nr.2, 1798) (Radu Lupu)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fantasia in Gm (Op. 77, 1809) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Polonaise in C (Op. 89, 1814) (Julius Katchen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Minuets (WoO 10, 1795) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">7 Ländler in D (WoO 11, 1799) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 German Dances (WoO 13, 1792-97) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Prelude in Fm (WoO 55, 1803) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegretto in Bm (WoO 61, 1821) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegretto quasi Andante in Gm (WoO 61a, 1825) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Minuet in Eb (WoO 82, 1806) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Ecossais in Eb (WoO 83, 1806) (Wilhelm Kempff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Waltz in Eb (WoO 84, 1824) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Waltz in D (WoO 85, 1825) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ecossaise in Eb (WoO 86, 1825) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fugue in C (Hess 64, 1795) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Minuet in C (WoO 218, 1795) (Lang Lang) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />47. Piano Variations I: WoO 63-66 and 68-71</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">9 Variations in Cm on a March by Dressler (WoO 63, 1782) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">24 Variations on Righini's Arietta "Venni amore" (WoO 65) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">13 Variations in A on "Es war einmal ein alter mann" from Dittersdorf's "Das rothe Käppchen" (WoO 66, 1792) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Variations in F on a Swiss Song (WoO 64, 1790-92) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 Variations in C on "Menuett a la Vigano" from Haibel's ballet "Le nozze disturbate" (WoO 68, 1795) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">9 Variations in A on the Aria 'Quant'e piu bello' from Paisello's "La Molinara" (Woo 69, 1795) (Olli Mustonen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Variations in G on the Duet "Nel cor piu non mi sento" from Paisiello's "La molinara" (WoO 70, 1795) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 Variations in A on a Russian Dance from Wranitzky's ballet 'Das Waldmadchen' (WoO 71, 1796-97) (Vladimir Ashkenazy) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />48. Piano Variations II: WoO 72, 73 and 75-77; Op. 34; Op. 35 “Eroica”</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">8 Variations in C on "Une fievre brulante" from Gretry's "Richard Coeur de Lion" (WoO 72, 1795) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">10 Variations in B from "La stessa, las stessima" from Salieri's "Falstaff" (WoO 73, 1799) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">7 Variation in F on "Kind willst du ruhig schlafen" from Winter's "das unterbrochene Opferfest" (WoO 75, 1799) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">8 Variations in F on "Tandeln und Scherzen" from Sussmayer's "Soliman II" (WoO 76, 1799) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Easy Variations in G on an Original Theme (WoO 77, 1800) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Variations (in F major) on an Original Theme (Op. 34, 1803) (Mikhail Pletnev)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">15 Variations and a Fugue in Eb on an Original Theme (Op. 35, 1802) (Emil Gilels) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />49. Piano Variations III: WoO 78-80; Op. 76; Op. 120 “Diabelli”</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">32 Variations in Cm on an Original Theme (WoO 80, 1806) (Mitsuko Uchida)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">7 Variations in C on 'God save the King' (WoO 78, 1802-03) (Olli Mustonen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">5 Variations in D on 'Rule Britannia' from Thomas Arne's masque 'Alfred' (WoO 79, 1803) (Olli Mustonen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Variations in D on an Original Theme (Op. 76, 1809) (Gianluca Cascioli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">33 Variations in C on a Waltz by Anton Diabelli (Op. 120, 1819-23) (Stephen Kovacevich, 1968) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />50. Piano Variations IV: Op. 120 “Diabelli”, Op. 35 “Eroica”</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">33 Variations in C on a Waltz by Anton Diabelli (Op. 120, 1819-23) (Alfred Brendel, 2001)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">15 Variations and a Fugue in Eb on an Original Theme (Op. 35, 1802) (Clifford Curzon, 1971) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />51. Piano 4 Hands; Organ; Harp </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">8 Variations in C on a Theme By Count Waldstein (for 2 Pianos) (WoO 67, 1792) (Arthur Jussen, Lucas Jussen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonata in D for 2 Pianos (Op. 6, 1796-97) (Lang Lang, Christoph Eschenbach)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">3 Marches for 2 Pianos (Op 45, 1803) (Jörg Demus, Shetler)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Grosse Fuge (Arr for 2 Pianos) (Op. 134, 1826) (Jörg Demus, Norman Shetler)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Variations in D on the Lied "Ich denke dein" (for 2 Pianos) (WoO 74, 1799, 1803) (Jörg Demus, Norman Shetler)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">2 Preludes Through all 12 Major Keys for Organ (Op. 39, 1789) (Simon Preston)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fugue in D for Organ (WoO 31, 1783) (Simon Preston)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">5 Pieces for Mechanical Clock (or Organ) (WoO 33, 1794, 1799-1800) (Simon Preston)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Grenadier March for Mechanical Clock (Organ) in F (Hess 107, 1798) (Simon Preston)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Variations in F on a Swiss Song (WoO 64, 1790-92) (Harp: Marisa Robles)</span></span></span></li>
</ul>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />DUOS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />52. Violin Sonatas 1-4 </span></span></span><br />
<blockquote class="tr_bq">
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 1 in D (Op. 12, Nr. 1, 1797-98) (Gidon Kremer, Martha Argerich)</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 2 in A (Op. 12, Nr. 2, 1797-98) (Gidon Kremer, Martha Argerich)</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 3 in A (Op. 12, Nr. 3, 1797-98) (Gidon Kremer, Martha Argerich)</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 4 in Am (Op. 23, 1800) (Gidon Kremer, Martha Argerich) </span></span></span></blockquote>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />53. Violin Sonatas 5 and 6; 12 Variations WoO 40; Rondo WoO 41; 6 Dances WoO 42</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 5 in F ('Spring') (Op. 24, 1800-01) (Itzhak Perlman, Vladimir Ashkenazy)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 6 in A (Op. 30, No.1, 1801-02) (Itzhak Perlman, Vladimir Ashkenazy)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 Variations in F on "Se vuol ballare" from Mozart's "The Marriage of Figaro" (WoO 40, 1792-93) (Yehudi Menuhin, Wilhelm Kempff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo in G (WoO 41, 1793-94) (Yehudi Menuhin, Wilhelm Kempff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 German Dances (Allemandes) (WoO 42, 1796) (David Garrett, Bruno Canino) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />54. Violin Sonatas 7 and 9 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 7 in Cm (Op. 30, No.2, 1801-02) (Anne-Sophie Mutter, Lambert Orkis)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 9 in A ('Kreutzer') (Op. 47, 1802-03) (Anne-Sophie Mutter, Lambert Orkis) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />55. Violin Sonatas 8–10</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 8 in G (Op. 30, No.3, 1801-02) (Augustin Dumay, Maria João Pires)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 9 in A ('Kreutzer') (Op. 47, 1802-03) (Augustin Dumay, Maria João Pires)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata 10 in G (Op. 96, 1812-1815) (Augustin Dumay, Maria João Pires) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />56. Cello Duos I</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Twelve Variations in F on 'Ein Madchen oder Weibchen' from Mozart's "The Magic Flute" (Op. 66, 1796) (Mischa Maisky, Martha Argerich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Cello Sonata 1 in F (Op. 5, 1, 1796) (Mischa Maisky, Martha Argerich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Cello Sonata 2 in Gm (Op. 5, 2, 1796) (Mischa Maisky, Martha Argerich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Seven Variations in Eb on "Bei Mannern, welche Liebe fuhlen" from Mozart's "The Magic Flute" (WoO 46, 1801) (Mischa Maisky, Martha Argerich) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />57. Cello Duos II</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Cello Sonata 3 in A (Op. 69, 1807-08) (Mischa Maisky, Martha Argerich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Cello Sonata 4 in C (Op. 102, 1, 1815) (Mischa Maisky, Martha Argerich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Cello Sonata 5 in D (Op. 102, 2, 1815) (Mischa Maisky, Martha Argerich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Twelve Variations in G on a Theme from Handel's 'Judas Maccabaeus' (WoO 45, 1796) (Mischa Maisky, Martha Argerich) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />58. Flute Duos </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Themes with Variations for piano and flute (Op. 105, 1818-19) (Patrick Gallois, Cecile Licad)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">10 Themes with Variations for piano and flute (Op. 107, 1818-20) (Patrick Gallois, Cecile Licad)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Duo for 2 Flutes in G (WoO 26, 1792) (Patrick Gallois, Jean-Pierre Rampal) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />59. Misc Duos</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonata for Piano and Horn in F (Op. 17, 1800) (Barry Tuckwell, Vladimir Ashkenazy)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonatina in Cm for mandolin and piano (WoO 43a, 1796) (Erhard Fietz, Amadeus Webersinke)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Adagio in Eb for mandolin and piano (WoO 43b, 1796) (Erhard Fietz, Amadeus Webersinke)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonatina in C for mandolin and piano (WoO 44a, 1796) (Erhard Fietz, Amadeus Webersinke)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Andante con Variazioni in D for mandolin and piano (WoO 44b, 1796) (Erhard Fietz, Amadeus Webersinke)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Duo for Viola and Cello in E ("Duet with Two Obbligato Eyeglasses") (WoO 32, 1796-97) (Veronika Hagen, Clemens Hagen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Duo for 2 Violins in A (WoO 34, 1822) (Veronika Hagen, Clemens Hagen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Canon in A for 2 Violins (WoO 35, 1825) (Veronika Hagen, Clemens Hagen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonata for Piano and Horn in F (cello-piano arr. Op. 17, 1800) (Pablo Casals, Mieczyslaw Horszowski)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />TRIOS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />60. Piano Trios 1, 2, 9 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 9 in Eb (WoO 38, 1791) (Wilhelm Kempff, Henryk Szeryng, Pierre Fournier)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 1 in Eb (Op.1, Nr. 1, 1792-93) (Beaux Arts Trio)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 2 in G (Op. 1, Nr. 2, 1794) (Beaux Arts Trio)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegretto in Eb (Hess 48, 1790-92) (Beaux Arts Trio) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />61. Piano Trios 3, 5, 6 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 3 in Cm (Op. 1, Nr. 3, 1794) (Beaux Arts Trio)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 5 in D ("Ghost") (Op. 70, Nr. 1, 1808) (Beaux Arts Trio)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 6 in Eb (Op. 70, Nr. 2, 1808) (Beaux Arts Trio) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />62. Piano Trios 7, 8, 10, 11 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 10: 14 Variationen Eb (Op. 44, 1792) (Wilhelm Kempff, Henryk Szeryng, Pierre Fournier)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 11: 10 Variations in G on Wenzel Müller's Lied 'Ich bin der Schneider Kakadu' (Op. 121a, 1794/1803/1816) (Wilhelm Kempff, Henryk Szeryng, Pierre Fournier)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 8: Allegretto in Bb (WoO 39, 1812) (Wilhelm Kempff, Henryk Szeryng, Pierre Fournier)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 7 in Bb (Archduke) (Op. 97, 1810-11) (André Previn, Viktoria Mullova, Heinrich Schiff) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />63. Piano Trio 4 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 4 for piano, clarinet and cello in Bb ('Gassenhauer', Op. 11, 1797-98) (Beaux Arts)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio in Eb (Op. 38, arr. Septet Op. 20, 1802-03) (Beaux Arts)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 4 for piano, clarinet and cello in Bb ('Gassenhauer', Op. 11, 1797-98) (Wilhelm Kempff, Karl Leister, Pierre Fournier) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />64. Misc Wind Trios</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Trio for Flute, Piano and Bassoon in G (WoO 37, 1786) (Aloys Kontarsky, Karlheinz Zoeller, Klaus Thunemann)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Trio in C for two oboes and cor anglais (Op. 87, 1795) (Maurice Bourgue, Heinz Holliger, Hans Elhorst)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Variations in C on 'La ci darem la mano' from Mozart's 'Don Giovanni' for two oboes and cor anglais (WoO 28, 1795) (Heinz Holliger, Hans Elhorst, Maurice Bourgue) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />65. String Trios 1, 2 </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Trio in Eb (Op. 3, 1793) (Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Serenade for Violin, Viola and Cello in D (Op. 8, 1796-97) (Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />66. String Trios 3-5</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Trio in G (Op. 9, 1, 1797-98) (Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Trio in D (Op. 9, 2, 1797-98) (Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Trio in Cm (Op. 9, 3, 1797-98) (Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />67. Misc String Trios </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Serenade for flute, violin and viola in D (Op.25, 1801) (Karlheinz Zoeller, Thomas Brandis, Siegbert Ueberschaer)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Prelude and Fugue for 2 Violins and Cello in Em (Hess 29, 1794-95) (Lukas Hagen, Rainer Schmidt, Clemens Hagen)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Minuets for 2 Violins and Bass (WoO 9, 1794) (Lukas Hagen, Rainer Schmidt, Alois Posch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Ländler for 2 Violins and Bass (WoO 15, 1802) (Lukas Hagen, Rainer Schmidt, Alois Posch)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />STRING QUARTETS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />68. String Quartets 1-3: Emerson Quartet</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 3 in D (Op. 18, Nr. 3, 1799-1800) (Emerson Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 1 in F (Op. 18, Nr. 1, 1800) (Emerson Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 2 in G (Op. 18, Nr. 2, 1799-1800) (Emerson Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />69. String Quartets 4-6: Emerson Quartet </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 4 in Cm (Op. 18, Nr. 4, 1799-1800) (Emerson Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 5 in A (Op. 18, Nr. 5, 1799-1800) (Emerson Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 6 in Bb (Op. 18, Nr. 6, 1800) (Emerson Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />70. String Quartets 7 and 8: Emerson Quartet </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 7 in F ("Razumovsky") (Op. 59, Nr. 1, 1806) (Emerson Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 8 in Em ("Razumovsky") (Op. 59, Nr. 2, 1806) (Emerson Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />71. String Quartets 9 and 10: Emerson Quartet</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 9 in C ("Razumovsky") (Op. 59, Nr. 3, 1806) (Emerson Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 10 in Eb ("Harp") (Op. 74, 1809) (Emerson Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />72. String Quartets 11 and 13: Takács Quartet </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 11 in Fm ("Serioso") (Op. 95, 1811) (Takács Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 13 in Bb (Op. 130, 1825-26) (Takács Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet ("Grosse Fuge") (Op. 133, 1826) (Takács Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />73. String Quartets 12 and 14: Takács Quartet</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 12 in Eb (Op. 127, 1822, 1824-25) (Takács Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 14 in C#m (Op. 131, 1825-26) (Takács Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />74. String Quartets 15 and 16: Takács Quartet</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 15 in Am (Op. 132, 1825) (Takács Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 16 in F (Op. 135, 1826) (Takács Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />75. String Quartets 12 and 15: Hagen Quartet</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 12 in Eb (Op. 127, 1822, 1824-25) (Hagen Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 15 in Am (Op. 132, 1825) (Hagen Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />76. String Quartets 13 and 14: Hagen Quartet </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 13 in Bb (Op. 130, 1825-26) (Hagen Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet ("Grosse Fuge") (Op. 133, 1826) (Hagen Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 14 in C#m (Op. 131, 1825-26) (Hagen Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />77. Misc String Quartets</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 16 in F (Op. 135, 1826) (Hagen Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet in F (1st Ver. Of String Quartet 1, Op. 18, Nr. 1) (Hess 32, 1799) (Hagen Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Minuet in Ab for String Quartet (Hess 33, 1790-92) (Hagen Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet in F (Transcription of Piano Sonata 9 in E, Op. 14, 1) (Hess 34, 1801-02) (Amadeus Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Prelude and Fugue in F for String Quartet (Hess 30, 1794-95) (Endellion Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Prelude and Fugue in C for String Quartet (Hess 31, 1794-95) (Endellion Quartet)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />LARGE CHAMBER WORKS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />78. Piano Quartets, Equali </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Quartet 1 in Eb (WoO 36, Nr. 1, 1785) (Amadeus Quartet w Eschenbach)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Quartet 2 in D (WoO 36, Nr. 2, 1785) (Amadeus Quartet w Eschenbach)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Quartet 3 in C (WoO 36, Nr. 3, 1785) (Amadeus Quartet w Eschenbach)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Three Equali for four trombones (WoO 30, 1812) (Philip Jones Brass Ens.) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />79. Quintets for Strings and Winds</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Quintet for 2 Violins, 2 Viola and Cello in C (Op. 29, 1801) (Amadeus Qrtt, Aronowitz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fugue for String Quintet in D (Op. 137, 1817) (Vienna Chamber Ens.)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Prelude for String Quintet in Dm Unv 7 [Hess 40] (Endellion Quartet w David Adams)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fugue in Bb for String Quintet Hess 38 [Arranged from "Well-Tempered Clavier"] (Kölner Akademie)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Quintet for piano, oboe, clarinet, horn and bassoon in Eb (Op. 16, 1796) (Radu Lupu, etc)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Quintet for Oboe, 3 Horns and Bassoon in Eb WoO 208 [Hess 19] (Netherlands Wind Ens) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />80. String Quintets, Wind Sextets</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quintet in E (Op. 4) (Endellion String Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quintet in c (Op. 104) (The Lindsays)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sextet for 2 Clarinets, 2 Bassoons and 2 Horns in Eb (Op. 71) (Berlin Phil)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">March for 2 Clarinets, 2 Bassoons and 2 Horns in Bb (WoO 29) (Berlin Phil) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />81. Large Chamber Works</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sextet for 2 horns, 2 violins, viola and cello in Eb (Op. 81b, 1795) (Gewandhaus Quartett, Dietmar Hallman, Jürnjakob Timm)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Septet for violin, viola, clarinet, horn, bassoon, cello, and double bass in Eb (Op. 20, 1799) (Vienna Chamber Ens.)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Octet in Eb for Winds (Op. 103, 1791) (Netherlands Wind Ens.)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo in Eb for Wind Octet (WoO 25, 1793) (Netherlands Wind Ens.)</span></span></span></li>
</ul>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />LIEDER and PARTSONGS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />82. Lieder I: Dietrich Fischer-Dieskau and Jörg Demus</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An die Hoffnung (Hope) (1st Version), Op.32 (1805) </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Adelaide, Op.46 (1795/96)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Lieder, Op.48 (1802)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">3 Gesange (from Goethe), Op.83 (1810)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Vita felice (Joy of friendship, from Happy life), Op.88 (1803)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An die Hoffnung (Hope) (2nd Version), Op.94 (1815)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An die ferne Geliebte ("To my Beloved, far away", a song cycle by Jeitteles), Op.98 (1815-1816)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ariette (Der Kuss/The Kiss), Op.128 (1798, 1822)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Achilderung eines Madchens (Portrait of a maiden), WoO 107 (1783)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Seufzer eines Ungeliebten - Gegenlieb (Sigh of one who is unloived-Love returned), WoO 118 (1794-1795)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ich liebe dieh, so wie du mich (I Love you as you love me, Gentle Love), WoO 123 (1794-1795)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">La partenze (The Parting), WoO 124 (1795-96)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Opferlied (Sacrificial Song), WoO 126 (1794/1802)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Wachtelschlag (The Song of the Quail), WoO 129 (1803)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Als die Geliebte sich trennen wolte (When my lover wanted to part - feelings on Lydia's unfaithfulness), WoO 132 (1806) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />83. Lieder II: Dietrich Fischer-Dieskau and Jörg Demus and others </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">8 Lieder, Op. 52 (1790-1792) </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Songs, Op. 75 (1809) (Rachel Willis-Sørensen, Alexander Schmalcz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">4 Ariettea and a Duet, Op. 82 (1809) </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Mann von Wort (A man of his word), Op. 99 (1816) (Günther Leib, Walter Olbertz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Merkenstein, Op. 100 (1814-1815) (2. Version) (Adele Stolte, Peter Schreier, Walter Olbertz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">In questa tomba oscura (In this dark grave), WoO 133 (1807) </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Die laute Klage (The loud lament), WoO 135</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Andenken (Memory), WoO 136 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Gesang aus der Ferne (Song from afar), WoO 137</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Jüngling in der Fremde (The Youth in foreign parts), WoO 138 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Liebende (In love), WoO 139 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Bardengeist (The Bardic spirit), WoO 142</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Das Geheimnis (The Secret) (Liebe und Wahrheit), WoO 145</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sehnsucht (Yearning), WoO 146 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ruf vom Berge (Call from the mountain), WoO 147 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Resignation, WoO 149</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Abendlied unterm gestirnten Himmel (Evening song under a starry sky), WoO 150 </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />84. Lieder III: Peter Schreier and Walter Olbertz and others</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An einen Säugling (To an infant), WoO 108 (Adele Stolte, Walter Olbertz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Erhebt das Glas mit froher Hand (Trinklied, beim Abschied zu singen) (Raise your glass with gladsome hand - Farewell Drinking song), WoO 109 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Elegie auf den Tod eines Pudels (Elegy on the death of a poodle), WoO 110 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Punschlied (Song in praise of Punch), WoO 111 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An Laura (To Laura), WoO 112 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Klage (Lament), WoO 113 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ein Selbstgespräch (Soliloquy), WoO 114 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An Minna, (To Minna) WoO 115 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Que le temps me dure (How slowly time passes) , WoO 116 (1st Version [Hess 129]) </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Que le temps me dure, WoO 116 (2nd Version [Hess 130]) (Ulrike Helzel, Hans Hilsdorf)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der freie Mann (the free man), WoO 117 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Oh care selve, oh cara (Oh beloved forests), WoO 119 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Man strebt, die Flamme zu verhehlen (One strives to conceal the fire), WoO 120 (Adele Stolte, Walter Olbertz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Abschiedsgesang an Wiens Bürger (Farewell to Vienna's citizens), WoO 121 (Günther Leib, Walter Olbertz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Kriegslied der Österreicher (War song of the Austrians), WoO 122 (Günther Leib, Walter Olbertz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">La tiranna, WoO 125 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Neue Liebe, neues Leben (New love, new life), WoO 127 (Peter Maus, Hans Hilsdorf)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Romance, WoO 128 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Gedenke mein! (Remember me!), WoO 130 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sehnsucht (Longing) (4 versions), WoO 134 (Adele Stolte, Walter Olbertz): 1st Version</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An die Geliebte (To the beloved), WoO 140: 2nd Version </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Gesang der Nachtigall (Song of the nightingale), WoO 141 (Adele Stolte, Walter Olbertz)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Des Kriegers Abschied (The Warrior's farewell), WoO 143 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Merkenstein (1st Ver.), WoO 144 (Peter Maus, Hans Hilsdorf)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">So oder so (It's all the same), WoO 148 </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der edle Mensch (The noble man), WoO 151 (Person, Hilsdorf)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Gesang aus der Ferne (Song from afar) (1st Version) (Peter Maus, Hans Hilsdorf)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Das liebe Kätzchen (Our dear pussycat), Hess 133 (Volker Horn, Hans Hilsdorf, on Harpsichord)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Knabe auf dem Berge (The boy on the hill), Hess 134 (1820) (Volker Horn, Hans Hilsdorf, on cembalo) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />85. Partsongs; Canons and Musical Jokes</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Vocal Ensembles (Studies for Salieri) (1801-03)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Musical Jokes, Canons</span></span></span></li>
</ul>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />FOLKSONG SETTINGS</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />86. Folksongs I: 25 Scottish Songs, Op.108 (1810-1818) <br /><br />87. Folksongs II: 25 Irish Songs, WoO 152 (1814) <br /><br />88. Folksongs III: 20 Irish Songs, WoO 153 (1816) <br /><br />89. Folksongs IV: WoO 154 and 157</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 Irish Songs, WoO 154 (1816)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 Songs of Various Nations, WoO 157 (1815-20) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />90. Folksongs V: 26 Welsh Songs WoO 155 (1817) <br /><br />91. Folksongs VI: WoO 156, 158b and 158c</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">12 Scottish Songs, WoO 156 (1825)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">7 British Songs, WoO 158b (1810-1817)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">6 Songs of Various Nationalities, (WoO 158c)</span></span></span></li>
</ul>
<br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">92. Folksongs VII: 23 Songs of Various Nationalities WoO 158a</span></span></span></span></span></span><br />
<br />
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">VOCAL WORKS WITH ORCHESTRA</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />93. Arias with Orchestra</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Elegischer Gesang (Elegiac Song) for Chorus and Orchestra, Op. 118 (1814) (London Symphony Orchestra, Michael Tilson Thomas, The Ambrosian Singers, John McCarthy)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Opferlied (Sacrificial Song) for soprano, chorus and orchestra, Op. 121b (1822, 24) (Lorna Haywood, London Symphony Orchestra, Michael Tilson Thomas, The Ambrosian Singers, John McCarthy)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Bundeslied (Song of Fellowship) for voices and wind sextet, Op. 122 (1822, 24) (London Symphony Orchestra, Michael Tilson Thomas, The Ambrosian Singers, John McCarthy)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ah! Perfido (Scene and aria for Soprano w Orchestra), Op. 65 (1796) (Cheryl Studer, Berliner Philharmoniker, Claudio Abbado)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Prufung des Kussens (Test of Kissing, Aria for Bass and Orchestra), WoO 89 (1791-92) (Siegfried Vogel, Berliner Staatskapelle, Arthur Apelt)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Mit Madeln sich vertragen (Getting on with Girls, Aria for Bass and Orchestra), WoO 90 (1791-92) (Siegfried Vogel, Berliner Staatskapelle, Arthur Apelt)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Primo amore (First Love, Aria for Soprano and Orchestra), WoO 92 (1791-92) (Hanne-Lore Kuhse, Berliner Staatskapelle, Arthur Apelt)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">No, non turbarti (No, Do not fear, for Soprano and Orchestra), WoO 92a (1802) (Hanne-Lore Kuhse, Berliner Staatskapelle, Arthur Apelt)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ne' giorni tuoi felici (In your days of happiness, Soprano, Tenor and Orchestra), WoO 93 (1802) (Hanne-Lore Kuhse, Eberhard Buechner, Berliner Staatskapelle, Arthur Apelt)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Tremate, empi, tremate (Tremble guilty ones, tremble, Aria for Soprano, Tenor, Bass and Orchestra), Op. 116 (1802) (Hanne-Lore Kuhse, Eberhard Büchner, Siegfried Vogel, Berliner Staatskapelle, Arthur Apelt) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />94. Choral Music I: Emperor Cantatas</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Funeral Cantata for Joseph II, WoO 87 (1790) (Chor der Deutschen Oper Berlin, Karl Kamper, Orchester der Deutschen Oper Berlin, Christian Thielemann)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Cantata on Accession of Leopold II, WoO 88 (1790) (Orchester der Deutschen Oper Berlin, Christian Thielemann, Chor der Deutschen Oper Berlin) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />95. Choral Music II</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Glorreiche Augenblick (The Moment of Glory), Cantata for 4 Soloists, chorus and Orchestra (Op. 136, 1814) (Orgonasova, Vermillion, Orchestra dell'Accademia Nazionale di Santa Cecilia, Myung Whun Chung) </span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage) (Op. 112, 1814-15) (Orchestre Révolutionnaire et Romantique, John Eliot Gardiner, The Monteverdi Choir)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Messe in C-Dur (Mass in C) for 4 Soloists, Chorus and Orchestra (Op. 86, 1807) (Charlotte Margiono, Catherine Robbin, William Kendall, Alastair Miles, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner, The Monteverdi Choir) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />96. Choral Music III: Missa solemnis (Period Instruments)</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Missa Solemnis in D for 4 Soloists, Chorus, Orchestra and Organ (Op. 123, 1819-23) (Charlotte Margiono, Catherine Robbin, William Kendall, Alastair Miles, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner, Elizabeth Wilcock, Alastair Ross, The Monteverdi Choir, 1989) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />97. Choral Music IV: Missa solemnis (Modern)</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Missa Solemnis in D for 4 Soloists, Chorus, Orchestra and Organ (Op. 123, 1819-23) (Gundula Janowitz, Christa Ludwig, Fritz Wunderlich, Berliner Philharmoniker, Herbert von Karajan, Wiener Singverein, 1966) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />98. Choral Music V: Christus am Ölberge</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Christus am Olberge (Christ on the Mount of Olives) Oratorio for 3 Soloists, chorus and Orchestra (Op. 85, 1803, 04) (Harwood, King, Crass, Wiener Symphoniker, Bernhard Klee, 1970)</span></span></span></li>
</ul>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />RARITIES</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />99. Rare Solo Piano Works </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Andante in C (WoO 211) (Ronald Brautigam)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Anglaise in D (WoO 212) [Hess 61] (Ronald Brautigam)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">2 Bagatelles (WoO 216) 1 in C [Hess 73] (Ronald Brautigam)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Minuet in F (WoO 217) (Ronald Brautigam)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Bagatelle in C (Hess 57) (Ronald Brautigam)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piece in f (from Kullak Sketchbook) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Bagatelles (WoO 213): 1. Andante in Db (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Bagatelle in A (WoO 59, Revised version of "Für Elise") (1822) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Waltz in c (WoO 219) [Hess 68] (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Variations in Bb "Zur übung der Faust" (Hess 58) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegretto in a, A (Kafka Sketch Miscellany) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Klavierstück in A (Kafka Sketch Miscellany) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Klavierstück in A (Kafka Sketch Miscellany) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Klavierstück in C (Kafka Sketch Miscellany) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Klavierstück (Minuet) in C (Hess 59) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Adagio ma non molto in G (Hess 70) (Fragment) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Molto Adagio in G (Hess 71) (Fragment) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Theme and Variation in A (Hess 72) (Fragment) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">2 Deutsche Tänze (Hess 67), 1 in F, 2 in f (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Minuet in Ab (WoO 209) [Hess 88] (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata in D, d (Unv 12) (Fragment) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">On "Dona nobis pacem" (Haydn) (Hess Anh. 57, piano arrangement by Julia Ronge) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Hoffnung, du stählst die Herzen, du milderst die Schmerzen (WoO 200) [Hess 75] (Steven Beck)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Wellingtons Sieg oder die Schlacht bei Vittoria (Op. 91) [Hess 97], piano transcription by Beethoven (Steven Beck)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Andante maestoso in C (WoO 62) "Letzter musikalischer Gedanke" (Ronald Brautigam)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphonie Nr. 7 in A (Op. 92) [Hess 96], piano arrangement by Beethoven, 1. Poco sostenuto (Tobias Koch) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />100. Rare Chamber Music</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Quintet for Piano, Oboe, Clairnet, Horn and Bassoon in Eb (Op. 16) (Isaac Stern, Jaime Laredo, Yo-Yo Ma, Emanuel Ax) (arranged by LvB for piano, violin, viola and cello)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">10 Themes with Variations for Piano and Flute or Violin ad libitum (Op. 107) (Daniel Hope, Sebastian Knauer)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Andante maestoso in C for String Quintet (WoO 62) (Hope, etc)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet Arrangement of the Fugue from the Overture to Handel's "Solomon" (Hess 36) (Hagen Quartett)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Sonata in A (Unv 11) [Hess 46] (fragment) (Daniel Hope, Sebastian Knauer)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Duo for Violin and Cello in Eb (Unv 8) [Gardi 2] (fragment) (Daniel Hope, Daniel Müller-Schott)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Scherzo to String Trio (Op. 9) 1 with Alternative Trio, Scherzo - Trio II (Hess 28) (Hope, Grosz, Müller-Schott)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegretto for String Quartet in b (WoO 210) (Endellion)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Minuet in Bb (Hess 331) (fragment) (Covington String Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Pastorella in D (Hess 332) (fragment) (Covington String Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Menuetto-Scherzo (Hess 333) (fragment) (Covington String Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Allegro in A (Hess 334) (fragment) (Covington String Quartet) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />101. Student Contrapuntal Studies </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">2-Voice Fugues (Hess 236) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">3-Voice Fugues (Hess 237) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">4-Voice Fugues (Hess 238) (Covington String Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Chorale Fugues (Hess 239) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Double Fugues (Hess 243) (Covington String Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Triple Fugues (Hess 244) (Covington String Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fugue for String Quartet in d (Hess 245) (Endellion String Quartet) (fragment)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonata for Piano and Flute in Bb (Anh. 4) [Hess A11], prob. not by LvB, (Severino Gazzelloni, Bruno Canino)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">2 Sonatinas (Anh. 5, prob. not by LvB) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">2 Sonatinas (Anh. 5, prob. not by LvB) (Tobias Koch)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">8 Variations for Piano on "Ich hab' ein kleines Hüttchen nur" (Anh. 10, prob. by LvB) (Rudolf Buchbinder)</span></span></span></li>
</ul>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />HISTORICAL and CLASSIC PERFORMANCES</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />102. Historic Orchestral Movements</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 5 in c (Op. 67) (Berliner Philharmoniker, Arthur Nikisch): I. Allegro con brio</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 7 in A (Op. 92) (Richard Strauss, Stattskapelle Berlin): IV. Allegro con brio (excerpt)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Overture "Leonore" 3 (Op. 72b) (Berlin State Opera Orchestra, Otto Klemperer): Adagio - Allegro</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 7 in A (Op. 92) (Staatskapelle Berlin, Herbert von Karajan): IV. Allegro con brio</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Overture "Leonore" 2 (Op. 72a) (Danish Radio Symphony Orchestra, Fritz Busch): Adagio - Allegro</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 3 in Eb (Op. 55 "Eroica") (Berliner Philharmoniker, Paul van Kempen): II. Marcia funerbre. Adagio assai</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 8 in F (Op. 93) (Royal Philharmonic Orchestra, Hermann Scherchen) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />103. Historic Orchestral: Wilhelm Furtwängler</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Egmont Overture (Op. 84) (Berliner Philharmoniker, Wilhelm Furtwängler)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Overture "Leonore" 3 (Op. 72b) (Wiener Philharmoniker, Wilhelm Furtwängler)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Overture "Coriolan" (Op. 62) (Berliner Philharmoniker, Wilhelm Furtwängler)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 5 in c (Op. 67) (Berliner Philharmoniker, Wilhelm Furtwängler, 1943)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Grosse Fuge (Op. 133) (Berliner Philharmoniker, Wilhelm Furtwängler) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />104. Historic Orchestral: Erich Kleiber</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 5 in c (Op. 67) (Royal Concertgebouw Orchestra, Erich Kleiber, 1953)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 6 in F (Op. 68) (Erich Kleiber, 1953) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />105. Historic Orchestral: Ferenc Fricsay</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Egmont, (Op. 84) (Berliner Philharmoniker, Ferenc Fricsay): Ouvertüre</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 9 in D minor, (Op. 125) (Fricsay) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />106. Historic Concertos</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 3 in c (Op. 37) (Annie Fischer, Bavarian State Orchestra, Ferenc Fricsay)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Concerto in D (Op. 61) (Wolfgang Schneiderhan, Berliner Philharmoniker, Eugen Jochum) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />107. Historic Piano Sonatas I</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 30 in E (Op. 109, 1820) (Artur Schnabel)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 8 in Cm (Op. 13, 'Pathétique', 1797-98) (Wilhelm Kempff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 31 in A (Op. 110, 1821-22) (Wilhelm Kempff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 23 in Fm (Appassionata) (Op. 57, 1804-05) (Claudio Arrau) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />108. Historic Piano Sonatas II</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 18 in Eb (Op. 31, Nr. 3, 1802) (Clara Haskil)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 11 in Bb (Op. 22, 1800) (Sviatoslav Richter)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 28 in A (Op. 101, 1816) (Wilhelm Backhaus)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 31 in A (Op. 110, 1821-22) (Rudolf Serkin) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />109. Historic Piano Sonatas III</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 15 in D (Op. 28, 1801) ('Pastorale') (Friedrich Gulda)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 4 in Eb (Op. 7, 1796-97) (Arturo Benedetti Michelangeli)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 32 in Cm (Op. 111, 1821-22) (Ivo Pogorelich) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />110. Historic Trios</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonata 3 for Piano and Cello in A (Op. 69) (Pierre Fournier, Wilhelm Kempff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonata 5 for Piano and Cello in D (Op. 102 2) (Mstislav Rostropovich, Sviatoslav Richter)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 7 in Bb (Op. 97) "Archduke" (Mstislav Rostropovich, Emil Gilels, Leonid Kogan) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />111. Historic String Quartets </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 13 in Bb (Op. 130) (Busch Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Grosse Fuge (Op. 133) (Hollywood String Quartet)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 16 in F (Op. 135) (The Lindsays) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />112. Historic Quartets: Quartetto Italiano</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 6 in Bb (Op. 18.6) (Quartetto Italiano)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 15 in a (Op. 132) (Quartetto Italiano) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />113. Historic Arias and Lieder</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Adelaide (Op. 46) (Peter Schreier, András Schiff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An die ferne Geliebte ("To my Beloved, far away", a song cycle by Jeitteles), (Op.98, 1815-1816) (Peter Schreier, András Schiff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">La partenza (WoO 124) (Cecilia Bartoli, András Schiff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">4 Arietten (Op. 82) (Cecilia Bartoli, András Schiff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">In questa tomba oscura (WoO 133) (Cecilia Bartoli, András Schiff)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">In questa tomba oscura (WoO 133) (Luciano Pavarotti, Philharmonia Orchestra, Piero Gamba)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fidelio (Op. 72) Selections (Bavarian State Orchestra, Ferenc Fricsay/ Staatskapelle Dresden, Karl Böhm/ Birgit Nilsson, Wiener Philharmoniker, Lorin Maazel/Chicago Symphony Orchestra, Georg Solti/Wiener Philharmoniker, Karl Böhm/Christa Ludwig, Jon Vickers, Orchester der Wiener Staatsoper, Herbert von Karajan/etc)</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />PERIOD INSTRUMENT PERFORMANCES</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />114. Period Instruments I: Piano Concertos </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 2 in Bb (Op. 19) (Robert Levin, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner) (Cad. I: Levin)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rondo for Piano and Orchestra in Bb (WoO 6) (Levin, Gardiner): Allegro (fragment)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 1 in C (Op. 15) (Levin, Gardiner) (Cad. I: Levin) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />115. Period Instruments II: Concertos</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 4 in G (Op. 58) (Robert Levin, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner) (Cad. I: Levin)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Violin Concerto D (Op. 61) (Thomas Zehetmair, Orchestra Of The 18th Century, Frans Brüggen) (Cad. I, III: Schneiderhan)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Romance for Violin and Orchestra 2 in F (Op. 50) (Thomas Zehetmair, Frans Brüggen): Andante cantabile </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />116. Period Instruments III: Piano Sonatas; Lieder; Horn Sonata </span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 8 in c (Op. 13) "Pathétique" (Steven Lubin)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 14 in c# (Op. 17 2) "Moonlight," (Steven Lubin)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Sonata 17 in d (Op. 31 2) "The Tempest," (Steven Lubin)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Seufzer eines Ungeliebten - Gegenliebe (WoO 118) (Anne Sofie von Otter, Melvyn Tan)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fantasia for Piano, Chorus and Orchestra in c (Op. 80) (Robert Lubin) (1st alternative improvised intro only)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Der Kuss (Op. 128) (Anne Sofie von Otter, Melvyn Tan): Ariette "Ich war bei Chloen ganz allein"</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Als die Geliebte sich trennen wollte (WoO 132) (Anne Sofie von Otter, Melvyn Tan): Lied "Der Hoffnung letzter Schimmer sinkt daahin!"</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sehnsucht (WoO 146) (Anne Sofie von Otter, Melvyn Tan): Lied "Die stille Nacht umdunkelt erquickend Tal und Höh"</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">An die Beliebte (WoO 140) (Anne Sofie von Otter, Melvyn Tan): Lied "Oh, dass ich dir vom stillen Auge"</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Maigesang (Op. 52 4) (Anne Sofie von Otter, Melvyn Tan): "Wie herrlich leuchtet mir die Natur!"</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Sonata for Piano and Horn in F (Op. 17) (Anthony Halstead, Robert Levin) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />117. Period Instruments IV: Chamber Music</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Trio 5 in D (Op. 70 1 "Ghost") (Andreas Staier, Daniel Sepec, Jean-Guihen Queyras)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">String Quartet 9 in C (Op. 59 3) "Razumovsky" (Schuppanzigh-Quartett on LvB Orig. instr.)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Quintet for Piano, Oboe, Clarinet, Horn and Bassoon in Eb (Op. 16) (Robert Levin, The Academy Of Ancient Music Chamber Ensemble) </span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />118. Period Instruments V: Orchestral</span></span></span><br />
<ul>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Symphony 2 in D (arr. by LvB for Piano Trio, Op. 36) (Robert Levin, Peter Hanson, David Watkin)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Piano Concerto 4 in G (arr. by LvB for Piano and String Quintet, Op. 58) (Levin, Cad. Levin)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Ah! perfido (Op. 65, Scena and aria) (Camilla Tilling, Gabrieli Players, Paul McCreesh)</span></span></span></li>
<li><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Die Geschöpfe des Prometheus (Op. 43) (Armonia Atenea, Georges Petrou): 6. Finale. Allegretto - Allegro molto – Presto</span></span></span></li>
</ul>
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /> </span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Video/BluRay</span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />119. Blu-ray Audio: Symphonies 1-9 (BP/Karajan 1962)<br />120. Blu-ray Audio: Piano Sonatas 1-32 (Wilhelm Kempff 1960s)<br />121. Blu-ray Audio: String Quartets 1-16 (Amadeus Quartet 1960s)<br />122. DVD: Fidelio (Janowitz/Popp/VPO/Bernstein)<br />123. DVD: Symphonies 4 and 7 (Concertgebouw/C. Kleiber)</span></span></span><br />
<br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://store.deutschegrammophon.com/p51-i0028948367672/various/beethoven-die-neue-gesamtedition-limitierte-auflage-/index.html" target="_blank">More info here. </a></span></span></span>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com1tag:blogger.com,1999:blog-4669875924239769597.post-25390127051704953932018-03-22T11:57:00.001-04:002018-03-22T12:50:53.808-04:00Welcome to the Daily Beethoven.<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
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<br />
“The Daily Beethoven” was a 2010/2011 online project where I challenged myself to write a post/short article about Ludwig van Beethoven every single day for one full year. Besides simply being <i>fun</i>, this was a daily discipline which I hoped would expand my knowledge and appreciation for Beethoven and classical music in general – and it certainly did! My awe at Beethoven's accomplishments only increased, and my admiration for him simply as a human being grew as well (despite his sometimes volatile personality quirks).<br />
<br />
This project ultimately grew to include several different categories of posts:<br />
<ul>
<li>Beethoven’s Life and Cultural World</li>
<li>Highlighted YouTube performances </li>
<li>Books about Beethoven</li>
<li>Beethoven Concerts </li>
<li>Beethoven Documentaries</li>
<li>Music Analysis</li>
<li>Manuscripts (ie – handwritten scores)</li>
<li>Art related to Beethoven</li>
<li>Avant-garde approaches to Beethoven </li>
<li>Dance and Beethoven</li>
<li>Guitar and Beethoven</li>
<li>Midi versions of Beethoven’s music</li>
</ul>
<div>
<br />
Each of these sub-categories can be reached by clicking links in the "Categories" or "Handy Reference Pages" sections at right. By the end of the year I had also created what I consider to be fairly unique content, namely, “Guitar Arrangements”, and “Color-coded Video Analyses”:<br />
<blockquote class="tr_bq">
The <a href="http://lvbandmore.blogspot.com/p/index-of-guitar-arrangements.html" target="_blank">Guitar arrangements</a> ("Transcriptions for Rock Music Lovers") came about due to the easy availability of Beethoven MIDI files on the internet. Coming from a rock/jazz background, I thought that re-assigning 19th Century instrumental parts to modern electric rock instruments would make an interesting experiment. I found out that I <i>loved </i>these arrangements, and did <i>hundreds </i>of them, all still available on <a href="https://www.youtube.com/channel/UCgitmVNwUMwpzw1dizf-1-w" target="_blank">YouTube</a> or at <a href="http://archive.org/search.php?query=creator%3A%22Ed%20Chang%22&sort=-publicdate" target="_blank">Archive.org</a>. By “modernizing the band” (but not changing the music itself) I was able to bring out some of the more subtle melodies and rhythms in B’s music. The result is not for everyone - some people love them, and some people hate them. I ultimately expanded this idea to include Bartok, Shostakovich, Haydn, Stravinsky, Debussy…obviously I enjoyed creating and hearing these things. </blockquote>
<br />
<blockquote class="tr_bq">
The <a href="http://lvbandmore.blogspot.com/p/color-coded-analysis-of-beethovens-music.html" target="_blank">Color-coded Video analyses</a> were created so that I could follow the “story” in each of Beethoven’s pieces. Nowadays classical music is most often heard as “background music” (in public spaces, films, etc), but in Beethoven’s time these sonatas and symphonies were kind of like aural “films”. They had character introductions, conflicts and resolutions. However, due to the abstract nature of music (and the popularity of TV/film, etc), it’s not a natural gift for modern audiences to be able to follow these invisible plot lines. For one thing, a moderately developed sense of melody and harmony was necessary to “see” what was happening. </blockquote>
<blockquote class="tr_bq">
In order to further develop my own sense of melody and harmony, I consulted the “experts” and used their explanations to create visual representations of these “musical adventures” through annotated YouTube videos. By watching these classical music videos, it helped me concentrate on the music and less on the facial expressions and body movements of the stage musicians (it’s not ballet, after all). After some time exploring these color-coded music videos, I was able to develop the ability to hear the story on my own, without the need for someone to "colorize" the on-screen action. In other words, the music became even more wonderful to experience. Like the “rock arrangements” described above, I expanded this side-project to include many other favorite composers.</blockquote>
<br />
Regarding the bulk of The Daily Beethoven, all of the text and pictures I’ve posted remain online, although sadly a good number of linked outside pages and videos have gone away. Perhaps in those cases, the text in my original post will inspire the reader to do a more current Google search for the video or page content. Although I no longer continue making daily updates to this site, I’m happy to say it is apparently still visited pretty heavily and provides an enjoyable window into Beethoven’s world for many people. For additional introductory notes to this site, check out my personal observations about Beethoven circa 2010 in <a href="http://lvbandmore.blogspot.com/p/about-me-or-why-beethoven.html">"About Me, or Why Beethoven?"</a> and <a href="http://lvbandmore.blogspot.com/p/whats-so-special-about-beethoven.html">"What's So Special About Beethoven, Anyways?"</a><br />
<br />
On a final (?) note, here's a few left-over videos I never got around to include or write about back in 2011:<br />
<ul>
<li><a href="http://www.youtube.com/watch?v=fO3QBk0IjKU">Beethoven Sonata - Euphonium and Piano, David Werden</a></li>
<li><a href="http://www.youtube.com/watch?v=dEoRZoBoHks">Reinecke's cadenza to Beethoven third concerto</a></li>
<li><a href="http://www.youtube.com/watch?v=LdMgTt4D-C8">Beethoven Violin Concerto - Schnittke Cadenza Mov 3 - Kremer</a></li>
<li><a href="http://www.youtube.com/watch?v=0fWEYrSVkOw">Max Reger Variations and fugue on a theme by Beethoven, Op. 86 - Fugue</a></li>
<li><a href="http://www.youtube.com/watch?v=VoprmYkMwto">Egmont Overture-- L. Beethoven</a></li>
</ul>
</div>
Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com2tag:blogger.com,1999:blog-4669875924239769597.post-31890066358756572962018-01-23T10:06:00.000-05:002018-01-23T10:28:29.358-05:00Ed Chang Speaks About Beethoven on Cosmoetica Last week I had the pleasure of being Skype-interviewed by Dan Schneider, who has, for the last few years, been producing a series of long-form, unedited interviews on his Cosmoetica YouTube channel with actors, writers, academics and scientists (my interview was Episode No. 232).<br />
<br />
Although I haven't updated this blog in quite awhile, it was nice to reach back and hit on some highlights I'd discovered along the way of producing this year-long daily project.<br />
<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Tvx5Oc-3ivA?rel=0" width="560"></iframe>
<a href="https://www.youtube.com/watch?v=Tvx5Oc-3ivA">Link</a><br />
<div style="text-align: center;">
<br /></div>
A chapter list is as follows:<br />
<br />
0:19 Intro by Dan Schneider<br />
1:09 Ed Chang on how he got into Beethoven and blogging<br />
7:50 Is classical music more complex than pop?<br />
14:07 Beethoven's Human Struggle<br />
22:53 Demythologizing deafness and the creative process<br />
29:08 The Hypnotic Moonlight Sonata<br />
34:47 The Kreutzer Violin Sonata and Beethoven's punk styles<br />
39:17 Fur Elise, 5th symphony and how Beethoven does it<br />
45:07 The Coriolan Overture, Epic movie music<br />
50:29 Young Beethoven, Arrogant student<br />
52:19 Fantasia in G minor, Bartok, avant-garde medicine<br />
56:12 The 7th Symphony Allegretto 2nd movement and Beethoven's film assignments<br />
1:01:10 The dialogue of the 9th Symphony 4th movement (Ode to Joy) and early sampling techniques<br />
1:10:40 Why so Angry Beethoven?<br />
1:14:33 Wagner a 2nd rate Beethoven?<br />
1:16:46 Ed's current blog projects<br />
1:19:50 Who is today's Beethoven?<br />
<br />
<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;">The video mashup I mentioned of Beethoven's Coriolan Overture with The Lord of the Rings can be seen here:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" href="https://www.youtube.com/watch?v=bNXnPO71MhA" style="background-color: white; display: inline-block; font-family: Roboto, Arial, sans-serif; font-size: 14px; line-height: var(--yt-formatted-string-endpoint_-_line-height); text-decoration-line: none; white-space: pre-wrap;">https://www.youtube.com/watch?v=bNXnP...</a><span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;">
The video I mentioned of Bartok performing Beethoven can be seen here:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" href="https://www.youtube.com/watch?v=AZG2iKESTLk" style="background-color: white; display: inline-block; font-family: Roboto, Arial, sans-serif; font-size: 14px; line-height: var(--yt-formatted-string-endpoint_-_line-height); text-decoration-line: none; white-space: pre-wrap;">https://www.youtube.com/watch?v=AZG2i...</a><span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;">
A visual explanation of the "conversation/medley" aspect of the 9th Symphony 4th movement can be seen here:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" href="https://youtu.be/IAMDC-wXZU4?t=39m40s" rel="nofollow" style="background-color: white; display: inline-block; font-family: Roboto, Arial, sans-serif; font-size: 14px; line-height: var(--yt-formatted-string-endpoint_-_line-height); text-decoration-line: none; white-space: pre-wrap;">https://youtu.be/IAMDC-wXZU4?t=39m40s</a><span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;">
This video has been slightly remixed from the original video posted at Cosmoetica here:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" href="https://www.youtube.com/watch?v=dmvmgwVTSVU" style="background-color: white; display: inline-block; font-family: Roboto, Arial, sans-serif; font-size: 14px; line-height: var(--yt-formatted-string-endpoint_-_line-height); text-decoration-line: none; white-space: pre-wrap;">https://www.youtube.com/watch?v=dmvmg...</a><span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;">
Dan Schneider's YouTube Channel is here:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" href="https://www.youtube.com/user/cosmoetica" style="background-color: white; display: inline-block; font-family: Roboto, Arial, sans-serif; font-size: 14px; line-height: var(--yt-formatted-string-endpoint_-_line-height); text-decoration-line: none; white-space: pre-wrap;">https://www.youtube.com/user/cosmoetica</a><span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;">
"The home for spoken word prose and poetry excerpts, as well as the Dan Schneider Video Interview series, an extension of the Dan Schneider Interviews, the most read interview series of all time" </span><a class="yt-simple-endpoint style-scope yt-formatted-string" href="https://www.youtube.com/redirect?q=http%3A%2F%2Fwww.cosmoetica.com%2FDSI.htm&v=Tvx5Oc-3ivA&event=video_description&redir_token=r0YhyGh91KJbL-_4THnK5p-e4jt8MTUxNjgwNTY5N0AxNTE2NzE5Mjk3" style="background-color: white; display: inline-block; font-family: Roboto, Arial, sans-serif; font-size: 14px; line-height: var(--yt-formatted-string-endpoint_-_line-height); text-decoration-line: none; white-space: pre-wrap;">http://www.cosmoetica.com/DSI.htm</a><span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;">
Dan Schneider's Cosmoetica Vimeo channel: </span><a class="yt-simple-endpoint style-scope yt-formatted-string" href="https://www.youtube.com/redirect?q=https%3A%2F%2Fvimeo.com%2Fchannels%2F872868&v=Tvx5Oc-3ivA&event=video_description&redir_token=r0YhyGh91KJbL-_4THnK5p-e4jt8MTUxNjgwNTY5N0AxNTE2NzE5Mjk3" style="background-color: white; display: inline-block; font-family: Roboto, Arial, sans-serif; font-size: 14px; line-height: var(--yt-formatted-string-endpoint_-_line-height); text-decoration-line: none; white-space: pre-wrap;">https://vimeo.com/channels/872868</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-511974579725748962012-04-11T13:51:00.001-04:002017-11-08T18:03:07.991-05:00Vom Tode Version for Guitar and voiceHaven't posted in awhile but just recently received this awesome video of Beethoven's "Vom Tode" (Op. 48, no. 3.) arranged and performed by Grant Valdes:<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="369" src="https://www.youtube.com/embed/Ddj5nlMl9jU" width="500"></iframe><br />
<a href="http://www.youtube.com/watch?v=Ddj5nlMl9jU">http://www.youtube.com/watch?v=Ddj5nlMl9jU</a><br />
<br />
Fantastic job. Check out <a href="http://www.youtube.com/user/GrantValdes">Grant's YouTube channel</a> for more good things.<br />
<br />
Score available here: <a class="yt-uix-redirect-link" data-redirect-href-updated="true" dir="ltr" href="http://www.youtube.com/redirect?q=http%3A%2F%2Fbit.ly%2FHqrVO7&session_token=vo95LYDvm4dJ_jcqYMC97I3bbMd8MTMzNDI1MzI5NUAxMzM0MTY2ODk1" rel="nofollow" target="_blank" title="http://bit.ly/HqrVO7">http://bit.ly/HqrVO7</a><br />
<br />
Grant's adapted lyrics:<br />
<i>Time elapses every hour<br />
What is it you have to live for?<br />
Think, oh man, of your death<br />
Defer not what is not yet<br />
Good man<br />
<br />
Speak now Lord that I am earth<br />
Thrown as dust and floating downward<br />
Show me that one day I cease<br />
That one day I might be wise<br />
<br />
If at your last friends tremble<br />
Overruled by death<br />
Raise your pure heart to the court<br />
As if it were there. </i><br />
<br />
Original text:<br />
<i>Meine Lebenszeit verstreicht,<br />
Stündlich eil ich zu dem Grabe,<br />
Und was ist's, das ich vielleicht,<br />
Das ich noch zu leben habe?<br />
Denk, o Mensch, an deinen Tod!<br />
Säume nicht, denn Eins ist Not!<br />
<br />
Lebe, wie du, wenn du stirbst,<br />
Wünschen wirst, gelebt zu haben<br />
Güter, die du hier erwirbst,<br />
Würden, die dir Menschen gaben;<br />
Nichts wird dich im Tod erfreun;<br />
Diese Güter sind nicht dein.<br />
<br />
Nur ein Herz, das Gutes liebt, <br />
Nur ein ruhiges Gewissen, <br />
Das vor Gott dir Zeugnis gibt,<br />
Wird dir deinen Tod versüßen; <br />
Dieses Herz, von Gott erneut, <br />
Ist des Todes Freudigkeit.<br />
<br />
Wenn in deiner letzten Not<br />
Freunde hülflos um dich beben:<br />
Dann wird über Welt und Tod<br />
Dich dies reine Herz erheben;<br />
Dann erschreckt dich kein Gericht;<br />
Gott ist deine Zuversicht.<br />
<br />
Daß du dieses Herz erwirbst,<br />
Fürchte Gott, und bet und wache.<br />
Sorge nicht, wie früh du stirbst;<br />
Deine Zeit ist Gottes Sache.<br />
Lern nicht nur den Tod nicht scheun,<br />
Lern auch seiner dich erfreun.<br />
<br />
Überwind ihn durch Vertraun,<br />
Sprich: Ich weiß, an wen ich gläube,<br />
Und ich weiß, ich werd ihn schaun<br />
Einst in diesem meinem Leibe.<br />
Er, der rief: Es ist vollbracht!<br />
Nahm dem Tode seine Macht.<br />
<br />
Tritt im Geist zum Grab oft hin,<br />
Siehe dein Gebein versenken;<br />
Sprich: Herr, daß ich Erde bin,<br />
Lehre du mich selbst bedenken;<br />
Lehre du mich's jeden Tag,</i><br />
Daß ich weiser werden mag!Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com4tag:blogger.com,1999:blog-4669875924239769597.post-85886389353152973802011-12-16T18:43:00.002-05:002017-11-08T18:03:31.734-05:00Happy 241st Birthday Beethoven!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5PD_jyao1v8ZdNV6Rqtz8WC2mZ3VFgv1BFe0I-pL2IiObENWiSIOAad1-VLTtD5XEjUp3FmGeO8fY2wEPk5chY3wVGi3QYIcNEaVBByIjLnx5heM0FhEbEtzuaLxXTBQO1X44i3npiYy_/s1600/_n_Sunburst_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5PD_jyao1v8ZdNV6Rqtz8WC2mZ3VFgv1BFe0I-pL2IiObENWiSIOAad1-VLTtD5XEjUp3FmGeO8fY2wEPk5chY3wVGi3QYIcNEaVBByIjLnx5heM0FhEbEtzuaLxXTBQO1X44i3npiYy_/s320/_n_Sunburst_5.jpg" width="320" /></a></div>
Dear Maestro Beethoven,<br />
<br />
Happy Birthday!<br />
<br />
I couldn't let your 241st birthday go without some kind of blog post, right?<br />
<br />
I haven't written anything blog-wise about Beethoven since July, the completion of the year-long Daily Beethoven project, but in the meantime I've been pretty deep in Ludwig-mania anyways. Many of my activities have been recorded in the "Updates" section of my blog profile, but I thought this would be a good opportunity to make it into the "official record". <br />
<br />
My projects arranging B.'s music for guitar and/or rock band are largely complete, I've successfully generated "mock-ups" for the symphonies, string quartets, overtures, concertos, lieder, violin and cello sonatas, bagatelles, masses, variations, and a good cross-section of other chamber works including the ever-popular Op.20 septet. At every turn I was amazed at how B.'s ideas transferred themselves so naturally to the "electric language" of our modern times.<br />
<br />
<b><a href="http://lvbandmore.blogspot.com/p/index-of-guitar-arrangements.html">Guitar Arrangements of Beethoven, Bartok, Shostakovich, Debussy & More</a></b><br />
<br />
The other main project (on the very cusp of being completed) has been the "Color-Coded Analysis" videos which I personally find very useful in following the "story" B. tells in each of his masterpieces. Ever since Leonard Bernstein described classical form as a kind of "journey" through remote key areas, I've been fascinated about actually charting these crazy odysseys in some kind of audio-visual technique and these videos are still my favorites for that kind of thing. At this point the symphonies, string quartets, piano sonatas, masses and some select favorite chamber works are out there. Here are also some of my favorite symphonies (Rene Leibowitz conducted) and piano sonatas (with Annie Fischer).<br />
<br />
<b><a href="http://lvbandmore.blogspot.com/p/simple-visual-breakdowns-of-works.html">Color-Coded Analysis of Beethoven's Music</a></b><br />
<br />
The highlight concert-wise was seeing the <a href="http://www.whitelightfestival.org/index.php/white-light-2011-missa-solemnis">Missa Solemnis</a> performed at Lincoln Center with Sir Colin Davis conducting the London Symphony Orchestra. That was jaw-droppingly awesome. If you were there and saw someone in the 3rd row following along with the score, then that was me you saw.<br />
<br />
Some recent books I've recently acquired include Emily Anderson's 3-volume <a href="http://www.amazon.com/Letters-Beethoven-Ludwig-Van/dp/0393022471">"Letters of Beethoven"</a> (the most complete collection of B. letters ever published), "<a href="http://amzn.com/080321250X">The Critical Reception of Beethoven's Compositions by His German Contemporaries</a> Vol 1 & 2" by Senner & Meredith (fascinating reviews of Beethoven's concerts and works as they were being premiered!), "<a href="http://amzn.com/1461186382">Beethoven's Only Beloved: Josephine!</a>: A Biography of the Only Woman Beethoven ever Loved" (Klapproth), "<a href="http://amzn.com/0803210337">Letters to Beethoven and Other Correspondence</a> Vol 1-3" (Albrecht), "Talks About Beethoven's Symphonies, Analytical Essays with Diagrams" (Stock), and "Ludwig Van <a href="http://www.jstor.org/pss/939315">Beethoven : Autograph Miscellany</a> from circa 1786 to 1799" by Kerman. This sketchbook facsimile is MASSIVE and holds a ton of miscellaneous musical ideas which B. would jot down for future reference. Some sketches are just "riffs" or "licks" which he could use when he would improvise or use during one of those piano duels he'd have to engage in. Other more elaborate sketches include the Symphony in C which was never completed. There is a huge variety of writings and scribblings and there is also a printed transcription so you can actually read what he wrote! Really fantastic.<br />
<br />
Well anyways Happy Birthday, Ludwig, and judging from the fact that your face was on the cover of Gramaphone magazine only just a couple months ago (October) it seems you are doing quite well despite your "antiquated ways" haha!Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com7tag:blogger.com,1999:blog-4669875924239769597.post-80015871420867160802011-07-18T00:00:00.129-04:002017-11-08T17:58:56.089-05:007/18 A Year of Ludwig van Beethoven<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimntsNcR3bBn7C5T2hmg_qPr4-iMnXfwLgSlUGddnraGGawzukVBTjrP9WxzRGFmZ1JBhB0qLm7u2FP10jeOzitO0ytey2Yl3fxOcHbpJmApoGe5S6sTEMmzWTrBQsq0GdO0N-zc0TRHXe/s1600/Beethoven-Portrait-592x702.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimntsNcR3bBn7C5T2hmg_qPr4-iMnXfwLgSlUGddnraGGawzukVBTjrP9WxzRGFmZ1JBhB0qLm7u2FP10jeOzitO0ytey2Yl3fxOcHbpJmApoGe5S6sTEMmzWTrBQsq0GdO0N-zc0TRHXe/s320/Beethoven-Portrait-592x702.jpg" width="269" /></a></div>
<div style="text-align: justify;">
And so I've come to Day 365 of the Daily Beethoven project. It's been a long journey and I've certainly learned alot. The original idea behind starting this blog was just to put my favorite Beethoven links in one place, and somehow along the way I started getting into <a href="http://lvbandmore.blogspot.com/p/simple-visual-breakdowns-of-works.html">analyzing his compositions</a>, posting pictures of <a href="http://lvbandmore.blogspot.com/search/label/Life">historical artifacts</a>, visiting his place of business (<a href="http://lvbandmore.blogspot.com/p/in-search-of-beethovens-vienna-trip.html">Vienna trip</a>) and even making videos of my own <a href="http://lvbandmore.blogspot.com/p/index-of-guitar-arrangements.html">"rock" transcriptions</a> of his works. I believe there are a couple dozen of you regular readers who have stuck with this blog all this time. Thanks! I have certainly met a few cool Beethoven fans out there through this blog. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
In the short term, I'll probably just add to the posts already here, since there are now a completes set of 365 articles, one for each day of the year. The <a href="http://lvbandmore.blogspot.com/p/list-of-works-posted-discussed.html">Index of Works</a> is already getting quite unwieldy (28 references to the 5th Symphony!) so to make new posts about Razumovsky No. 1 (again) seems a bit redundant. However I will try to keep an eye on the videos that I've posted from other peoples' channels (in case they get deleted) and try to keep this site a 1-stop spot for finding live complete performances of all of Beethoven's major works. Eventually I'll probably start adding new posts if some new earth-shattering insights come up. I'll also continue to add videos to my <a href="http://www.youtube.com/user/lvbandmore">Youtube Channel</a>, especially once I start doing <a href="http://lvbandmore.blogspot.com/p/analyzing-beethovens-music-using-shaded.html">wave-form analyses</a> again of the remaining piano sonatas and symphonies (Update: symphonies and string quartets are now <a href="http://lvbandmore.blogspot.com/p/simple-visual-breakdowns-of-works.html">done</a>).</div>
<br />
<div style="text-align: justify;">
My main focus at this point as you can probably tell are the transcriptions of Beethoven's music into modern instruments like guitar and drums. The posts related to that kind of thing will be the first ones to be expanded, and at some point I hope to post some live renditions of these transcriptions in place of the sequenced versions...</div>
<br />
<i>"Beethoven broke all the rules, and turned out pieces of breath-taking rightness. Rightness – that’s the word! When you get the feeling that whatever note succeeds the last is the only possible note that can rightly happen at that instant, in that context, then chances are you’re listening to Beethoven. Melodies, fugues, rhythms – leave them to the Tchaikovskys and Hindemiths and Ravels. Our boy has the real goods, the stuff from Heaven, the power to make you feel at the finish: Something is right in the world. There is something that checks throughout, that follows its own law consistently: something we can trust, that will never let us down."<br />
- Leonard Bernstein on Beethoven</i><br />
<br />
<i>The Raven read by James Earl Jones + Moonlight Sonata </i><br />
<iframe allowfullscreen="" frameborder="0" height="30" src="https://www.youtube.com/embed/AqZxO1bpnmA" width="425"></iframe><br />
<a href="http://www.youtube.com/watch?v=AqZxO1bpnmA">Link</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com8tag:blogger.com,1999:blog-4669875924239769597.post-81502607226889372652011-07-17T00:00:00.052-04:002011-07-21T08:50:14.997-04:007/17 Beethoven's Symphonies and Overtures for Guitarists and Experimental Music Lovers<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiejQt9IDFfHhCf8vrscZJYcVS39lZo3YD2LD0cICSxr_KrcNh5F_vdRzp-CFeD8kSVsQgjXVo2eRq5tUnMMVjAeRD5gUK0GizmNmvH7iAHsKtc-eVwcjCIFWH9rKqyfTSKDG0WMy3H5GiY/s1600/Picasso_Woman_with_Mandolin_1910.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiejQt9IDFfHhCf8vrscZJYcVS39lZo3YD2LD0cICSxr_KrcNh5F_vdRzp-CFeD8kSVsQgjXVo2eRq5tUnMMVjAeRD5gUK0GizmNmvH7iAHsKtc-eVwcjCIFWH9rKqyfTSKDG0WMy3H5GiY/s400/Picasso_Woman_with_Mandolin_1910.jpg" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Picasso, "Woman with Mandolin" 1910</td></tr>
</tbody></table>The symphonies of Beethoven are to me the greatest artistic creation in the history of mankind. So of course it's pretty ambitious to transcribe these for rock instruments. I resisted for a long while, but once I figured out a way to do the concertos, it was a natural next step. The first couple symphonies took to a new instrumental arrangement relatively painlessly, but then things started getting sticky. By the time I got to the 8th, the whole thing started sounding like avant-garde music from the future! Taming the 9th was a journey in itself. Nonetheless, here's the fruits of those labors, and I'm sure I'll come back to these again and again with "improvements"....<br />
<br />
<i><b>Symphony No.3 in E flat major, Op.55 'Eroica' (1805)</b></i><br />
<object height="331" width="530"><param name="movie" value="http://www.youtube.com/p/4CBC589E4CB6B299?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/4CBC589E4CB6B299?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="530" height="331" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<br />
<br />
<i><b>Symphony No.7 in A major, Op.92 (1811)</b></i><br />
<object height="331" width="530"><param name="movie" value="http://www.youtube.com/p/4069CC81A4D726E8?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/4069CC81A4D726E8?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="530" height="331" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: #666666; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr style="background-color: #9fc5e8;"><td style="text-align: center;"><b><a href="http://www.youtube.com/playlist?list=PL73AC63807096CABC" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr77z3c1rEXUiq9DXfnu1FK7kfUDAN1UVYsCDShYo0sZk_l64nqvElkIFO6XyGi8AVVH0BwzUGfWJdAhv06qtaMjczixLIB06u_6C0Rw6w3-PyyfycnB9Hruf-mn5GjRNM9Phs8LVbEZNm/s400/symph.png" width="400" /></a></b></td></tr>
<tr style="background-color: #9fc5e8; color: white; font-family: Verdana,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><a href="http://www.youtube.com/playlist?list=PL73AC63807096CABC">Click for the 9 Symphonies of Beethoven for Rock and Roll Addicts</a></b></span></td></tr>
</tbody></table><br />
<b><a href="http://www.youtube.com/playlist?list=PL03B6C45F0524C318">Overtures here:</a><i><br />
</i></b><br />
<object height="331" width="530"><param name="movie" value="http://www.youtube.com/p/03B6C45F0524C318?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/03B6C45F0524C318?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="530" height="331" allowscriptaccess="always" allowfullscreen="true"></embed></object>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-67344080816009089742011-07-16T00:00:00.089-04:002011-07-19T09:42:43.523-04:007/16 The Compleat String Quartets for Guitarists and Experimental Music Lovers<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWhwCmny58x4CVAkkgw1Lp_c9yqORCHQHQxaNRm2PsywVcVis4A_Sze4yKogT9Y84N_VB9yvMiHvy7nEu4UKzxwg_J2l6c7eId320XDiIWZT19zBw9qhgEpOtsGTJRtsl7pASXKk6OES45/s1600/image.wide.1304967116978.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWhwCmny58x4CVAkkgw1Lp_c9yqORCHQHQxaNRm2PsywVcVis4A_Sze4yKogT9Y84N_VB9yvMiHvy7nEu4UKzxwg_J2l6c7eId320XDiIWZT19zBw9qhgEpOtsGTJRtsl7pASXKk6OES45/s400/image.wide.1304967116978.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="photoCredit gallery-slide-photoCredit"><span class="slide-byline">Picasso: "Bottle, Guitar, and Pipe" Museum Folkwang, Essen, Germany</span></span></td></tr>
</tbody></table>I've posted about my sequenced "rock" transcriptions of Beethoven's string quartets a couple times <a href="http://lvbandmore.blogspot.com/2011/03/34-learn-to-play-beethovens-5th-on.html">before </a>but this time I've gone back and remixed/remastered them a bit, with some simulated "turntable" visuals. Basically I added more drums, reverb and compression. They'll probably still drive any purists insane with cries of sacrilege, but for anybody with a background in rock and avant-garde music approaching my own, these might be entertaining and perhaps even illuminating.<br />
<br />
While arranging/transcribing Beethoven's various types of music (quartets, concertos, symphonies, etc...) into these somewhat similar rock arrangements, I could more clearly see the different composing approaches he used between these genres. The concertos seem the most straightforward from a melodic and structural standpoint, though the solo part gets all the "adventurous" stuff. The quartets have the most complex and labyrinthine horizontal/melodic material, and the symphonies take a middle ground of having dense vertical constructions but simpler thematic material. These are just gross generalizations of course...<br />
<br />
<i><b>String Quartet 10 in Eb, Op 74 "Harp" (1809)</b></i><br />
<object height="303" width="480"><param name="movie" value="http://www.youtube.com/p/D866772E56A652F9?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/D866772E56A652F9?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="480" height="303" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<br />
<br />
<b><i>String Quartet 11 in Fm, Op.95 "Serioso" (1811)</i></b><br />
<object height="303" width="480"><param name="movie" value="http://www.youtube.com/p/CC8CFE19BE20D72E?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/CC8CFE19BE20D72E?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="480" height="303" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<br />
<br />
<div style="background-color: #a2c4c9; font-family: Verdana,sans-serif;"><b><span style="font-size: large;"></span></b></div><div style="background-color: #a2c4c9; font-family: Verdana,sans-serif;"><b><span style="font-size: large;">Full Quartets Below: </span></b></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: #a2c4c9; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.youtube.com/playlist?list=PL84285C606FF36731" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7OYFyIA2XUrrmcwzCQc_-8X8xzhJKeZIl8mnr2YAR9cbf4qdwbyLceAU95IFTk98AgE00CnPh06STOCwhY_d1H7v6QG0Cj9GpaddZZOeNPVwATwqYbqnlHAkD1_E-pdDgVkY4tmKq4Fe/s400/op18.png" width="345" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;"><a href="http://www.youtube.com/playlist?list=PL84285C606FF36731">Early Quartets: Opus 18</a></span></b></td></tr>
</tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: #d5a6bd; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.youtube.com/playlist?list=PLAE105D687FBDB57B" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3PriyeDmNPihDSqXwIRkep0PgTLuCgZaOpPQ_KG1Lqgb24inJTjZAVvN8-Yzs9IradNAAb5CyMOTo-jWE_T_nkR7XOniSORNDILoJt3MKoSdvXQPES5VQd3Nq2vUxNyZwrXSMC5S7KCNf/s1600/op59.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;"><a href="http://www.youtube.com/playlist?list=PLAE105D687FBDB57B">Middle Quartets: Opus 59, 74, 95</a></span></b></td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr style="background-color: #cccccc;"><td style="text-align: center;"><a href="http://www.youtube.com/playlist?list=PLE0E2EFF480183871" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8uGegrQQN_7137yvyh2CrH9tJyym8JnjmfWr1zkBN-S9KFmi7F2GnT6hukrh-4hDg3FyeHHJszs7eC8Dz9DZ15806aesWBqBt4LwkQgJLez_4H3EzCRg9HzsGWuZtNPdx7jdZIiSyIsEB/s1600/op127.png" /></a></td></tr>
<tr style="background-color: #cccccc;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;"><a href="http://www.youtube.com/playlist?list=PLE0E2EFF480183871">Late Quartets: Opus 127, 130, 131, 132, 133, 135</a></span></b></td></tr>
</tbody></table><br />
Symphonies tomorrow....Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-70564228238327013212011-07-15T00:00:00.020-04:002011-07-29T09:58:33.208-04:007/15 The Weirdest Piano Concerto Arrangements You'll Love Vol.2<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin8UYTJNAWSMPzzrQiyj03tH3gcMahJO20cTzShEeLw7HeskFFEOHGpU0sh8UfG-osrNlVZKBHI-I_NPWETJpPQuHVn8BrmpX_GATgnukMmcF5NqlZ5Ax_tADaaTC8JsavdWZm1blkJDUR/s1600/lgpp31162%252Bemily-with-guitar-emily-the-strange-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin8UYTJNAWSMPzzrQiyj03tH3gcMahJO20cTzShEeLw7HeskFFEOHGpU0sh8UfG-osrNlVZKBHI-I_NPWETJpPQuHVn8BrmpX_GATgnukMmcF5NqlZ5Ax_tADaaTC8JsavdWZm1blkJDUR/s200/lgpp31162%252Bemily-with-guitar-emily-the-strange-poster.jpg" width="133" /></a></div>Remember when I posted the <a href="http://lvbandmore.blogspot.com/2011/06/621-weirdest-piano-concerto.html">"The Weirdest Piano Concerto Arrangements You'll Love Vol.1"</a>? Well here's Volume 2...hope you enjoy listening, these were a blast to put together!<br />
<br />
<i><b>Piano Concerto 1</b></i><br />
I: 0:04 II: 12:29 III: 20:32 <br />
<object height="331" width="530"><param name="movie" value="http://www.youtube.com/v/8v_5_dRteQU?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/8v_5_dRteQU?version=3&hl=en_US" type="application/x-shockwave-flash" width="530" height="331" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/watch?v=8v_5_dRteQU">Link</a><br />
<br />
<i><b>Piano Concerto 2</b></i><br />
I: 0:05 II: 13:15 III: 20:36<br />
<object height="331" width="530"><param name="movie" value="http://www.youtube.com/v/7Zn-lS4c7vQ?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/7Zn-lS4c7vQ?version=3&hl=en_US" type="application/x-shockwave-flash" width="530" height="331" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/watch?v=7Zn-lS4c7vQ">Link</a><br />
<br />
<i><b>Piano Concerto 4</b></i><br />
I: 0:04 II: 16:44 III: 20:20<br />
<object height="331" width="530"><param name="movie" value="http://www.youtube.com/v/DWpgw3CP3SI?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/DWpgw3CP3SI?version=3&hl=en_US" type="application/x-shockwave-flash" width="530" height="331" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/watch?v=DWpgw3CP3SI">Link</a><br />
<br />
<i><b>Triple Concerto</b></i><br />
<object height="331" width="530"><param name="movie" value="http://www.youtube.com/p/6C488C793426AFFF?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/6C488C793426AFFF?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="530" height="331" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/playlist?list=PL6C488C793426AFFF">Link</a><br />
<br />
Next post is going to be delayed because I'm just BARELY keeping up in these last few mega-posts and Youtube just yanked my unlimited time-limit video rights for no apparent reason - which means I may have to redo a whole lot of already completed videos. Sad face.Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com1tag:blogger.com,1999:blog-4669875924239769597.post-20428871295716050142011-07-14T00:00:00.046-04:002011-07-14T21:52:09.443-04:007/14 String Quartet Op.59, No.2<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU3QNJejHRnE_Jz4lEyu34BsE-HlDYHh7vDXF5AOYT1wdmOGdolS-ZBywkrIlUFpM6Pv43u1Cl976ow-xKHSx0nDzJ2Gpl45gKoreauokhfffGNPvqIlZpHIyRmJkF54g1SsIpCsSa_MMe/s1600/StatueLeipzig1902_MaxKlinger_DeLoin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU3QNJejHRnE_Jz4lEyu34BsE-HlDYHh7vDXF5AOYT1wdmOGdolS-ZBywkrIlUFpM6Pv43u1Cl976ow-xKHSx0nDzJ2Gpl45gKoreauokhfffGNPvqIlZpHIyRmJkF54g1SsIpCsSa_MMe/s1600/StatueLeipzig1902_MaxKlinger_DeLoin.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.lvbeethoven.com/Lieux/AllemagneLeipzig.html">http://www.lvbeethoven.com/Lieux/AllemagneLeipzig.html</a></td></tr>
</tbody></table><i>One more string quartet before the final lap...</i><br />
<br />
<i><b>String Quartet No.8 in E minor, Op.59, No.2 ('Rasumovsky' 2)</b></i><br />
<i><span style="font-size: x-small;">Recorded live at the Taos School of Music, July 22, 2007<br />
Alexandra Osborne, violin; Wojciech Kardewicz, violin; Elizabeth Kuefler, viola; Bronwyn Banerdt, cello</span></i> <br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/p/7BC908EBF06BCA6D?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/7BC908EBF06BCA6D?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="480" height="385" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/playlist?list=PL7BC908EBF06BCA6D">Linklist</a><br />
<br />
<a href="http://www.classicalarchives.com/work/4371.html#tvf=tracks&tv=about">Allmusic:</a><br />
<i>Beethoven began drafting the score of the first of the Opus 59 quartets on May 26, 1806, although there is evidence that he started to sketch them in the fall of 1804; by November 1806, all three were complete. Because Rasumovsky was to have exclusive rights to the pieces for a year, their publication was delayed until January 1808. Beethoven sold the rights to not only the Bureau des Arts et d'Industrie in Vienna, but also to Clementi and Co. in London. As a tribute to Rasumovsky's heritage, Beethoven planned to use Russian folk themes in each of the three quartets, but did so only in the finale of the first and the slow movement of the second. All three are in four movements, the third augmented by a slow introduction to the first movement. </i><br />
<br />
<i>The opening of the first movement of the String Quartet in E minor is actually more evocative of the Symphony No. 3 than it is the beginning of Op. 59/1. Two widely spaced chords introduce the piece, which immediately begins a presentation of the theme. However, the movement lacks the expansiveness of its two siblings, creating a very tight, nervous atmosphere and calling for a traditional repeat of the development section. The prominence of the Neapolitan, both the pitch F natural and the harmony of F major, creates a palpable pathos. The large coda takes a path as harmonically adventurous as the development section.</i><br />
<br />
<i>Carl Czerny (1791-1857), a former student of Beethoven, noted that the composer was inspired to write the slow movement of Op. 59/2, in E major, while contemplating a starry sky. The chorale-like opening of the movement looks forward to the Heiliger Dankgesang, Op. 132. The recapitulation of the hymn-like theme features an active cello line and a second violin part that sails above the first violin's melody.</i><br />
<br />
<i>As in the first movement, the E minor scherzo emphasizes the Neapolitan F major. The Russian theme appears in the E major Trio, where it is given extensive contrapuntal treatment, appearing first in the viola, followed by the second violin, cello, and lastly, first violin.</i><br />
<br />
<i>The finale again flirts with F major, this time primarily through C major (the dominant of F), which is found throughout the first 50 measures. Marked Presto, it is generally light and jovial, featuring a carefree main theme, rather atypical of the composer's style at this time. The second subject leads to a development section, after which the themes reappear to suggest a Rondo. Overall, this movement has much charm and rather parallels in spirit the finale in the previous quartet. This one, however, seems to fit in better with the character of its preceding three movements.</i><br />
<br />
<i><b>Mily Balakirev's Arrangement of the 2nd movement for solo piano:</b></i><br />
<span style="font-size: x-small;"><i>Balakirev Centenary Celebrations Concert, Nicholas Walker - Pianist </i></span><br />
<i>Mr. Walker also performed the piano arrangement of the <a href="http://balakirev%20centenary%20celebrations%20concert%20nicholas%20walker%20-%20pianist/">Op.130 Cavatina..</a></i><br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/xTdoZqB-vB0" width="425"></iframe><br />
<a href="http://youtu.be/xTdoZqB-vB0">Link</a><br />
<br />
<i><b>Finally. the 1st movement in a guitar arrangement (Oregon Guitar Quartet):</b></i><iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/2H88wBvA6gY" width="425"></iframe><br />
<a href="http://youtu.be/2H88wBvA6gY">Link</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-52364048468815267912011-07-13T00:00:00.040-04:002011-07-13T00:00:01.230-04:007/13 String Quartet Op.127<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg58WdJkx_fH0zL3IR2QhKw_ILglpshJ7Bw-JNnFTEVb0r4gfF4pZjLaYm2Bv9FyXYK2sjbZe55HObUXd6Jdl27_FAdx9y9CXjPS_dZwaKEbxDf6mDyJVRurDUqTvLkY0OqN4LdSj6fcj2s/s1600/Buste_CantemirRiscutia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg58WdJkx_fH0zL3IR2QhKw_ILglpshJ7Bw-JNnFTEVb0r4gfF4pZjLaYm2Bv9FyXYK2sjbZe55HObUXd6Jdl27_FAdx9y9CXjPS_dZwaKEbxDf6mDyJVRurDUqTvLkY0OqN4LdSj6fcj2s/s320/Buste_CantemirRiscutia.jpg" width="259" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.lvbeethoven.com/MeetLvB/GermanyBonnBeethoven-Haus.html">http://www.lvbeethoven.com/MeetLvB/GermanyBonnBeethoven-Haus.html</a></td></tr>
</tbody></table>Beethoven's <i><b>String Quartet No.12 in Eb, Op.127</b></i>, has been sadly overlooked here in favor of the personal "hits" like the Grosse Fugue and the Heiliger Dankgesang.. however it's an absolutely sublime and daring work in its own right.<br />
<br />
<i><b>!st Movement</b> performed by the Jasper String Quartet: </i><br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/A5mQQnkKm1k" width="425"></iframe><br />
<a href="http://youtu.be/A5mQQnkKm1k">Link</a><br />
<br />
Here's a vintage recording of the complete work, featuring the renowned Busch Quartet (from 1936):<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/p/E3745168F375DCCB?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/E3745168F375DCCB?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="480" height="385" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/playlist?list=PLE3745168F375DCCB">Linklist</a><br />
<br />
<a href="http://www.classicalarchives.com/work/4404.html#tvf=tracks&tv=about">Allmusic:</a> <i>This work may well be the most mild-mannered and conventional of Beethoven's late quartets. It is ironic that he originally had more grandiose ideas for it, intending it to contain six movements, including one subtitled "La gaieté" and an Adagio apparently of darker character. In any event, Beethoven settled on this less ambitious, but still effective scheme of four movements, with an Adagio theme and variations second movement, followed by a scherzo and a jovial finale. </i><br />
<br />
<i>What is unusual about this quartet, however, is not its traditional qualities—rare enough in Beethoven—but its lack of muscularity and conflict in the first movement. One hears little nervous energy and angst here, but plenty of lyricism in the main Allegro section that makes up the bulk of the movement. The introduction is marked Maestoso and presents a fanfare that builds up, imparting some expectation of drama and drive, if not of Beethovenian heroic fury. What follows is a lively theme of gentle, lyrical character. In fact, all the thematic material in this movement is nearly free of tension and grit. There is some contrapuntal activity in the fabric of the main theme (and its variants), and the fanfare of the opening returns just before the development, but merely yields once more to the cheerful main material. If there is anything unusual about this movement, it is the development, which resembles a succession of variations. The recapitulation maintains the generally peaceful tenor of the movement, and the coda turns sweet and caressing. </i><br />
<br />
<i>The aforementioned second movement theme-and-variations (Adagio ma non troppo e molto cantabile) presents a lovely, songful melody and six variations. Yet the movement has a thematic structure similar to a typical ABA scheme, with the third variation comprising the middle section. But one may hear it as separate variations as well. It has been asserted that the main theme does not appear conducive to thematic offshoots, owing to its mellifluous character and seeming uniqueness (and lush beauty), but Beethoven manages to mine its depths to find the six very attractive variations and a coda. The third variation's prayerful character imparts a religiosity that seems to highlight, if not define, the mood of the entire Adagio. </i><br />
<br />
<i>The third movement Scherzando vivace breaks with the gentler moods of the music thus far. It begins, like the first movement, with a fanfare, but here on pizzicato strings. The main theme appears on the cello, and is bandied about amid a fugal treatment that starts, stops, and starts again. The middle section is colorful in its dance-like music and constantly changing ideas. On the whole, this movement offers splendid contrast to the lyricism of the preceding pair. </i><br />
<br />
<i>The finale returns to the mood of the first two movements, with lively but unhurried music that shows no sign of that Beethovenian nervous energy. This is music of folk character, with the main theme sounding a bit oafish, but cleverly so. Its slightly odd character and husky rhythmic accompaniment impart a rural air to the proceedings. The thematic material of the second subject is in much the same mode. There is a short development section, followed by a reprise (which comes after a deftly wrought false reprise). This quartet was first published in Mainz in 1826. The composer dedicated it to Prince Nikolai Golitsin, who had commissioned him to write it and the two quartets that followed.</i>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-17757269022352441782011-07-12T00:00:00.028-04:002011-07-12T00:00:14.062-04:007/12 Violin Romance in G, Op.40<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb7XW9NIYbPgVfe5nkIpxY49_B7yXV2MSKCISPITzriNguDEuRl7DbwCbkdOnP9IVkY_oX2bu8mw7FfQqicPb7BMXjIWgISjntV2kpI4NUWqKIKeKoiMjCBlRGes_hkRH8h7OraGQB1kB2/s1600/CPA_Italienne04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb7XW9NIYbPgVfe5nkIpxY49_B7yXV2MSKCISPITzriNguDEuRl7DbwCbkdOnP9IVkY_oX2bu8mw7FfQqicPb7BMXjIWgISjntV2kpI4NUWqKIKeKoiMjCBlRGes_hkRH8h7OraGQB1kB2/s1600/CPA_Italienne04.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(www.lvbeethoven.com)</td></tr>
</tbody></table>Beethoven's second Violin Romance actually has a lower opus number than his first, but it immediately sounds more bold due to it's wiry unaccompanied violin entrance...Renaud Capuçon gives a somewhat unique performance - I do believe he's using an updated ur-text?<br />
<br />
<i><b>Romance for Violin and Orchestra No.1 in G, Op.40 (1802)</b></i><br />
<i><span style="font-size: x-small;">Renaud Capuçon violin / Gewandhaus Orchestra Leipzig, Kurt Masur conductor</span></i> <br />
<iframe allowfullscreen="" frameborder="0" height="331" src="http://www.youtube.com/embed/iM5ixzSntSI" width="530"></iframe><br />
<a href="http://youtu.be/iM5ixzSntSI">Link</a><br />
<br />
<a href="http://www.classicalarchives.com/work/43517.html#tvf=tracks&tv=about">Allmusic:</a> <i>Often described as a "preparation" for the Violin Concerto, Op. 61, of 1806, the Romance in G stands as a fine work in its own right, clearly demonstrating Beethoven's mastery of the high-Classical style of Mozart and Haydn. Furthermore, Beethoven creates subtle connections between disparate sections of a work.</i><br />
<i><br />
</i><br />
<i>Cast in a two-episode rondo format (ABACA coda), the Romance in G is not imbued with sonata-form characteristics, as are many of Beethoven's later rondo movements. The rondo theme (A) is in two parts, each performed first by the soloist then repeated by the orchestra. Descending sixteenth notes in the solo part mark the beginning of B, in which the orchestra is relegated to a purely accompanimental role, creating unity by including figures from the rondo. Section B spends a significant amount of time on the dominant (D major); however, this does not represent a modulation but a preparation for the return of the rondo in G major. Again, the soloist performs both segments of the A section alone, this time including a running eighth note accompaniment under each of the literally repeated themes. Beethoven set the second episode, C, in E minor. The minor mode, dotted rhythms, and staccato passages give the section a "gypsy" music tinge. The foray into a new key area ends with the return of the G major rondo theme, again played by the soloist, but with accompaniment by the orchestra. Beethoven forgoes the repetition of each of the two parts of the rondo and ends the work with a brief coda featuring a lengthy trill in the solo violin. The three fortissimo chords that close the piece seem oddly, possibly comically, out of place in this generally quiet work, but they do resemble the orchestral string parts at the end of each rondo section.</i>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-60592082318515491452011-07-11T00:00:00.038-04:002011-08-14T06:45:21.534-04:007/11 Tchaikovsky's Beethoven<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha_Sr0jbpr-0TKV0oMy-5pk144Q2dgsdBnp1U2EQ1wrkDWNpdc6ud0nqfLBJW0rMru7duSM6JfHq5XG63PKnhxJbCBah3ipul8vUQEikmJwX1md2HC311aSe8Srkmse0jGY_29adpxucgq/s1600/1010662.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha_Sr0jbpr-0TKV0oMy-5pk144Q2dgsdBnp1U2EQ1wrkDWNpdc6ud0nqfLBJW0rMru7duSM6JfHq5XG63PKnhxJbCBah3ipul8vUQEikmJwX1md2HC311aSe8Srkmse0jGY_29adpxucgq/s400/1010662.jpg" width="267" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="meta" style="padding-top: 5px;">© All Rights Reserved by MikeBarnett</span></td></tr>
</tbody></table><br />
Having posted previously about composers "rewriting Beethoven" (<a href="http://lvbandmore.blogspot.com/2011/01/126-bartok-and-rachmaninoff-play.html">Bartok</a>, <a href="http://lvbandmore.blogspot.com/2011/01/126-bartok-and-rachmaninoff-play.html">Rachmaninoff</a>, <a href="http://lvbandmore.blogspot.com/2011/06/616-hindemith-plays-beethoven.html">Hindemith</a>, <a href="http://lvbandmore.blogspot.com/2011/02/223-piano-transcriptions-liszt-alkan.html">Liszt</a>), I submit <a href="http://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky">Pyotr Ilyich Tchaikovsky </a>to the list...courtesy of <b><a class="inline-block" href="http://www.youtube.com/user/quarrion100" id="watch-username" rel="author"><b>quarrion100</b></a></b>:<br />
<i>"One of his student orchestrations, Tchaikovsky scored Beethoven's famous violin sonata up to the end of the exposition of the first movement. There apparently is a recording of this on the Melodiya label, but I have not been able to acquire it yet. The current performance was made using the Garritan Personal Orchestra."</i><br />
<i> </i> <br />
<b><i>"Kreutzer" Violin Sonata (excerpt) (orch. Tchaikovsky) (1863-4): </i></b><br />
<span style="font-size: x-small;"><i>"Roll over Beethoven, And tell Tchaikovsky the news"</i></span><br />
<span style="font-size: x-small;"><i>Created by </i></span><strong><a class="inline-block" href="http://www.youtube.com/user/quarrion100" id="watch-username" rel="author"><strong>quarrion100</strong></a>.</strong><span style="font-size: x-small;"><i> </i></span><br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/FwhDi_iAen8" width="425"></iframe><br />
<a href="http://www.youtube.com/watch?v=FwhDi_iAen8">Link</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com2tag:blogger.com,1999:blog-4669875924239769597.post-22814607210511152752011-07-10T00:00:00.061-04:002011-07-10T00:00:04.068-04:007/10 String Quartet Op.18, No. 3<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfyen9NbhpQTb08Jy8nHr5QF9TL-vcqnKYKSOng_UGT6gwQUnln5JMpASN0qihpFwYhvUj3kZaO3YyVL4Rtx2KtnNosoJRDCKXVrmDWPJza9v162KwWxNeXjP1H8Gc48iEsQz6PbnlIPI4/s1600/CPA_Klinger_NetB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfyen9NbhpQTb08Jy8nHr5QF9TL-vcqnKYKSOng_UGT6gwQUnln5JMpASN0qihpFwYhvUj3kZaO3YyVL4Rtx2KtnNosoJRDCKXVrmDWPJza9v162KwWxNeXjP1H8Gc48iEsQz6PbnlIPI4/s1600/CPA_Klinger_NetB.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.lvbeethoven.com/MeetLvB/GermanyLeipzig.html">Klinger's Beethoven sculpture</a> postcard (www.lvbeethoven.com)</td></tr>
</tbody></table>I haven't yet posted a complete live <i><b>String Quartet No.3 in D, Op.18, No.3</b></i>, mainly because I couldn't find one on the "Tube of You"...however here are movements 1 and 4...<br />
<br />
<i>1st movement -The Stolyarsky String Quartet </i><br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/eiguYi3e5bQ" width="425"></iframe><br />
<a href="http://youtu.be/eiguYi3e5bQ">Link</a><br />
<br />
<i>4th movement </i><br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/-hz5LFRNvyQ" width="425"></iframe><br />
<a href="http://www.youtube.com/watch?v=-hz5LFRNvyQ">Link</a><br />
<br />
<a href="http://www.classicalarchives.com/work/4340.html#tvf=tracks&tv=about">Allmusic:</a><br />
<i>The number of quartets comprising his Opus 18 is but one of Beethoven's nods to tradition, for sets usually included six works. In his Opus 18 quartets we find Beethoven both mastering the styles of his predecessors and forging into new territory. For instance, the independence of the four parts is much greater than in the works of his predecessors, which may be attributable to the fact that Beethoven developed his skills during a time freed from the hitherto ubiquitous basso continuo. Despite the numerous recent models, and despite the fact that the String Quartets, Op. 18, are clearly a product of their time, they could not have been written by any composer other than Beethoven.</i><br />
<br />
<i>The quartet in D major (No. 3) was the first composed. Its opening, with nearly all of the motion in the first violin supported by sustained harmonies, resembles the beginning of Haydn's Quartet, Op. 50/6, also in D major. The first movement begins with an emphasis on the dominant-seventh chord, while the second theme group flirts with the minor dominant, allowing an unusual excursion into C major. The rest of the quartet comprises a conventional movement pattern, but the Presto finale is a sonata, not a rondo. Although it is not labeled as such, the third movement is a minuet, albeit with some unusual, forward-looking touches. For example, the return of the minuet after the trio is not the standard da capo repeat, but is completely written out, with additional repetitions of and variations on the original material.</i><br />
<a href="http://www.youtube.com/watch?v=6EovL5QwQiM">2nd Movement</a><br />
<a href="http://www.youtube.com/watch?v=U4ozx7-1uVA">3rd Movement</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-55786781629804091712011-07-09T00:00:00.053-04:002011-07-09T08:52:10.157-04:007/9 A Few Remaining Piano Sonatas (No. 15, 22, 25)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWKwnc2_LVxyMt00it4zWc1AAuaIcAB5roqCsZ9sbrZJqRpJVm1MXHIAm7DqEd8fFr789a_oX0HGp_1YBoXCAvjrv_pzWOBgt0XBSgxcvvUVIpVbTV_rHhidRspLLdNik3cVWkWfBLVp9K/s1600/CPA_BeethovenSonate14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWKwnc2_LVxyMt00it4zWc1AAuaIcAB5roqCsZ9sbrZJqRpJVm1MXHIAm7DqEd8fFr789a_oX0HGp_1YBoXCAvjrv_pzWOBgt0XBSgxcvvUVIpVbTV_rHhidRspLLdNik3cVWkWfBLVp9K/s1600/CPA_BeethovenSonate14.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Beethoven composes the 14th sonata (www.lvbeethoven.com)</td></tr>
</tbody></table>Looking over my <a href="http://lvbandmore.blogspot.com/p/list-of-works-posted-discussed.html">"Works Index"</a> there are a few gaps in my list, so I'll try to fill those in the next few days...<br />
<br />
Pt 1-3: <i><b>Piano Sonata #15 In D, Op.28, "Pastoral" (1801)</b></i> (Sahun Hong)<br />
Pt 4-5: <b><i>Piano Sonata #22 In F, Op.54 - (1804) </i></b>(Jan Moeyaert)<br />
Pt 6: <b><i>Piano Sonata #25 In G, Op.79 (1809) ('Cuckoo')</i></b> (Matthias Soucek)<b><i><br />
</i></b><br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/p/1F102350EF825EAE?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/1F102350EF825EAE?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="480" height="385" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/playlist?list=PL1F102350EF825EAE">Linklist</a><br />
<br />
<i><b>Piano Sonata No.15 in D, Op.28 ('Pastoral') </b></i><br />
<a href="http://www.classicalarchives.com/work/3970.html#tvf=tracks&tv=about">Allmusic</a>: <i>A remarkable feature of this work is that each movement establishes its own insistent, dominating rhythm at its outset. The first measure of the opening Allegro, for example, is simply three quarter notes on the tonic note D, a figure that both establishes the work's 3/4 meter and commences the first subject. The flowing, carefree second subject, based on the same rhythmic pattern, derives from a series of rocking chords in both hands. The overall effect is one of cheerful contentment, though the development builds to a considerably dramatic climax.</i><br />
<br />
<i>The second movement, Andante is a not-very-slow slow movement in ABA song form. Here, Beethoven creates a serious, lyrical theme in D minor from a series of chords over an insistent left hand in sixteenth notes. The middle section, in the major mode, alternates syncopated chords with descending right-hand triplets, material that makes a plaintive minor-mode return in the coda.</i><br />
<br />
<i>The Allegro vivace Scherzo, again in 3/4, rises from a sardonic series of descending single notes, one to a measure and an octave apart, after which the right hand jumps both above and below the left with the theme. The Trio section, reviving the minor mode, is a series of rocking triplet figures.</i><br />
<br />
<i>Like the first movement, the Allegro, ma non troppo finale at once establishes a rhythm and commences with the main theme. The movement is in 6/8; the alternation of quarter note and eighth note rhythms provides a syncopated "rambling" feel. Beethoven finds fresh variants for every repeat of this theme, all the way to the brilliant coda. </i><br />
<br />
<b><i>Piano Sonata No.22 in F, Op.54</i></b><br />
<a href="http://www.classicalarchives.com/work/3996.html#tvf=tracks&tv=about">Allmusic:</a> <i>Playable on a five-octave keyboard, this little sonata lures amateurs and then snares them in unexpected technical complications. Billed as minuet, the first movement takes a measured, deliberate tempo, the simple, pleasant, ruminative theme lifting up from the bass. However, just when the student pianist starts enjoying the somewhat complacent mood of this beginning, the trio storms through with nasty octaves in both hands. This development, which really feels like a strange interruption, seems inexplicable. Returning in a slightly more ornate form, the stately opening utterance leads, once again, to the ill-tempered trio, then appears again, goes through transformations which include some dissonant chords, and ends. </i><br />
<br />
<i>The second of the two movements, an Allegretto, is one of Beethoven's typical perpetual-motion rondos. This one has a dark edge to it, veering into the minor and keeping up the flood of sixteenth notes, thus seriously limiting the individuality of the various episodes. Amateurs generally must give up entirely by the time they reach the strenuous coda, in which the two hands race each other to the final bar. </i><br />
<br />
<b><i>Piano Sonata No.25 in G, Op.79 ('Cuckoo') </i></b><br />
<a href="http://www.classicalarchives.com/work/4007.html#tvf=tracks&tv=about">Allmusic:</a> <i>The G major Sonata No. 25 contains an opening Presto, an Andante slow movement, and a finale marked Vivace. The first movement also has the qualifying term alla Tedesca, or "in the German style." From the outset, the work arouses a strong and positive impression, as a result of its sharply chiselled rhythmic formulae and a certain direct (if not to say at times abrupt) candor and spontaneity. </i><br />
<br />
<i>That feeling of directness and clarity of expression also informs the following movement, a brief but eloquent Andante in 9/8 meter and simple ternary form. This not only re-affirms Viennese tastes, both in terms of the directness already referred to, but also in the pronounced feeling of "naturalness," at times approaching pastoral straightforwardness that is an unmistakable characteristic here. </i><br />
<br />
<i>Simplicity and directness are also crucial in the brief and witty finale, a fully formed Vivace rondo, lasting fractionally under two minutes. This sonata is sometimes given the nickname "The Cuckoo," because of the distinctive pattern of falling intervals and repeated note groupings that permeate the score at various points, never more obviously than during the final movement. </i>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-69329079620040683892011-07-08T00:00:00.036-04:002011-07-08T07:21:46.669-04:007/8 Clockwork and a Calendar<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq6abIt3beKfRNmkInMpWhMa-bLw1_w5dbsutRz3ti_5RibblGnESCnATEU-WEu4lpH6zONanRkblimf8CyzPKATnPIqzkmXslMnlm2jw8slYQ7hHOSop8c8PQan50Yxfx_-ZBFP_2Sblq/s1600/calendar+img.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq6abIt3beKfRNmkInMpWhMa-bLw1_w5dbsutRz3ti_5RibblGnESCnATEU-WEu4lpH6zONanRkblimf8CyzPKATnPIqzkmXslMnlm2jw8slYQ7hHOSop8c8PQan50Yxfx_-ZBFP_2Sblq/s320/calendar+img.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From a <a href="http://babel.hathitrust.org/cgi/pt?id=uc1.b3757222;page=root;view=image;size=100;seq=6">"Beethoven Calendar"</a></td></tr>
</tbody></table>Remix time...<br />
Marc Heatley: <i>Created as part of Sound Affairs' 2008 "Ludwig" tour - "A tribute to Beethoven in music and film." I was asked to create original work in response to the music. This piece (to accompany the Orlando Gough composition "Dead White European Male") is based on David Pelham's iconic 1972 Penguin cover to the Anthony Burgess' classic "A Clockwork Orange".</i><br />
<b>"Dead White European Male"</b><i><b> (Symphony 7 Allegretto remix) </b></i><br />
<iframe allowfullscreen="" frameborder="0" height="331" src="http://www.youtube.com/embed/D8i3oVmX2Nc" width="530"></iframe><br />
<a href="http://www.youtube.com/watch?v=D8i3oVmX2Nc">Link</a><br />
<b><i><br />
</i></b><br />
<b><i>Coriolan Overture (Dance Style)</i></b><br />
(wykonanie Krashgul) <br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/oTQbAul-IkY" width="425"></iframe><br />
<a href="http://www.youtube.com/watch?v=oTQbAul-IkY">Link</a> <br />
<br />
If 1907 comes around again this will be handy:<br />
<br />
<i><b><a href="http://books.google.com/books?id=bOAuAAAAIAAJ&ots=vHueSVaa_K&dq=Beethoven-kalendar&pg=PP1#v=onepage&q&f=false">A Beethoven Kalendar from 1907...</a></b></i>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-10943293671565166812011-07-07T00:00:00.043-04:002011-07-07T09:20:33.846-04:007/7 String Quartet Op.132, "Song of Thanksgiving"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibolLWAqU52-zk9yME7Yr-mY6YqLrVZHaOOqIIWvlD-9DnsG0XnWyEKtc3dSs_dKlNdOYocmfQ0W_SD5yuUraocElsApQSYkbZuDc8BmsudKCrfeUrnKvoNileADLOO5Ng9kNhQ1cLQwsa/s1600/CPA_07_BeethovenEtLAveugle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibolLWAqU52-zk9yME7Yr-mY6YqLrVZHaOOqIIWvlD-9DnsG0XnWyEKtc3dSs_dKlNdOYocmfQ0W_SD5yuUraocElsApQSYkbZuDc8BmsudKCrfeUrnKvoNileADLOO5Ng9kNhQ1cLQwsa/s1600/CPA_07_BeethovenEtLAveugle.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Beethoven and the blind woman, F. Armin (www.lvbeethoven.com)</td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"></div>Beethoven's String Quartet Op.132 is most famous for the 3rd movement <i>"Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" (A Convalescent's Holy Song of Thanksgiving to the Divinity, in the Lydian Mode)</i> which I wrote at length about in a <a href="http://lvbandmore.blogspot.com/2010/08/810-beethovens-heiliger-dankgesang-from.html">previous post</a>. But today I present the entire work:<br />
<br />
<i><b>String Quartet 15 in Am, Op.132 (1825) </b></i><br />
<i>(Blair String Quartet)</i><br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/B9p7hGUbLKw" width="425"></iframe><br />
<a href="http://youtu.be/B9p7hGUbLKw">Link</a><br />
<br />
<a href="http://www.youtube.com/playlist?list=PLF21348EC07E7A2CB">(Link to an alternate performance by Brown University students in 5 parts) </a><br />
<span style="font-size: x-small;"><i>Performers: June Yoon (vln I), J.D. Andrade (vln II), Miranda Forman (vla) and Martha Niemiec (vlc) </i></span><br />
<br />
<a href="http://www.classicalarchives.com/work/4426.html#tvf=tracks&tv=about">Allmusic:</a> <i><span style="font-size: small;">The work carries the nickname "Heiliger Dankgesang" because of the note written in the score (actually in French) by Beethoven that pertains to the third movement. From this note, as well as from the time of the work's composition, one can safely deduce that the crisis one clearly hears in the music is related to the lengthy illness Beethoven suffered from April 1825 until August of that year. The composer makes no attempt to depict his feelings during the illness; rather, he reflects on them and gives thanks in this score for his recovery, for the vanquishing of the pain and suffering that he must surely have felt were symptoms of a life-threatening illness.</span></i><br />
<br />
<i><span style="font-size: small;">The first movement, marked Assai sostenuto, Allegro, has an odd but ingenious structure: Beethoven presents a four-note motif that proves to be the central force throughout, developing it in between three separate expositions. There are two main theme groups, the first of which apparently represents the composer's physical suffering, the latter his sense of hope to overcome it. These subjects transform brilliantly as the movement progresses, with the theme of suffering finally appearing as a joyous hymn at the close.</span></i><br />
<br />
<i><span style="font-size: small;">The second movement is a Scherzo marked Allegro ma non tanto. While the mood of the music here is happy, its slightly restrained character suggests the recovering composer is a bit leery about venturing into too much activity. </span></i><br />
<br />
<i><span style="font-size: small;">The third movement, marked Molto adagio, is the work's emotional centerpiece. A slow, hymn-like theme of religious character dominates the proceedings, appearing in different guises throughout, in the end arriving at its definitive, celestial version. The form of this movement is unusual, consisting of five sections and progressing from depictions of the sick composer's hopes, to his feelings of recovery and returning strength, and finally to his recovery and thankfulness to God.</span></i><br />
<br />
<i><span style="font-size: small;">The fourth movement is comprised of a short march, marked Assai vivace. In certain ways, this is a rather puzzling chapter in the overall scheme of the music, the slightly martial nature of the theme seeming out of focus with the rest of the work. Yet, the music here serves as an effective contrast to the preceding movement, as if to suggest a return from the heavens back to the reality of earth.</span></i><br />
<br />
<i><span style="font-size: small;">The finale is a Rondo marked Allegro appassionato. There is nothing innovative in the form here, Beethoven apparently content to suggest that a return to routine can bring sufficient rewards for his purposes, as it may symbolize that a return to health can make one appreciate the simple things in life. Here the mood is joyous throughout and full of color and sunshine. The composer clearly conveys that the crisis is behind him, that the music does not celebrate triumph here, but rather expresses joy and thankfulness. This work was first published in Paris and Berlin in 1827 and was dedicated to Prince Nikolai Golitzin.</span></i>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-54057228709651787762011-07-06T00:00:00.040-04:002011-07-06T00:00:02.401-04:007/6 Miami Int'l Piano Festival: A couple selections...<div class="vm-video-title"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.performancerecordings.com/map%20lost%20penny%2072%20dpi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="244" src="http://www.performancerecordings.com/map%20lost%20penny%2072%20dpi.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.performancerecordings.com/maps.html">Musical Map of "Rage" by James Boyk</a></td></tr>
</tbody></table>The <a href="http://www.miamipianofest.com/">Miami Int'l Piano Festival</a> 's Youtube <a href="http://www.youtube.com/user/miamipianofestival">channel</a> has almost 400 videos of complete performances of classical works on piano and other chamber instruments. Here's a few Beethoven selections...I decided not to include any of the piano sonatas since I've got so many up here already from the previous piano competitions.<br />
<br />
<i><b>Rondo a capriccio in G Major, 'Rage over a Lost Penny' Op.129 </b></i><br />
<span style="font-size: x-small;"><i>Sijing from China is 15 here. She plays this so called "Rage Over a Lost Penny" as though it were a masterpiece. performed at Broward Center, Fort Lauderdale, FL at The Miami International Piano Festival Master Series 2006.</i></span><br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/dUHAaFqDR_I" width="425"></iframe><br />
<a href="http://www.youtube.com/watch?v=dUHAaFqDR_I">Link</a><br />
<br />
<i><b>6 Variations in F, Op.34</b></i><br />
<span style="font-size: x-small;"><i>March 2008 performance at the Miami International Piano Festival. Kit Armstrong is 16 years old.</i></span><br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/p/6CA7A4E70FB6AC09?version=3&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/6CA7A4E70FB6AC09?version=3&hl=en_US&fs=1" type="application/x-shockwave-flash" width="480" height="385" allowscriptaccess="always" allowfullscreen="true"></embed></object></div><a href="http://www.youtube.com/playlist?list=PL6CA7A4E70FB6AC09">Link</a><br />
<br />
Not Beethoven, but a pretty cool arrangement of Bartok's Roumanian Dances<br />
<span style="font-size: x-small;"><i>GILLES APAP violin & arrangement</i></span><br />
<span style="font-size: x-small;"><i>THE TRANSYLVANIA MOUNTAIN BOYS - Christopher Judge, guitar Brendon Statom, double bass</i></span><br />
<span style="font-size: x-small;"><i>from a May 22, 2011 performance at the Colony Theatre Miami Beach Florida</i></span><br />
<iframe allowfullscreen="" frameborder="0" height="331" src="http://www.youtube.com/embed/vF8-WbAekKE" width="530"></iframe><br />
<a href="http://youtu.be/vF8-WbAekKE">Link</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-60224579303617266712011-07-05T00:00:00.010-04:002011-07-05T00:00:04.829-04:007/5 Jonathan Grows Up<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.chamberorchestrakremlin.ru/gallery/imag/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="http://www.chamberorchestrakremlin.ru/gallery/imag/06.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Chamber Orchestra Kremlin</td></tr>
</tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.adobuzz.com/files/uploaded/jonathan%20okseniuk.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="http://www.adobuzz.com/files/uploaded/jonathan%20okseniuk.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jonathan</td></tr>
</tbody></table>A while ago I did a post on <a href="http://lvbandmore.blogspot.com/2010/10/1031-young-beethovens.html">young and exciting talents</a> and one of the people I mentioned was Jonathan (Okseniuk), who did an AMAZING job conducting Beethoven's final movement to the 5th Symphony. You can see the video <a href="http://youtu.be/0REJ-lCGiKU">HERE</a>.<br />
<br />
Since then, Jonathan has <i>skyrocketed</i> in internet fame and even attracted the attention of a real conductor who had him conduct a chamber symphony arrangement of B.'s String Quartet #4, Op.18, No.4. Here's a short video feature on this amazing little guy.<br />
<iframe allowfullscreen="" frameborder="0" height="427" src="http://www.youtube.com/embed/yprmkCuyEWo" width="530"></iframe><br />
<a href="http://youtu.be/yprmkCuyEWo">Link</a><br />
<br />
Another view of the performance can be seen <a href="http://www.youtube.com/watch?v=c7ILOqRkg4U">here</a>. Meanwhile back at home Jonathan is still <a href="http://youtu.be/WIzFHuvOVQw">conducting Symphony 6</a>!<br />
<br />
The Chamber Orchestra Kremlin can be seen below (with it's regular conductor, Misha Rachlevsky) performing the complete orchestrated string arrangement.<br />
<b><i>Pt 1-4: String Quartet #4, Op.18, No.4</i></b><br />
<b><i>Pt 5, 6: String Quartet Op.131</i></b><br />
<b><i>Pt 7-10" </i><i>String Quartet #4, Op.18, No.4 (alternate performance)</i></b><br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/p/29C0709E1DB04905?hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/29C0709E1DB04905?hl=en_US&fs=1" type="application/x-shockwave-flash" width="480" height="385" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/playlist?p=PL29C0709E1DB04905">Linklist</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-10911786600982633782011-07-04T00:00:00.028-04:002011-07-04T00:00:01.461-04:007/4 Kreisler's Rondino<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/0/06/Fritz_Kreisler_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://upload.wikimedia.org/wikipedia/commons/0/06/Fritz_Kreisler_1.jpg" width="231" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://en.wikipedia.org/wiki/Fritz_Kreisler">Fritz Kreisler</a></td></tr>
</tbody></table>Fritz Kreisler was one of the most important violinists of the 20th century, both for his playing as well as his composing for the instrument. In fact he wrote a Rondino based on an unused theme by Beethoven (from the rejected final movement of B.'s Wind Octet in E flat (1793).<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/EC2BWYG6FUo" width="425"></iframe><br />
<a href="http://www.youtube.com/watch?v=EC2BWYG6FUo">Link</a><br />
<br />
This version is a piano arrangement by Leopold Godowsky, performed by Phillip Sear..which would make this <b><i>Sear's Godowsky's Kreisler's Beethoven B-side</i></b>.<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/8b7jXO5VQTw" width="425"></iframe><br />
<a href="http://www.youtube.com/watch?v=8b7jXO5VQTw">Link</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-47893577871940571012011-07-03T00:00:00.022-04:002011-07-03T00:00:01.180-04:007/3 Marmottes and Beethoven<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www2.csdm.qc.ca/slg/activites/3e_Cycle/2008_2009/diaporama/marmotte.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://www2.csdm.qc.ca/slg/activites/3e_Cycle/2008_2009/diaporama/marmotte.jpg" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marmottes.</td></tr>
</tbody></table>I've recently noticed a plethora of arrangements of Beethoven's own arrangement of the traditional air, "La Marmotte".<br />
<br />
First, a "straight version:<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/vsH87mdUghc" width="425"></iframe><br />
<a href="http://youtu.be/vsH87mdUghc">Link</a><br />
<br />
Now..on accordion:<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/60LMg_oW8ZU" width="425"></iframe><br />
<a href="http://youtu.be/60LMg_oW8ZU">Link</a><br />
<br />
and electric guitar & synthesizer:<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/t5gCpZvz7nE" width="425"></iframe><br />
<a href="http://youtu.be/t5gCpZvz7nE">Link</a><br />
<br />
Of course, I did my <a href="http://www.youtube.com/watch?v=G743ZlFpxw0&feature=player_detailpage#t=356s">own arrangement as well</a>...Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-1357771201095029642011-07-02T00:00:00.056-04:002011-07-02T00:00:02.126-04:007/2 Dr. Jekyll & Mr. Hyde Play Beethoven<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwBbPuT1YvWVISnnVfOKrcPwYREJMz6llr7qsHYWfTehiZu2m7Mer_MUf6SyW2hL3MJpi3V4a982ExhLSXA9LXuM3hoC-isdkeZEovatSXlwMAyMN-nMwOR2FC9-yoj_hg9NCsdaU6foA/s1600/l_product_image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwBbPuT1YvWVISnnVfOKrcPwYREJMz6llr7qsHYWfTehiZu2m7Mer_MUf6SyW2hL3MJpi3V4a982ExhLSXA9LXuM3hoC-isdkeZEovatSXlwMAyMN-nMwOR2FC9-yoj_hg9NCsdaU6foA/s320/l_product_image.jpg" width="215" /></a></div>Robert Louis Stevenson is best known as a writer of books like "Treasure Island", "Kidnapped" and "The Strange Case of Dr. Jekyll and Mr. Hyde" but he also had an unusual side-career of transcribing works for recorder. <br />
<br />
Here's a performance of Stevenson's recorder version of a song from Beethoven's "Egmont" score: <br />
<b><i>Egmont (Clarchen's Lied): Die Trommel gerühret, Op.84b no. 1 </i></b><br />
<i>Played on tenor recorder by J.F.M. Russell from a Stevenson manuscript at Princeton University as part of a project to record the complete music of RLS. </i><br />
<iframe allowfullscreen="" frameborder="0" height="331" src="http://www.youtube.com/embed/6QEqUgnc2zo" width="530"></iframe><br />
<a href="http://www.youtube.com/watch?v=6QEqUgnc2zo">Link</a><br />
A regular version of Die Trommel gerühret can be found <a href="http://www.youtube.com/watch?v=xux4SVVQUzI">HERE</a>.<br />
<br />
<div class="vm-video-title">And here's Stevenson's arrangement of<br />
<i><b>Seufzer eines Ungeliebten - Gegenlieb, WoO.118 (1795)</b></i><br />
Gegenlieb interestingly uses a melody which re-occurs in the 9th Symphony... <i><b><br />
</b></i><br />
<i>Played on soprano recorder by J.F.M. Russell from a Stevenson manuscript in the Yale University Beinecke Rare Book & Manuscript Library as part of a project to record the complete music of RLS. </i><br />
<iframe allowfullscreen="" frameborder="0" height="331" src="http://www.youtube.com/embed/vQRVwx-3sUE" width="530"></iframe><br />
<a href="http://youtu.be/vQRVwx-3sUE">Link</a></div>A regular version of this song can be found in my earlier post <a href="http://lvbandmore.blogspot.com/2010/07/seufzer-eines-ungeliebten-gegenlieb.html">HERE</a>.Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-50985529055181844992011-07-01T00:00:00.027-04:002011-07-01T00:00:07.671-04:007/1 Beethoven, The Ventures and a Giant Harmonica<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXkFbWNbNwibuulaS4QRaxr-2qvNTZhQgz8XXdfRj61jwEkApTR5KHDVYYWuc8lgB87b-EhyphenhyphengMFGdmPlWiioVaix4ClNSWxvbBOD9dnW5I9XwqprBz_T4tPfx8hhMG6fK7qEEGx8HTZpNy/s1600/ventures_freakf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXkFbWNbNwibuulaS4QRaxr-2qvNTZhQgz8XXdfRj61jwEkApTR5KHDVYYWuc8lgB87b-EhyphenhyphengMFGdmPlWiioVaix4ClNSWxvbBOD9dnW5I9XwqprBz_T4tPfx8hhMG6fK7qEEGx8HTZpNy/s320/ventures_freakf.jpg" width="320" /></a></div>The Ventures are pretty famous as a surf-rock band but here they do some <b><i>groovy </i></b>arrangements of Beethoven: <br />
<br />
The Ventures play the 5th Symphony<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/HCLurXIzY-I" width="425"></iframe><br />
<a href="http://youtu.be/HCLurXIzY-I">Link</a><br />
<br />
The Ventures play the Moonlight Sonata<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/Ybvv5mKFzLU" width="425"></iframe><br />
<a href="http://youtu.be/Ybvv5mKFzLU">Link</a><br />
<br />
And for no logical reason whatsoever I'm going to throw in another 5th Symphony arrangement on what looks like soprano, tenor and baritone harmonicas...<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/6CTA8-mFAqI" width="425"></iframe><br />
<a href="http://www.youtube.com/watch?v=6CTA8-mFAqI">Mendes Harmónica Trio</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com1tag:blogger.com,1999:blog-4669875924239769597.post-9421964342929673962011-06-30T00:00:00.041-04:002011-06-30T07:33:48.641-04:006/30 The Eroica Without a Net<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPgf2dI2SKTsVMUALy6p4oMnBTv1UZON2AwFyl-sqUsdp33uIgZ8zozl5kU6M6U9pFce6OUOhBeB6AxgkRn3-Kgqd9JeYKDe3VRk5N4AGQf7_GioM9ClE1zepCXGD44KJH15y9qwjCa-sp/s1600/persimfans.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPgf2dI2SKTsVMUALy6p4oMnBTv1UZON2AwFyl-sqUsdp33uIgZ8zozl5kU6M6U9pFce6OUOhBeB6AxgkRn3-Kgqd9JeYKDe3VRk5N4AGQf7_GioM9ClE1zepCXGD44KJH15y9qwjCa-sp/s320/persimfans.JPG" width="320" /></a></div><a href="https://www.facebook.com/pages/Persimfans/155880237764517?sk=wall#%21/pages/Persimfans/155880237764517?sk=wall">Persimfans</a> is one of the few orchestras which perform without a conductor. Judging from a short video documentary about them (link at bottom) they apparently do a good deal of modern, avant-theatrical repertoire. However in this video they perform Beethoven's 3rd Symphony, the ever-inspiring "Eroica".<br />
<br />
I really like the fact that (here at least) they play in a circle facing inwards. Somehow it reminds me of a campfire jamboree... I believe B. would have approved of this kind of unusual "communal" music-making.<br />
<br />
From Youtube:<br />
<i><span style="font-size: x-small;">PERSIMFANS is a symphony conductorless ensemble organized in Moscow by the Music Laboratory of the School of Dramatic Art Theatre in early 2008. Originally PERvyi SIMFonicheskiy ANSambl bez dirizhera (an abbreviation for The First Conductorless Symphony Ensemble) was founded by the violinist Lev Ceitlin in 1922 right after the Civil War. The first Soviet years were marked by collectivist utopia that in the case of PerSimfAns revealed itself in the idea of providing all its members (up to 150 musicians) with the self-managing authority free from baton/scepter despotism, demonstrating, as Nicholas Slonimsky once wrote, that "in a proletarian state orchestra men do not need a musical dictator". PerSimfAns was striving to make familiar the new-born proletariat with the classical and modern pieces, arranging concerts virtually anywhere: concert halls, working clubs and factories, reaching the widest possible audience, inspiring dozens of imitators in other Soviet cities as well as in Paris, Leipzig and New York and wining worldwide acclaim from such collaborators as Prokofiev, Milhaud, Myaskovsky, Zecchi, Petri etc., including even Klemperer. In 1933 despite its lasting fame the ensemble was forced to halt its activity, thus indicating the end of pure socialist idealism and anticipating total dictatorship of Stalinist regime. <br />
<br />
As back in the 1920s, today PerSimfAns consists of the highly acclaimed orchestras members and Moscow conservatory teachers, however nowadays its concerts include not exclusively conductorless performance of symphonic pieces, but the reconstruction of the original noise-ensembles adjusted to their authentic repertoire, ballet troupe staging a forgotten Prokofiev "Trapèze" ballet , litmontage, documentary video montage etc. PerSimfAns brings into public focus rare musical pieces (i.e. "First Concert" by A. Mossolov (1927), "Metal March" by G. Lobachev (1928), "On the Dneprostroi" by J. Meituss (1932), "Intégrations" by I. Wyschnegradsky (1969) etc.) as well as bizarre versions of the famous ones (i.e. "Die Zauberflöte Overture" (Soviet edition for cinemas, clubs and variety from 1930) or even compositions by the contemporary composers (such as Pavel Karmanov or "Vezhlivyi Otkaz" (The Polite Denial) rock-band). In 2010 PerSimfAns is planning to perform <b>Beethovens "Third Symphony",</b> one of the symbolic landmarks in the early Soviet repertoire."</span></i><br />
<br />
<i><b>Symphony No.3 in E flat major, op.55 'Eroica' (1805)</b></i><br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/p/19161B8AAE2002C4?hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/p/19161B8AAE2002C4?hl=en_US&fs=1" type="application/x-shockwave-flash" width="480" height="385" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<a href="http://www.youtube.com/playlist?p=PL19161B8AAE2002C4">Linklist</a><br />
<h3 class="r"><span style="font-size: small;"><a class="l" href="http://www.youtube.com/watch?v=K4A7hLX0KEk"><i>PERSIMFANS</i> PROMO (documentary)</a></span> </h3>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0tag:blogger.com,1999:blog-4669875924239769597.post-49052110899433070842011-06-29T00:00:00.125-04:002011-06-29T00:03:30.897-04:006/29 Bernard Herrmann's 100th Birthday<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCuO4h_2wP0mRExxcXBV81rpFBBqTpah_1EnV5DmRqjO06PTqXskB5JI2NrcmbEQFcZNHM-UCd7IlnY6n01WrQeGl0N5FO7D1AeqBv1t94yWQ21NLBY6l9hnpxCiQ6FCmINf5nCdeRlT0y/s1600/pamss03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCuO4h_2wP0mRExxcXBV81rpFBBqTpah_1EnV5DmRqjO06PTqXskB5JI2NrcmbEQFcZNHM-UCd7IlnY6n01WrQeGl0N5FO7D1AeqBv1t94yWQ21NLBY6l9hnpxCiQ6FCmINf5nCdeRlT0y/s320/pamss03.jpg" width="320" /></a></div>Today marks the 100th anniversary of <a href="http://en.wikipedia.org/wiki/Bernard_Herrmann">Bernard Herrmann</a>'s birth (let's call it his 100th birthday). I've always cited Herrmann as my favorite 20th Century composer. In fact he was my introduction to orchestral music in general. Back when I was deep into experimental music and free jazz, I used to comb through old thrift stores for kitschey records to sample/collage. One time I found a 99 cent cassette of the original score recording to Herrmann's "The Day the Earth Stood Still". I was literally blown away at how awesome this score from the 50's was. For me as an electronic musician, the 2 theremins, electric basses and organs were a perfect entry point into film score music. From there I collected ALL of Herrmann's works, as well as the best stuff from Goldsmith, North, Steiner, Waxman, Korngold, Elfman, Horner, Morricone, etc... However Herrmann was still way ahead of every other film music composer in my estimation...one of Bennie's infamous claims is that he did all the orchestrations of his music himself - and that most film composers didn't. I think that had alot to do with the uniqueness of his sound...his wind writing is almost immediately recognizable.<br />
<br />
Main Title from "The Day The Earth Stood Still"<br />
<span style="font-size: x-small;"><i>"the score included electric violin, electric bass, 2 theremins* (treble & bass), test oscillators, vibraphone, 4 pianos, 4 harps & approximately 30 brass instruments"</i></span> <br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/TRc6f2oVdlw?rel=0" width="425"></iframe><br />
<a href="http://youtu.be/TRc6f2oVdlw">Link</a><br />
<br />
So, thinking about Herrmann recently made me think of some parallels between Beethoven and Bennie...<br />
<br />
Both left their original hometown for a new city... <br />
<i>(LvB:Bonn->Vienna / BH:Brooklyn->Hollywood)</i><br />
<br />
Both had big early successes... <br />
<i>(LvB: most celebrated pianist in Vienna / BH:"Citizen Kane")</i><br />
<br />
Both very stubborn and refused to make changes to their scores... <br />
<i>(LvB:Fidelio / BH:"Wuthering Heights", Symphony 1)</i><br />
<br />
Both had and early "derivative period"... <br />
<i>(LvB:Haydn, Mozart / BH: Copland, Elgar) </i><br />
<br />
Both had strong middle periods... <br />
<i>(Herrmann's middle period was when he worked with Hitchcock and Harryhausen)</i><br />
<br />
Late success... <br />
<i>(Herrmann's last film, "Taxi Driver" was nominated for an Academy Award)</i><br />
<br />
Use of technology......<br />
<i>(LvB: metronome, panharmonicon, extended timpani, trombones / Herrmann used theremin in "The Day The Earth Stood Still", and Moog on "Sisters", "Endless Night" etc..) </i><br />
<br />
Difficulty getting along..<br />
<i>(Herrmann was not shy about putting down his fellow composers, as well as the directors who he disdained.)</i> <br />
<br />
Both had an "out of favor" period...<br />
<i>(After his partnership with Hitchcock ended, Herrmann had fewer big productions until very late in his life) </i><br />
<br />
Finally, both had a prodigious talent for writing very simple motifs and "exploding" then into orchestral masterpieces.<br />
<i>(LvB:5th and 6th Symphonies / BH: "Psycho", "North by Northwest", etc...)</i><br />
<br />
<span style="font-size: large;"><b><i>Happy 100th, Bennie!</i></b></span><br />
<br />
"Vertigo" Main Title:<br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/kC5AzFc3coo?rel=0" width="425"></iframe><br />
<a href="http://youtu.be/lqL5gEoXWBk">Link</a><br />
<br />
"Death Hunt" from "On Dangerous Ground"<br />
(Esa Pekka-Salonen with the L.A. Phil) <br />
<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/lqL5gEoXWBk?rel=0" width="425"></iframe><br />
<a href="http://youtu.be/lqL5gEoXWBk">Link</a><br />
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<a href="http://cinefantastiqueonline.com/2007/12/supernal-dreams-bernard-herrmann-on-film-music/">Transcript of a lecture given by Bernard Herrmann at the George Eastman House Museum in October, 1973.</a><br />
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<a href="http://www.bernardherrmann.org/">Bernard Herrmann Society (News, Forum, articles)</a><br />
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<a href="http://folk.uib.no/smkgg/midi/soundtrackweb/herrmann/music/">Herrmann Works Listing</a><br />
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<a href="http://writings.tomschneller.net/VertigoN.htm">Analysis of "Vertigo"</a><br />
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Here's a fine article about Herrmann's best scores from Film Music Review:<br />
<a href="http://www.americanmusicpreservation.com/BernardHerrmannCentennial.htm">http://www.americanmusicpreservation.com/BernardHerrmannCentennial.htm</a><br />
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Here's a link to the New York Philharmonic's archive of Herrmann-related performances: <br />
<a href="http://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Herrmann">http://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=Herrmann</a>Ed Changhttp://www.blogger.com/profile/02790159104500713198noreply@blogger.com0