Celebrate Beethoven's 250th birthday by exploring his greatest works in this essential playlist, featuring iconic recordings and special new releases.

This Is Beethoven

Beethoven's powerful music has inspired composers and musicians for almost 250 years.  Explore his greatest works in this essential playlist, featuring tender sonatas, energetic overtures, and  explosive symphonies.

Classique

Essential tracks from the most notable classical works ever recorded. Featuring Mozart, Beethoven, Bach, Chopin, Satie, Brahms, Vivaldi & more…Click our <a href="https://open.spotify.com/user/peacefulclassics">profile</a> for more great playlists

Best Classical Music

Recordings of the Amarillo Symphony performances on September 20 - 21, 2013. Conducted by Jacomo Rafael Bairos at the Globe-News Center for the Performing Arts in Amarillo, Texas.

Beethoven's Symphony No. 7 in A major, Op 92 IV. Allegro con brio

Wolfgang Amadeus Mozart - Requiem Aeternam

Live-Mitschnitt aus der Beurs van Berlage, Amsterdam. Die Version der Ergänzung von Hartmut Haenchen

Wolfgang Amadeus Mozart:  Requiem, Dies Irae

There have been speculations for long enough about tempo indications and metronome figures as regards Beethoven; after intensively studying sources, analysing scores and structural tempi, the Dutchman Harke de Roos casts a new light on the tempo relations. Accordingly, Beethoven's deliberate codification of the figures after 1817 due to his well-known aversion towards the metronome that was just being developed at the time should be taken with a pinch of salt. After all, the maestro wrote to its inventor: 'It is a silly plaything, you have to sense the tempos'. Hence, in accordance with de Roos, tempi are used in this performance of the 2nd Symphony in D major op. 34 in its 'original condition' by the Vienna Symphony Orchestra that extend from a third to half the time of usual performance practice today.

Symphony No. 2 In D Major, Op. 36 - III. Scherzo from Van Beethoven Code

Ludwig van Beethoven - Sonata No.14 in c sharp minor Op27 No.2 Moonlight
III. Presto Agitato
Performed by HuiChun Lin 林 慧君

"Elegant Immortal Classics - HuiChun Lin Piano Recital 2009"
"德奧、雅緻、雋永集 — 林 慧君鋼琴獨奏會"
06/Jun/2009 臺中中興堂 TaiChung Taiwan


Curator
Vincent Music & Art 文生音樂藝術

Sponsors
The National Culture and Arts Foundation 財團法人國家文化藝術基金會
Department of Cultural Affairs Taipei City Government 臺北市文化局

Credit
Live Recording/Konzertmitschnitt 18/May/2008 臺中市中興堂
ArchiMusic Production 雅砌音樂錄音製作工程

All rights of the producer and of the owner of the recorded work reserved. Unauthorized copying, public performance, broadcasting, hiring or rental of this recording strictly prohibited.

Ludwig van Beethoven - Sonata No.14 in c sharp minor Op27 No.2 Moonlight III. Presto Agitato

Classics On Line - Volume 4

J.S. Bach: Cello Suite No. 1 in G Major, BWV 1007: I. Prélude

Tune Your Brain for Stress Relief

Liszt: Consolations, S. 172: No. 3 in D-Flat Major. Lento, placido

Piano Moods

Beethoven: Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight Sonata": I. Adagio sostenuto

Chopin: Études

No. 3 in E Major

The Gettysburg Chamber Orchestra with the Schola Cantorum of Gettysburg, from Wolfgang Amadeus Mozart's Requiem, Tuba Mirum. Margaret Folkemer, Soprano; Pamela Cooper-White, Alto; Andy Rosenfeld, Tenor; John Widmann, Bass

Wolfgang Amadeus Mozart Tuba Mirum from Requiem

Best of Wiener Philharmoniker

Beethoven: Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio

Rex Tremendae Majestatis - Requiem, Wolfgang Amadeus Mozart (Cover)

Sunken Cathedral: Classics for Kids

Maria Theresia von Paradis: Sicilienne in E-flat Major

Beethoven: Symphonies Nos. 6 "Pastoral" & 8

Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo

Beethoven: Symphonies Nos. 2 & 5

Symphony No. 2 in D Major, Op. 36: III. Scherzo. Allegro

Beethoven/Schubert/Dvorak: Romances, etc

Violin Romance No. 1 in G Major, Op. 40

Saint-Saëns: Le Carnaval des animaux, R.125 - 13. The Swan (Arr. Cello, Harp & Ensemble)

Saint-Saëns: Le carnaval des animaux, R. 125: XIII. The Swan (Arr. Hodge for Cello, Harp & Ensemble)

J.S. Bach: Violin Concerto No.1 In A Minor, BWV 1041, 1. Allegro moderato

I. (Allegro moderato)

Big Great Symphonies Box, Vol I

Ludwig van Beethoven: Symphony No. 7 in A Major, Op.92: IV. Finale: Allegro con brio

Beethoven: Rage Over A Lost Penny

Rage Over A Lost Penny, Op. 129

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

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KV 626, 3, 5 (coro): 

<i>Confutatis maledictis,
Flammis acribus addictis</i>

Collegium Vocale, La Chapelle Royale / Philippe Herreweghe

Wolfgang Amadeus Mozart / Requiem / Sequenz: Confutatis maledictis (fragment)

Beethoven: Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight Sonata": I. Adagio sostenuto

Daniel Barenboim