Wiener Philharmoniker, Sir Simon Rattle, Alban Berg Quartett, The Philadelphia Orchestra, Riccardo Muti, Andrew von Oeyen - Beethoven: Moonlight Sonata and Other Masterpieces (2024)
BAND/ARTIST: Wiener Philharmoniker, Sir Simon Rattle, Alban Berg Quartett, The Philadelphia Orchestra, Riccardo Muti, Andrew von Oeyen
- Title: Beethoven: Moonlight Sonata and Other Masterpieces
- Year Of Release: 2024
- Label: Warner Classics
- Genre: Classical
- Quality: flac lossless (tracks) / flac 16&24bits - 44.1kHz-96.0kHz
- Total Time: 06:12:05
- Total Size: 1.41 / 4.38 gb
- WebSite: Album Preview
Tracklist
01. Piano Sonata No. 8 in C Minor, Op. 13 "Pathétique": II. Adagio cantabile
02. Symphony No. 2 in D Major, Op. 36: III. Scherzo. Allegro
03. Bagatelle No. 25 in A Minor, WoO 59 "Für Elise"
04. Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio
05. Violin Sonata No. 8 in G Major, Op. 30 No. 3: III. Allegro vivace
06. Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto
07. String Quartet No. 1 in F Major, Op. 18 No. 1: II. Adagio affettuoso ed appassionato
08. 63 Irish Songs, Pt. 1, WoO 152: No. 6, What Shall I Do to Shew How Much I Love Her?
09. Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
10. Cello Sonata No. 3 in A Major, Op. 69: I. Allegro, ma non troppo
11. Symphony No. 8 in F Major, Op. 93: I. Allegro vivace e con brio
12. An die ferne Geliebte, Op. 98: No. 1, Auf dem Hügel sitz'ich, spähend
13. Romance for Violin and Orchestra No. 1 in G Major, Op. 40
14. 6 Bagatelles, Op. 126: No. 5, Quasi allegretto
15. Symphony No. 9 in D Minor, Op. 125 "Choral": II. Molto vivace - Presto
16. Violin Sonata No. 6 in A Major, Op. 30 No. 1: II. Adagio molto espressivo
17. Fidelio, Op. 72, Act 1: "Komm, Hoffnung, laß den letzten Stern" (Leonore)
18. Quintet for Piano and Winds in E-Flat Major, Op. 16: III. Rondo. Allegro ma non troppo
19. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": III. Allegro - Più allegro
20. Piano Sonata No. 32 in C Minor, Op. 111: II. Arietta. Adagio molto semplice e cantabile
21. Prelude in F Minor, WoO 55 (Transcr. Rondeau)
22. Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo. Allegro
23. Serenade in D Major, Op. 25: I. Entrata. Allegro
24. Duet for Viola and Cello in E-Flat Major, WoO 32 "Eyeglasses Duo": I. Allegro
25. Missa solemnis in D Major, Op. 123: Agnus Dei
26. Piano Trio No. 4 in B-Flat Major, Op. 11 "Gassenhauer": II. Adagio
27. Symphony No. 7 in A Major, Op. 92: II. Allegretto
28. Piano Sonata No. 21 in C Major, Op. 53 "Waldstein": I. Allegro con brio
29. Meeresstille und glückliche Fahrt, Op. 112
30. Choral Fantasy, Op. 80
31. 12 Irish Songs, WoO 154: No. 4, The Pulse of an Irishman
32. Coriolan Overture, Op. 62
33. Die Ruinen von Athen, Op. 113: IV. Marcia alla Turca
35. Piano Sonata No. 30 in E Major, Op. 109: I. Vivace, ma non troppo - Adagio espressivo
36. Septet in E-Flat Major, Op. 20: IV. Tema con variazioni. Andante
37. Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto (Arr. Barrios Mangoré for Guitar)
38. String Quartet No. 15 in A Minor, Op. 132: III. Molto adagio
39. Romance No. 2 in F Major, Op. 50
40. Piano Concerto No. 1 in C Major, Op. 15: II. Largo
41. String Quartet No. 12 in E-Flat Major, Op. 127: I. Maestoso - Allegro
42. Sonata No. 9 in A Major, Op. 47 "Kreutzer": III. Finale. Presto (Arr. Radulović for Violin and Orchestra)
43. Symphony No. 4 in B-Flat Major, Op. 60: I. Adagio - Allegro vivace
44. Trio for Oboe, Clarinet and Bassoon C Major, Op. 87: II. Adagio
45. Piano Trio No. 7 in B-Flat Major, Op. 97 "Archduke": II. Scherzo. Allegro
46. Piano Sonata No. 11 in B-Flat Major, Op. 22: II. Adagio con molto espressione
47. Piano Trio No. 5 in D Major, Op. 70 No. 1 "Ghost": I. Allegro vivace e con brio
48. Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata": III. Allegro ma non troppo
The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. His compositions, which frequently pushed the boundaries of tradition and startled audiences with their originality and power, are considered by many to be the foundation of 19th century musical principles.
Born in the small German city of Bonn on or around December 16, 1770, he received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. Beethoven moved to Vienna in 1792 to study with Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. However, the Symphony No. 3, "Eroica," of 1803 began a sustained period of groundbreaking creative triumph. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew, Karl. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed once again over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. Beethoven died in Vienna on March 26, 1827.
Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. Beethoven profoundly transformed every genre he touched, and the music of the 19th century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works as the "Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle An die ferne Geliebte of 1816 set the pattern for similar cycles by all the Romantic song composers, from Schubert to Wolf. The Romantic tradition of descriptive or "program" music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the 19th century, Beethoven still directly inspired both conservatives (such as Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power.
01. Piano Sonata No. 8 in C Minor, Op. 13 "Pathétique": II. Adagio cantabile
02. Symphony No. 2 in D Major, Op. 36: III. Scherzo. Allegro
03. Bagatelle No. 25 in A Minor, WoO 59 "Für Elise"
04. Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio
05. Violin Sonata No. 8 in G Major, Op. 30 No. 3: III. Allegro vivace
06. Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto
07. String Quartet No. 1 in F Major, Op. 18 No. 1: II. Adagio affettuoso ed appassionato
08. 63 Irish Songs, Pt. 1, WoO 152: No. 6, What Shall I Do to Shew How Much I Love Her?
09. Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
10. Cello Sonata No. 3 in A Major, Op. 69: I. Allegro, ma non troppo
11. Symphony No. 8 in F Major, Op. 93: I. Allegro vivace e con brio
12. An die ferne Geliebte, Op. 98: No. 1, Auf dem Hügel sitz'ich, spähend
13. Romance for Violin and Orchestra No. 1 in G Major, Op. 40
14. 6 Bagatelles, Op. 126: No. 5, Quasi allegretto
15. Symphony No. 9 in D Minor, Op. 125 "Choral": II. Molto vivace - Presto
16. Violin Sonata No. 6 in A Major, Op. 30 No. 1: II. Adagio molto espressivo
17. Fidelio, Op. 72, Act 1: "Komm, Hoffnung, laß den letzten Stern" (Leonore)
18. Quintet for Piano and Winds in E-Flat Major, Op. 16: III. Rondo. Allegro ma non troppo
19. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": III. Allegro - Più allegro
20. Piano Sonata No. 32 in C Minor, Op. 111: II. Arietta. Adagio molto semplice e cantabile
21. Prelude in F Minor, WoO 55 (Transcr. Rondeau)
22. Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo. Allegro
23. Serenade in D Major, Op. 25: I. Entrata. Allegro
24. Duet for Viola and Cello in E-Flat Major, WoO 32 "Eyeglasses Duo": I. Allegro
25. Missa solemnis in D Major, Op. 123: Agnus Dei
26. Piano Trio No. 4 in B-Flat Major, Op. 11 "Gassenhauer": II. Adagio
27. Symphony No. 7 in A Major, Op. 92: II. Allegretto
28. Piano Sonata No. 21 in C Major, Op. 53 "Waldstein": I. Allegro con brio
29. Meeresstille und glückliche Fahrt, Op. 112
30. Choral Fantasy, Op. 80
31. 12 Irish Songs, WoO 154: No. 4, The Pulse of an Irishman
32. Coriolan Overture, Op. 62
33. Die Ruinen von Athen, Op. 113: IV. Marcia alla Turca
35. Piano Sonata No. 30 in E Major, Op. 109: I. Vivace, ma non troppo - Adagio espressivo
36. Septet in E-Flat Major, Op. 20: IV. Tema con variazioni. Andante
37. Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto (Arr. Barrios Mangoré for Guitar)
38. String Quartet No. 15 in A Minor, Op. 132: III. Molto adagio
39. Romance No. 2 in F Major, Op. 50
40. Piano Concerto No. 1 in C Major, Op. 15: II. Largo
41. String Quartet No. 12 in E-Flat Major, Op. 127: I. Maestoso - Allegro
42. Sonata No. 9 in A Major, Op. 47 "Kreutzer": III. Finale. Presto (Arr. Radulović for Violin and Orchestra)
43. Symphony No. 4 in B-Flat Major, Op. 60: I. Adagio - Allegro vivace
44. Trio for Oboe, Clarinet and Bassoon C Major, Op. 87: II. Adagio
45. Piano Trio No. 7 in B-Flat Major, Op. 97 "Archduke": II. Scherzo. Allegro
46. Piano Sonata No. 11 in B-Flat Major, Op. 22: II. Adagio con molto espressione
47. Piano Trio No. 5 in D Major, Op. 70 No. 1 "Ghost": I. Allegro vivace e con brio
48. Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata": III. Allegro ma non troppo
The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. His compositions, which frequently pushed the boundaries of tradition and startled audiences with their originality and power, are considered by many to be the foundation of 19th century musical principles.
Born in the small German city of Bonn on or around December 16, 1770, he received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. Beethoven moved to Vienna in 1792 to study with Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. However, the Symphony No. 3, "Eroica," of 1803 began a sustained period of groundbreaking creative triumph. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew, Karl. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed once again over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. Beethoven died in Vienna on March 26, 1827.
Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. Beethoven profoundly transformed every genre he touched, and the music of the 19th century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works as the "Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle An die ferne Geliebte of 1816 set the pattern for similar cycles by all the Romantic song composers, from Schubert to Wolf. The Romantic tradition of descriptive or "program" music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the 19th century, Beethoven still directly inspired both conservatives (such as Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power.
Year 2024 | Classical | FLAC / APE | HD & Vinyl
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads