Ludwig van Beethoven

Top Tracks

Track Artist Album
Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2, Moonlight: I. Adagio sostenuto Ludwig van Beethoven Beethoven: Piano Sonatas Nos. 8, 14 and 23
Piano Quartet in E-flat Major, Op.16: II. Andante cantabile Ludwig van Beethoven Beethoven, Schumann: Piano Quartets (Remastered)
Concerto for Piano and Orchestra No. 5 in E-Flat Major, Op. 73: II. Adagio un poco moto - attacca Ludwig van Beethoven The Beethoven Journey - Piano Concerto No.5 "Emperor" & Choral Fantasy
String Quartet No. 16, Op. 135: II. Vivace Ludwig van Beethoven Beethoven: Complete String Quartets
Beethoven: Piano Sonata No. 8 in C Minor, 'Pathétique', Op. 13: II. Adagio cantabile Ludwig van Beethoven Beethoven: Piano Sonatas
Piano Sonata in D Major, Op. 28 - 'Pastoral': I. Allegro Ludwig van Beethoven Five
Piano Sonata No. 4 in E-Flat, Op. 7: III. Allegro Ludwig van Beethoven Beethoven: Piano Sonatas, Vol. 2 - Nos. 4, 14 'Moonlight, 24 &Fantasy in G Minor
Sonata Op.31 No.2: III. Allegretto Ludwig van Beethoven Beethoven: Moto perpetuo
Piano Sonata No. 32 in C Minor, Op. 111: II. Arietta: Adagio molto, semplice e cantabile Ludwig van Beethoven Garrick Ohlsson Edition: Beethoven Sonatas, Vol. 2
Concerto for Piano and Orchestra No. 4 in G Major, Op. 58: II. Andante con moto Ludwig van Beethoven Beethoven: Piano Concertos Nos.2 & 4
Piano Sonata No. 10 in G Major, Op. 14, No. 2: I. Allegro Ludwig van Beethoven Beethoven: The Complete Piano Sonatas
Speaking Unto Nations (Beethoven Symphony no 7 - II ) Ludwig van Beethoven The King's Speech (International Version)
Sonate No. 9 en Mi majeur, Op. 14 No. 1: I. Allegro Ludwig van Beethoven Beethoven: Sonates pour piano, Vol.2
Piano Sonata No. 3 in C Major, Op. 2 No. 3: I. Allegro con brio Ludwig van Beethoven Beethoven: Complete piano sonatas
Beethoven: Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2, "Moonlight": III. Presto agitato Ludwig van Beethoven Beethoven : Piano Sonatas
String Quartet in G Major, Op. 18, No. 2: II. Adagio cantabile - Allegro - Tempo I Ludwig van Beethoven Beethoven: Complete String Quartets, Vol. 7
Symphony No. 5 in C-Minor, Op. 67: I. Allegro con brio Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Cello Sonata No. 4, Op. 102 No. 1: I. Andante – Allegro vivace Ludwig van Beethoven Beethoven: The Sonatas & Variations for Cello and Piano
II. Adagio cantabile - Remastered Ludwig van Beethoven 50 Masterworks - Glenn Gould
Beethoven: Symphony No. 3 in E-Flat Major, Op. 55, 'Eroica': I. Allegro con brio Ludwig van Beethoven Harnoncourt - The Complete Beethoven Recordings
Sonata # 14 in C-sharp minor, Op. 27 No 2 “Moonlight”:: Adagio sostenuto Ludwig van Beethoven Beethoven: The Complete Piano Sonatas
Symphony No.5 In C Minor, Op.67: 1. Allegro con brio Ludwig van Beethoven Beethoven
Sonata No. 14 in C-Sharp Minor for Piano, Op. 27, No. 2 "Moonlight": I. Adagio sostenuto Ludwig van Beethoven Beethoven: Sonatas for Piano No. 14, 8, & 23 - Expanded Edition
Diabelli Variations, Op.120: XXV. Var. XXIV - Fughetta. Andante Ludwig van Beethoven Beethoven: Diabelli Variations
Symphony No. 5 in C-Minor, Op. 67: II. Andante con moto Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Cello Sonata No. 1, Op. 5 No. 1: I. Adagio sostenuto Ludwig van Beethoven Beethoven: The Sonatas & Variations for Cello and Piano
Cello Sonata No. 3, Op. 69: III. Adagio cantabile - Allegro vivace Ludwig van Beethoven Beethoven: The Sonatas & Variations for Cello and Piano
Sonata in A Major Op. 69: IV. Allegro vivace Ludwig van Beethoven Beethoven: Complete Sonatas & Variations
Symphony No. 7 in A Major, Op. 92: II. Allegretto Ludwig van Beethoven Beethoven: Symphonies Nos. 5 & 7
Symphony No. 5 in C-Minor, Op. 67: III. Allegro Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
String Quartet No.16 In F Major, Op. 135: 1. Allegretto Ludwig van Beethoven Beethoven: The Late String Quartets
II. Adagio cantabile from Piano Sonata No. 8 in C minor, Op. 13 Pathetique - Instrumental Ludwig van Beethoven Immortal Beloved Soundtrack
String Quartet in C Major, Op. 59, No. 3: IV. Allegro Molto Ludwig van Beethoven Beethoven: Complete String Quartets, Vol. 7
Symphony No. 5 in C-Minor, Op. 67: IV. Allegro - Presto Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Symphony No. 1 in C Major, Op. 21: I. Adagio molto - Allegro con brio Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Symphony No. 3 in E-Flat Major, Op. 55 Eroica: I. Allegro con brio Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Cello Sonata No. 1, Op. 5 No. 1: II. Rondo - Allegro Vvace Ludwig van Beethoven Beethoven: The Sonatas & Variations for Cello and Piano
Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata": II. Andante con moto Ludwig van Beethoven Lazar Berman - The Complete Sony Recordings
Trio for piano, violin and cello No. 7 in B Flat Major, Op. 97: II. Scherzo - Allegro Ludwig van Beethoven Beethoven: Piano Trios, Op. 70 No. 2, Op. 97 "Archduke"
Symphony No. 9 in D Minor, Op. 125 Choral: II. Molto vivace Ludwig van Beethoven Beethoven, Van L.: Symphony No. 9, "Choral"
Symphony No. 1 in C Major, Op. 21: II. Andante cantabile con moto Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Symphony No. 1 in C Major, Op. 21: III. Menuetto. Allegro molto e vivace Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Symphony No. 1 in C Major, Op. 21: IV. Finale. Adagio - Allegro molto e vivace Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Symphony No. 3 in E-Flat Major, Op. 55 Eroica: II. Marcia funèbre. Adagio assai Ludwig van Beethoven Beethoven: Symphonies Nos. 1,3,4,5
Piano Sonata No. 8 in C Minor, Op. 13, Pathetique: I. Grave - Allegro di molto e con brio Ludwig van Beethoven Beethoven: Piano Sonatas Nos. 8, 14 and 23
12 Variations on ‘Ein Mädchen oder Weibchen’ from Mozart’s 'Die Zauberflöte' Op. 66 Ludwig van Beethoven Beethoven: The Sonatas & Variations for Cello and Piano
Cello Sonata No. 2, Op. 5 No. 2: I. Adagio sostenuto ed espressivo - II. Allegro molto, più tosto presto Ludwig van Beethoven Beethoven: The Sonatas & Variations for Cello and Piano
Allegretto in B-Flat Major, WoO 39 Ludwig van Beethoven Beethoven: The Complete Piano Trios, Vol. 1
Sonata No. 9 in A Major for Violin and Piano, Op. 47, "Kreutzer Sonata": I. Adagio sostenuto - Presto Ludwig van Beethoven Beethoven - The Greatest Performances
Symphony No. 1 in C Major, Op. 21: IV. Adagio - Allegro molto Ludwig van Beethoven Beethoven: The Symphonies - Reflections

Beethoven 9
2016-11-08
Beethoven 3 and 5
2009-09-22
Egmont
2016-12-27
Best Of Beethoven
2009-10-07
Beethoven's 7th
2013-07-23

Ludwig van Beethoven (16 December 1770 – 26 March 1827) was a German pianist and composer of the transitional period between the late Classical and early Romantic eras. He remains one of the most brilliant, prolific and influential composers of all time. Beethoven is widely regarded as a master of musical construction, sometimes sketching the architecture of a movement before he had decided upon the subject matter. He was one of the first composers to systematically and consistently use interlocking thematic devices, or 'germ-motives', to achieve unity between movements in long compositions. (Some insight into the meaning of the germ-motive device is given at the end of this bio.) Equally remarkable was his use of source-motives', which recurred in many different compositions and lent some unity to his life’s work. He made innovations in almost every form of music he touched. For example, he diversified even the well-crystallised form the rondo, making it more elastic and spacious, which brought it closer to sonata form. He was mostly inspired by the natural course of nature, and liked to write songs describing nature. Beethoven composed in a great variety of genres, including symphonies, concerti, piano sonatas, other instrumental sonatas (including for violin), string quartets and other chamber music, masses, lieder, and one opera. Beethoven's compositional career is usually divided into Early, Middle, and Late periods: In the Early (Classical) period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first three piano concertos, and the first twenty piano sonatas, including the famous "Pathétique" and "Moonlight" sonatas. The Middle (Heroic) period began shortly after Beethoven's personal crisis centering around his encroaching deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle period works include six symphonies (numbers 3 to 8), the fourth and fifth piano concertos, the triple concerto and violin concerto, five string quartets (numbers 7 to 11), the next seven piano sonatas (including the "Waldstein" and the "Appassionata"), and Beethoven's only opera, Fidelio. Beethoven's Late (Romantic) period began around 1816. The Late-period works are characterised by intellectual depth, intense and highly personal expression, and formal innovation (for example, the Op. 131 string quartet has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Many people in his time period do not think these works measured up to his first few symphonies, and his works with J. Reinhold were frowned upon. Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas. Destructuring the sonata form, both in the overall schema (movements, tempos) and in the micro-form, Beethoven began to use germinal ideas propelling the whole melodic, harmonic, and rhythmic progression. In the first quartet of the group (E flat major, Op.127 – February 1825), the Adagio has five variations (in this case, a source-theme becomes the backbone of the tempo). That same year, in July, Quartet in A minor, Op.132, features a first movement with the traditional two themes, but without contrast; they display and disseminate sub-sections and ‘germs’ in a circular frame, interlocking with each other. Beethoven's germ-motive is like a Bach choral, summoning the other voices around itself. The last quartet, Op. 135 in F major, was composed in a downplayed form, going back to a more traditional four-tempo structure. But internally one finds the same frozen micro-structure: the first movement is harmonically ambiguous, whereas the scherzo sounds like Bartòk, and in the finale, the canon ‘Es muss sein’ plays a joyful role. A terrible grave comes in afterward, to dissolve into a soft pizzicato: adieu music, adieu life . It was never heard by the now deaf Beethoven, and he died shortly afterward. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.