Podcasts about Grosse Fuge

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Donald Macleod explores Beethoven's life through his most iconic works Beethoven remains one of the most lauded composers in history, famed for both his music, and for his personal triumph as a musician over the adversity of his catastrophic hearing loss. Donald Macleod takes five of Beethoven's most iconic works, spread out through the composer's life, and tracks the journey of each of them. Through these stories, Donald discovers both the pieces' direct importance to the composer, and also finds wider issues which each of them point to in the general life of a complex, and troubled man. From his carefully stage-managed debut on the Viennese scene as a young man, and his steadily increasing anguish at the loss of his hearing, and the betrayal by Napoleon of his political ideals, to the close relationship between Beethoven and his most loyal patron, and the composer's late credo of joy through suffering which allowed him to continue to flourish artistically despite all of his personal demons. Music Featured: Symphony No 7 (IV. Finale) Piano Quartet No 1 in E-flat major, WoO 36 (II. Allegro con spirito) Cantata on death of Emperor Joseph II (I. Todt! Todt!; III. Da kam Joseph) Piano Sonata in C major, Op 2`3 (IV. Allegro Assai) Piano Concerto No 1 in C major, Op 15 (1st movement) The Creatures of Prometheus, Op 43 (Overture) Piano Sonata No 12 in A-flat, Op 26 (III. Funeral march on the death of a hero) Christus am Olberge, Op 85 (III. “Meine seele ist erschuttert”) An die hoffnung, Op 32 Symphony No 3 in E-flat major, Op 55 “Eroica” (I. Allegro con brio) Leonore, Op 72a (original version, 1805), Act I Nr. 12. Finale “O, welche Lust, in freier Luft" Ich bin der Herr von zu, Du bist der Herr von von, WoO 199 Piano Concerto No 4 in G major, Op 58 (III. Rondo) Symphony No 5 in C minor, Op 67 (IV. Allegro) Piano Sonata No 26 in E flat major, Op 81a “Les Adieux” (I. Das lebewohl) Piano Trio in B flat major, Op 97 “Archduke” (I. Allegro Molto) Missa Solemnis in D major, Op 123 (Gloria; Quoniam) Piano Sonata No 29 in Bb major, Op 106 “Hammerklavier” (II. Scherzo) Adelaide, Op 46 Sonata for Cello and Piano in D major, Op 102 An die ferne geliebte, Op 98 Symphony No 8 in F major (IV. Allegro Vivace) Piano Sonata No 29 in Bb major, Op 106 “Hammerklavier” (IV. Largo – Allegro risoluto) Symphony No 9 in D minor, Op 125 “Choral” (Finale (excerpt)) Piano Sonata No 32 in C minor, Op 111 (I. Maestoso) Missa Solemnis in D major, Op 123 (Credo: Et Incarnatus Est) Diabelli variations in C major, Op 120 (excerpt) Grosse Fuge in B flat major, Op 133 Presented by Donald Macleod Produced by Sam Phillips for BBC Audio Wales and West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Ludwig van Beethoven (1770-1827) https://www.bbc.co.uk/programmes/m001rr0t And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Tras un año de vaivenes con aforos limitados las Artes Escénicas afrontan el 2022 con "incertidumbre", asegura el presidente de los productores de teatro y danza en España, Jesús Cimarro. Los escenarios españoles esperan no volver a las restricciones, recuperar “cierta normalidad que todos añoramos" y que la temporada sea fructífera, añade Cimarro. Estos son algunos de los estrenos previstos para el 2022 en los escenarios de Madrid. TEATRO REAL El Teatro Real cierra temporada salvando las dos últimas funciones de 'La bohème', tras suspender varias representaciones por 25 positivos de covid entre sus trabajadores. Para 2022 el Teatro Real ha programado ‘La Bayadera', una de las obras fundamentales del repertorio de las compañías de danza clásica con libreto de Marius Petipa y Sergei Khudekov y música del austriaco Ludwing Minkus (1826-1917). El Teatro Real ofrece el 8 de enero un recital de la soprano Lise Davidsen Pieza, estrenada en el Teatro Imperial Bolshói Kamenny de San Petersburgo en enero de 1877, llegará a mediados de mayo a Madrid de la mano del Ballet Bolshói con un nueva versión escénica de Yuri Grigorovich. Flamenco en el Real Tras mucho lamento, el flamenco se sentirá y vivirá en el Real con Alba Heredia, bailaora que pertenece a una de las dinastías más relevantes del mundo flamenco como son los Maya o con el zapateado poderoso de Eduardo Guerrero González y el trabajo visceral de Patricia Guerrero, Premio Nacional de Danza 2021. Izal sinfónico en el Teatro Real para despedir la Navidad Kiki Morente también estará en junio en el Real y cerrará el ciclo de Flamenco Real José Santiago ‘Carrete de Málaga', máximo exponente del baile personal, el de la calle, el de una posguerra que descubrió y resaltó la necesidad. Izal, Manuel Carrasco, Zaz o Miguel Poveda, son algunos de los artistas que completan la oferta cultural del Teatro Real para 2022, sin olvidar la programación pensada para los más pequeños, El Real Junior. Un 'Apollo y Pulcinella' sin barreras en los Teatros del Canal ESTRENOS DE TEATRO El Centro Dramático Nacional comienza el año con tres estrenos absolutos: una comedia dramática sobre la cárcel, 'El cuaderno de Pitágoras', un espectáculo performático, 'Inloca', y una comedia romántica en clave signada 'Manual básico de lengua de signos para romper corazones'. En Teatro Español, Mario Gas se pondrá a los mandos de 'Amici miei', un espectáculo creado e interpretado por el propio Gas quien abre las puertas para conocer a San Juan de la Cruz, Valle- Inclán a Fernando Fernán Gómez o Enric Casassas. TMDHTM20220103_0024 Bajo la dirección de José Carlos Plaza, llegará también al Teatro Español 'La Casa de Bernarda Alba', de Federico García Lorca, una pieza sobre los ancestros que no conocen la comprensión ni la compasión hacia aquel ser que han creado. También el Español acogerá el testamento artístico de Gerardo Vera, 'Oceanía', un texto que firma con José Luis Collado, el último proyecto que el dramaturgo selló antes de fallecer. Un monólogo que retrata un país y una época a través de los ojos de un hombre en el otoño de su vida. Blanca Portillo volverá a dar voz a un hombre en 'Silencio', un texto de Juan Mayorga que indaga sobre la importancia de escuchar el silencio. Juan Mayorga y Blanca Portillo nos invitan a un teatro de "excelencia" en 'Silencio' Una amplia programación de danza se dará cita en los Teatros del Canal donde la compañía británica del bailarín y coreógrafo Akram Khan presentará en España 'Jungle Book Reimagined' ('El libro de la selva reimaginado'). Els Joglars conmemora sus 60 años de vida, que la convierten en la compañía privada en activo más antigua de Europa, en los Teatros del Canal con '¡Que salga Aristófanes!', una reivindicación de la comedia, del teatro y sus gentes, como catalizadores de la libertad de expresión. Les Luthiers regresan a Madrid 'Una costilla en la mesa: Padre', de Angélica Liddell, que además protagoniza, dirige y que también se ha encargado de la escenografía y del vestuario y 'Los secuestradores del lago Chiemsee', de Mario Gas y Alberto Iglesias, son otros dos de los estrenos destacados en el Canal. Los míticos Les Luthiers regresan a Madrid con 'Viejos Hazmerreíres' en febrero en Ifema Palacio Municipal de Congresos, cuatro únicas funciones que los argentinos realizarán de este show en la capital. Y a finales de septiembre se estrenará 'Matilda', un musical basado en la famosa novela de Roald Dahl. COMPAÑÍA NACIONAL DE DANZA Lo que sí está confirmado es el regreso de Nacho Duato a la Compañía Nacional de Danza después de más de una década de ausencia. El bailarín será el invitado de excepción en la CND con la coreografía "Morgen". La Compañía Nacional estrenará además en 2022 "Polyphonia", de Christopher Wheeldon y "Grosse Fuge" coreografiada por Hasn van Mamen.

Composer Anna Clyne joins conductor Devin Patrick Hughes on One Symphony. They discuss Anna's influences like Stravinsky, Steve Reich, and Arvo Part, composing based on poetry from Rumi to Shakespeare, along with silence in music, symphonic programming, repurposing material from others or yourself, and a way for a composer to be in the room with an orchestra from anywhere in the world! Anna Clyne is a GRAMMY-nominated composer of acoustic and electro-acoustic music.  Described as a “composer of uncommon gifts and unusual methods” by the New York Times and as “fearless” by NPR, Clyne is one of the most acclaimed and in-demand composers of her generation, connecting her music across art forms with innovative collaborations with choreographers, visual artists, filmmakers, and musicians.  Also the winner of the 2016 Hindemith Prize, Anna Clyne is currently the Associate composer for the Sottish Chamber Orchestra, and has held composer residencies with the Chicago Symphony, Baltimore Symphony, and the National Orchestra of France.  Some of Anna Clyne's most amazing works that have been performed by the top orchestras, soloists and conductors around the world, include Dance for cello and orchestra, Night Ferry, Rewind, This midnight Hour, Prince of Clouds, The Seamstress, Sound and Fury and Within Her Arms.  Marin Alsop said it best by describing Anna's music as “always emotional and driven by her heart, and skillfully composed”. Thank you for joining us on One Symphony and thanks to Anna Clyne for sharing her music and insights. Thank you to all the incredible performers and record labels that made this episode possible! Cornelius Dufallo and Amy Kauffman played Tea Leaves from The Violin.  Dance was performed by Inbal Segev, and the London Philharmonic conducted by Marin Alsop. Masquerade was performed by the BBC Symphony conducted by Marion Alsop.  A Wonderful Day was performed by Anna Clyne and Willie Barbee from Bang on a Can All-Stars on the Cantaloupe Music label.   Rewind was performed by the BBC Symphony and Andre de Ridder. Stravinsky's Rite of Spring was performed by the London Symphony and Rafael Frübeck de Burgos.  Beethoven's Grosse Fuge was performed by the Takács Quartet.  Bartok's Concerto for Orchestra was played by the Hungarian State Symphony and Adám Fischer. You can check out Anna Clyne's music online at annaclyne.com. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Beethoven als rebel en idealist. c.   1. 6 Bagatellen, Op. 126 Alfred Brendel 2. Fidelio: Ouverture London Symphony Orchestra, Sir Colin Davis 3. Grosse Fuge, opus 133. Tokyo Strijkkwartet. 4. Opferlied op.121b Ingeborg Springer (mezzo), Groszer Chor des Berliner Rundfunks, Rundfunk-Symphonie-Orchester Berlin olv. Helmut Koch.  

Nearly 200 years after Beethoven (1770-1827)wrote the Grosse Fuge, his fiendishly difficult masterpiece for string quartet still sounds fresh and contemporary. Photo: Ludwig-beethoven.jpg - Wikimedia Commons

Beethoven 2020 en het Holland Festival.   1. Ouverture Die Geschöpfe des Prometheus op. 43 in C Anima Eterna olv. Jos van Immerseel 2. Grosse Fuge op. 133 New Budapest String Quartet 3. Symfonie no 7 op. 92 in A Anima Eterna olv. Jos van Immerseel.  

Donald Macleod explores the enduring power, pathos and innovation of Beethoven’s late string quartets with guests Laura Tunbridge and Edward Dusinberre. Just two years before he died, Beethoven returned to an old treasured form, the string quartet. The five quartets he ended up writing would come to be his final major works, and would change the paradigm beyond recognition. Though dismissed by audiences in their day, their composition is now considered a pivotal moment not only in Beethoven’s life, but in the history of classical music. Donald is joined by musicologist Laura Tunbridge, and violinist Edward Dusinberre of the Takács Quartet, to discuss these extraordinary, watershed works that have bewildered and beguiled listeners ever since their creation. Throughout the week, they focus on each of the five late quartets, uncovering the stories, circumstances and conversations that surround them. Composer of the Week is returning to the story of Beethoven’s life and music throughout 2020. Part of Radio 3’s Beethoven Unleashed season marking the 250th anniversary of Beethoven’s birth. Music Featured: String Quartet No 12 in E flat, Op 127 Symphony No 9 (Finale, part 1) Bagatelle in E flat, Op 126 No 3 String Quartet in A minor, Op 132 Fidelio, Act I: ‘Abscheulicher, wo eilst du hin?‘ String Quartet in B flat major, Op 130 Piano Sonata in G major, Op 79 Grosse Fuge, Op 133 Piano Sonata No 30, Op 109 (1st movement) String Quartet in C sharp minor, Op 131 Lob auf der Dicken, WoO 100 Falstafferel, WoO 184 String Quartet in F major, Op 135 Coriolan Overture, Op 62 Presented by Donald Macleod Produced by Amelia Parker for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven Unleashed: Return to Form https://www.bbc.co.uk/programmes/m000jnlz And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Donald Macleod asks conductor Marin Alsop and historian Simon Schama why Beethoven's life and work still matter today. All through 2020, as part of Radio 3's Beethoven Unleashed season, Donald Macleod takes an unprecedented deep dive into the compelling story and extraordinary music of Ludwig van Beethoven. In this uniquely ambitious series, told across 125 episodes of Composer of the Week, Donald puts us inside Beethoven’s world and explores his hopes, struggles and perseverance in all the colourful detail this amazing narrative deserves. Alongside this in-depth biography, Donald will also be meeting and talking to Beethoven enthusiasts and experts from across the world to discover how his music continues to speak to us in the twenty-first century. Through story and sound, the series builds into a vivid new portrait of this composer, born 250 years ago this year, who made art that changed how people saw themselves and understood the world. Music featured: Bagatelle in A minor (Fur Elise), WoO 59 String Quartet No 10, Op 74 (Harp) (3rd movement) Symphony No 3 in E flat major (Eroica) (3rd movement) Grosse Fuge, Op 133 Symphony No 5 in C minor (1st and 2nd movements) Symphony No 8 in F major, Op 93 (2nd movement) Sonata in A major, Op 30 No 1 for violin and piano Leonore Overture No 3 Piano Sonata No 27 in E minor, Op 90 (2nd movement) Piano Concerto No 4 in G major, Op 58 (2nd movement) Piano Sonata No 13 in E flat major, Op 27 No 1 (2nd movement) Symphony No 3 in E flat major (Eroica), Op 55 (2nd movement) The Creatures of Prometheus: Overture Fidelio: Act II finale Symphony No 4 in B flat major, Op 60 (1st movement) Piano Sonata No 14 (Moonlight), Op 27 No 2 (1st movement) String Quartet in F minor, Op 95 (1st movement) Egmont Overture, Op 84 Symphony No 9 in D major (Choral), Op 125 String Quartet in A minor, Op 132 (5th movement) String Quartet in E flat major, Op 127 (1st movement) Bagatelle in E flat major, Op 126 No 6 Mass in D major (Missa Solemnis), Op 123 (Kyrie) Coriolan Overture, Op 62 String Quartet in B flat major, Op 130 (5th movement) Presented by Donald Macleod Produced by Martin Williams for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven: Why Beethoven? https://www.bbc.co.uk/programmes/m000d7zg And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

LA VIDA Y OBRA DE BEETHOVEN PARA NIÑOS: ¿Quieres que tus hijos conozcan a Ludwig van Beethoven? En este episodio te ayudamos a presentarles a este gran maestro, a que conozcan su vida en general, y escuchen algunas de sus obras. Lo que van a poder escuchar: 00:46. Concierto para violín y orquesta, Op.61: III: Rondo Allegro 02:36. Concierto no. 5 para piano y orquesta "Emperador", Op. 73: II. Adagio un poco mosso (attaca) 04:37. Grosse Fuge, Op. 133 05:15. Piano trio "Archduke", Op. 97: IV. Allegro moderato - Presto 08:15. Sinfonía no. 5, Op. 67: I. Allegro con brio 09:16. Cuarteto para cuerdas no. 13, Op. 130: V. Cavatina - Adagio Molto Espressivo 10:35. Obertura de Egmont, Op. 84 12:36. Sonata no. 8 para piano "Pathétique", Op. 13: II. Adagio Cantabile. 13:08.  Sonata no. 14 para piano, "Claro de Luna", Op. 27-2: I. Adagio sostenuto. 14:34. Bagatelle WoO 59, "Para Elisa" 15:58. Marcha Turca Op. 113 (Las Ruinas de Atenas) 16:39. Sonata no. 5 para violín y piano, "Primavera", Op. 24: I. Allegro   PRÓXIMO EPISODIO: Las 9 sinfonías de Beethoven   Síguenos en: Facebook, Twitter, Instagram y Pinterest.  Si te gusta el episodio, califícalo en tu app favorita (Podcasts iTunes, iVoox) o puedes dejar tu review. :)  No te pierdas ningún episodio. Súscríbete al newsletter en allegromagico.com/suscribirme.   

- direkte fra Bygningskulturens Hus i København, hvor Den Danske Strygekvartet er nået til femte aften på sin 6-dagesrejse gennem alle Beethovens 16 strygekvartetter. I aften tre kvartetter fra komponistens såkaldte sene periode, opus 130, Grosse Fuge, opus 133 samt opus 132. Ca. 21.00: Musik af Mahler, der byggede videre på arven fra Beethoven. Vært: Tina Rømer. www.dr.dk/p2koncerten

Wilhelm Furtwänglers afsked med Salzburg. Tre måneder inden sin død i 1954 gav den tyske dirigent Wilhelm Furtwängler (1886-1954) sin sidste koncert ved Salzburg Festpillene. På programmet stod musik, som Furtwängler havde haft med sig hele livet. Beethoven: Symfoni nr. 8. Grosse Fuge. Symfoni nr. 7. Wiener Filharmonikerne. Dirigent: Wilhelm Furtwängler. (Koncert ved Salzburg Festspillene, 30. august 1954). Vært: Mathias Hammer. www.dr.dk/p2koncerten (Sendt første gang 15. januar).

Open rehearsal. Beethoven String Quartet op.130, with Grosse Fuge. The Doric String Quartet will rehearse and discuss with Murray Perahia one of the works in their concert on 20 January.

Doric String Quartet perform Beethoven's Quartet in B Flat op. 130 with Grosse Fuge at the West Road Convert Hall, 19 January 2015. Open rehearsal. Beethoven String Quartet op.130, with Grosse Fuge.

 Polkastra from "Apolkalypse Now" (Ancalagon LLC) Buy at iTunes Music Store More On This Album Polkastra An eclectic and international cast of characters including a Canadian folk fiddler, the Met's contrabassoonist, an Israeli accordionist and percussionist, a jack-of-all-trades bassist, a French Horn playing record store clerk and an internationally renowned violin soloist met in a New Jersey studio to record a polka album just for fun. An idea that began as a lark quickly grew into an eccentric, virtuosic and energetic exploration of the roots of polka: folk, country, classical and jazz. Polkastra is a unique world music project that celebrates both the joy of music and the power of dance to unite cultures. From the American Midwest and the North of Canada to the mountains of Bohemia and the deserts of Israel - Apolkalypse Now poses the important question "Would you like sauerkraut, poutine, goulash or hummus with that?" http://www.facebook.com/pages/Polkastra/85797268829 http://www.polkastra.com Ama Deus Ensemble, Valentin Radu from "Beethoven: Symphony No. 9 & Die Ruinen von Athen" (Lyrichord) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody More On This Album The Symphony No. 9 in D minor, Op. 125 “Choral” The last complete symphony composed by Ludwig van Beethoven. Completed in 1824, the Ninth Symphony is one of the best-known works of the Western repertoire, considered both an icon and a forefather of Romantic music, and one of Beethoven's greatest masterpieces. The composer struggled for more than ten years before completing the work, and turned to the mighty Missa Solemnis while he considered his final symphony. Using voices in an orchestral symphony had never been attempted before. Beethoven finally decided to incorporate part of the Ode an die Freude (“Ode to Joy”), a poem by Friedrich Schiller, with text sung by soloists and a chorus in the new symphony's last movement. It is, indeed, the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that sets the tone for the Romantic symphonic form. Ludwig van Beethoven (1770-1827)  Smetana Quartetfrom "Beethoven: String Quartets Nos 11-16 incl. Grosse Fuge / Smetana Quartet" (Supraphon Music a.s.) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody More On This Album Album Notes Smetana Quartet Plays Late Beethoven (3 CDs) L. van Beethoven: String Quartets No. 11 in F minor, Op. 95, No. 15 in A minor, Op. 132, No. 14 in C sharp minor, Op. 131, No. 12 in E flat major, Op. 127, No. 13 in B-flat major, Op. 130, Grosse Fuge in B flat major, Op. 133, No. 16 in F major, Op. 135 The Smetana Quartet (1945-1989) played Beethoven's quartets 1490 times over the course of their career! The recordings which make up this complete collection are from the years 1961-70, and the performances were played from memory! The recordings glow with youthful energy and tireless searching. The Smetana Quartet has been called perhaps the best ensemble of the years 1960-80. London Symphony Orchestra, Bernard Haitink from "Beethoven: Symphonies Nos. 4 & 8" (LSO Live) Buy at iTunes Music Store Buy at eMusic Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This Album Symphony No. 8 in F Major, Op. 93 The work was begun in the summer of 1812, immediately after the completion of the Seventh Symphony. At the time Beethoven was 41 years old. As Antony Hopkins has noted, the cheerful mood of the work betrays nothing of the grossly unpleasant events that were taking place in Beethoven's life at the time, which involved his interference in his brother Johann's love life. The work took Beethoven only four months to complete, and was dedicated to the banker Count Moritz Fries, who, according to Karl Holz, paid Beethoven a regular subsidy for some years until his bankruptcy in 1825. The premiere took place on February 27, 1814, at a concert at which the mighty Seventh Symphony (which had been premiered two months earlier) was also played. Beethoven was growing increasingly deaf at the time, but nevertheless led the premiere. Reportedly, "the orchestra largely ignored his ungainly gestures and followed the principal violinist instead". Critics immediately noted that the Eighth did not reach the heights of its predecessor, launching a long tradition of complaining that the Eighth Symphony is not something different (more heroic, more emotive) from what it is. However, many listeners seem to be able to enjoy the symphony anyway, and it appears frequently today on concert programs as well as on recordings. When asked by his pupil Carl Czerny why the Eighth was less popular than the Seventh, Beethoven is said to have replied "because the Eighth is so much better." A critic wrote that "the applause it [the Eighth Symphony] received was not accompanied by that enthusiasm which distinguishes a work which gives universal delight; in short-as the Italians say-it did not create a furor." Beethoven was angered at this reception because he considered the Eighth "much better" than the Seventh. Source: http://en.wikipedia.org/wiki/Symphony_No._8_(Beethoven) http://www.lso.co.uk