Podcasts about Hammerklavier

Donald Macleod explores Beethoven's endeavours to become the guardian of his brother's son Karl - a relationship which from the start was built upon rocky foundations.Music Featured: Allegro and Minuet, WoO 26 (Excerpt) Symphony No 3 ‘Eroica' (Scherzo. Allegro vivace) Leonore Prohaska, WoO 96 (Funeral March) Piano Sonata No 28 in A, Op 101 Sehnsucht, WoO 146 Das Geheimnis, WoO 145 Der Mann von Wort, Op 99 Symphony No 7 in A, Op 92 (Allegretto) Music, Love and Wine, Op 108 No 1 Behold my love how green the groves, Op 108 No 9 Symphony No 8 in F, Op 93 (Allegro vivace) Piano Sonata No 29 in B flat, Op 106 ‘Hammerklavier' (Allegro) String Quintet in C minor, Op 104 (Allegro con brio) Missa Solemnis in D, Op 123 (Agnus Dei) Minuet, WoO17 (Mödlinger Tänze, No 2) Piano Sonata No 30 in E, Op 109 (Prestissimo) Symphony No 9 in D minor, Op 125 ‘Choral' (Excerpt) Resignation, WoO 149 Abendlied Unterm Gestirnten Himmel, WoO150 Piano Sonata No 31 in A flat, Op 110 Bagatelle No 2, Op 126 (Allegro) Der Kuss, Op 128 Missa Solemnis in D, Op 123 (Gloria) Symphony No 9 in D minor, Op 125 ‘Choral' (Scherzo) String Quartet No 12 in E flat, Op 127 (excerpt) Waltz in E flat, WoO 85 Tremate, empi, tremate, Op 116 String Quartet No 15 in A minor, Op 132 (Molto adagio) Elegischer Gesang ‘Sanft wie du lebtest‘, Op 118 Piano Sonata No 12 in A flat, Op 26 (Marche Funebre)Presented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales & WestFor 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/m002cbw3And 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

durée : 01:00:05 - Elsa Wolliaston, danseuse, pédagogue et chorégraphe - par : Priscille Lafitte - Reconnue comme figure de la danse contemporaine, Elsa Wolliaston vient de souffler ses 80 bougies au Centre Pompidou, en présence de la chanteuse Camille et du cinéaste Arnaud Desplechin. La chorégraphe parle ici d'une pierre majeure dans son parcours : sa formation de pianiste classique. - réalisé par : Claire Lagarde

No episódio desta semana do Conversa de Câmara, mergulhamos em uma das obras mais desafiadoras e revolucionárias da história da música clássica: a Sonata nº 29 em Si bemol maior, Op. 106 – Hammerklavier, de Ludwig van Beethoven. Considerada por muitos como uma verdadeira maratona pianística, essa sonata vai muito além da técnica: é intensidade, ousadia e genialidade em forma de música.Neste episódio, revelamos os bastidores da criação dessa obra colossal e o que ela significou na vida de Beethoven e na história do piano. Também falamos sobre os intérpretes que ousaram enfrentá-la, os desafios que ela impõe e por que ainda hoje a "Hammerklavier" é um divisor de águas para pianistas do mundo inteiro.Se você ama música clássica, piano ou simplesmente quer entender por que essa sonata é considerada uma das maiores já compostas, não pode perder!

Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenLink to Jed's Gramophone Collection article: https://www.gramophone.co.uk/classical%20music%20news/article/introducing-gramophone-s-january-2020-issueLink to Between the Keys webcast featuring Peter Serkin's recording - https://www.wwfm.org/webcasts/2018-01-09/between-the-keys-january-9th-beethovens-last-sonatas-part-2Link to Frederic Rzewski's live 1991 recording - https://www.youtube.com/watch?v=tGyX5W9a_IE

durée : 00:16:28 - Le Disque classique du jour du lundi 27 janvier 2025 - Un double album généreux d'Emil Gryesten consacré à Beethoven : après Liszt ou Schubert, le pianiste danois gravit les sommets que sont les dernières sonates de Beethoven, en particulier la Hammerklavier

durée : 00:16:28 - Le Disque classique du jour du lundi 27 janvier 2025 - Un double album généreux d'Emil Gryesten consacré à Beethoven : après Liszt ou Schubert, le pianiste danois gravit les sommets que sont les dernières sonates de Beethoven, en particulier la Hammerklavier

Modernes Klavier oder historisches Cembalo: Manche Pianisten machen daraus eine Glaubensfrage, wenn es um die Musik von Johann Sebastian Bach geht. Bach selbst war da pragmatisch: Er spielte alle Tasteninstrumente, die gerade im Raum standen. Egal ob Cembalo, Orgel, Clavichord oder Hammerklavier. Der junge Pianist Jonathan Ferrucci spielt Bachs Toccaten auf einem modernen Yamaha-Flügel - und das klingt ganz phantastisch.

Pollini i la sonata "Hammerklavier". Coincidint amb l'aniversari del naixement de Ludwig van Beethoven, un any m

Interpreten: Kristian Bezuidenhout, Freiburger Barockorchester Label: harmonia mundi EAN: 3149020952030 Seit vielen Jahren gestaltet der Pianist Kristian Bezuidenhout mit dem Freiburger Barockorchester Konzerte und CD-Aufnahmen. Gemeinsam haben sie u.a. Werke von Mendelssohn und sämtliche Klavierkonzerte von Beethoven aufgenommen. Ein Schwerpunkt der gemeinsamen Arbeit liegt jedoch auf den Klavierkonzerten W.A. Mozarts und zwei der großen Konzerte sind auf unserer CD der Woche zu erleben. Mehr dazu von Michael Gmasz. Schon seit einigen Jahren gehört der australische Pianist südafrikanischer Herkunft Kristian Bezuidenhout zur crème de la crème der Hammerklavier- und Cembalovirtuosen. Ob mit Solowerken, im Bereich der Kammermusik oder als Solist mit Orchester, seine Interpretationen sind nicht nur fundiert historisch informiert, sondern nehmen uns als Zuhörer auch immer ein und machen gehörigen Zuhörspaß. Da es sich mit dem Freiburger Barockorchester, hier von Konzertmeister Gottfried von der Golz geleitet, ebenso verhält, ist die Kombination beider Kräfte eine nicht zu unterschätzende Qualitätsmacht. Hier bei Mozart wieder einmal nachzuhören. Mit den beiden Konzerten KV 459 und KV 488 setzen Bezuidenhout und die Freiburger ihre Zusammenarbeit sehr erfolgreich und auch sehr populär fort. Gehört vor allem das A-Dur Konzert KV 488 doch zu den populärsten und meistgespielten Werken Mozarts. Ein Konzert, das auch den Klarinettisten der Freiburger einen Einsatz beschert, hat doch Mozart hier anstatt der üblichen Oboen die Klarinetten gewählt. Schon die Introduktion klingt ausgesprochen beschwingt und kristallklar im Ton. Wie bei der Kammermusik geben einander Orchester und Solist danach die musikalische Führung in die Hand. Hier spielt kein Solist mit Begleitung sondern es ist ein großes Miteinander, bei dem jeder und jede die eigene Rolle kennt und wunderbar ausführt. Stellt sich nur die Frage, ist jemand, der Hammerklavier spielt auch automatisch ein Hammerpianist? Wohl eher nicht, auf Kristian Bezuidenhout trifft die Bezeichnung jedoch vollends zu! (mg)

We'll focus on two piano sonatas, No. 28 in A major, Op 101 composed in 1816, and No. 29 in Bb major, Op 106 ("Hammerklavier"), completed two years later.  

Here's my Classicstoday.com review: https://www.classicstoday.com/review/built-last-murray-perahias-masterful-hammerklavier/. And here's a review I wrote comparing both Murray Perahia and Yuja Wang performing the Hammerklavier in New York on consecutive weekends in New York: https://www.classicstoday.com/tale-two-hammerklaviers/

Wie sehr Wolfgang Amadeus Mozart das Hammerklavier schätzte - er komponierte nämlich nicht für einen Steinway - erzählt unser heutiges ZOOM.

This Day in Legal History: WIPO EstablishedOn April 26, 1970, a significant advancement in the protection and management of intellectual property took place with the establishment of the World Intellectual Property Organization (WIPO). This marked the enforcement of the Convention Establishing WIPO, making it one of the specialized agencies under the United Nations focused on intellectual property (IP) issues. WIPO's primary mission is to promote and protect intellectual property across different countries by fostering international cooperation. As of now, 184 countries are signatories to the convention, showcasing a global commitment to the principles laid out by WIPO.WIPO plays a crucial role in the development of a balanced and accessible international IP system, which benefits both creators and the public, thereby contributing to economic, social, and cultural development worldwide. The organization administers 26 international treaties, including the Paris Convention for the Protection of Industrial Property and the Berne Convention for the Protection of Literary and Artistic Works. These treaties serve as the backbone for international IP law, standardizing the protection of IP across borders and promoting creative activity globally.WIPO also assists countries in developing their IP strategies and provides a platform for dispute resolution concerning IP. Through its various programs, WIPO enhances the ability of countries to utilize IP for economic development. Additionally, WIPO's efforts include tackling the challenges of IP in relation to new technologies, which continually reshape the boundaries of law and creativity.The creation of WIPO in 1970 was a response to the growing significance of intellectual property in the age of technological and artistic innovation, recognizing the need for a systematic approach to IP issues that transcended national borders. Today, WIPO continues to evolve as it addresses emerging issues in intellectual property influenced by the digital age and globalization, underscoring its ongoing relevance in international legal and economic landscapes.The Supreme Court is currently deliberating on Donald Trump's assertion of immunity from prosecution regarding charges that he illegally tried to remain in power. During a hearing, there was notable skepticism from the justices towards Trump's broad claims of immunity relating to his efforts to overturn the election results of 2020. Chief Justice John Roberts suggested possibly remanding the case back to lower courts for a more detailed examination of the allegations, indicating that the appeals court had not sufficiently scrutinized the specifics of the actions and documents in question.Justice Brett Kavanaugh expressed concerns about the potential long-term implications of making presidents vulnerable to prosecution for their official acts, fearing it could cyclically affect future presidents. Meanwhile, the liberal justices questioned the absence of constitutional immunity for presidents, highlighting the risk of a president acting without fear of legal consequences. Justice Amy Coney Barrett also challenged the idea that former presidents could only be prosecuted post-impeachment.The case underscores the urgency from Special Counsel Jack Smith, who is pressed by time constraints to try Trump before the upcoming election, given that a trial and subsequent conviction could adversely affect Trump's electoral prospects. Trump, facing multiple prosecutions, has argued for absolute immunity for actions taken while in office, which include his conduct leading up to and on January 6th.There are fundamental questions that must be addressed about the scope of presidential power and its limits, which are central to the case's legal and constitutional stakes.Supreme Court Wary of Trump Immunity But May Keep Trial on HoldThe Biden administration's Medicare Drug Price Negotiation Program, a key component of the Inflation Reduction Act aimed at reducing the costs of certain Medicare Part D drugs by 2026, has attracted significant legal attention. Numerous former government officials, scholars, and patient advocacy groups have filed amicus briefs supporting the administration in response to legal challenges from the pharmaceutical industry, which contests the constitutionality of the program.These challenges involve several constitutional claims by the pharmaceutical companies, including violations of compelled speech under the First Amendment, the takings clause and due process under the Fifth Amendment, and excessive fines under the Eighth Amendment. The industry argues that the program unlawfully compels them to sell their products at government-dictated prices without just compensation.However, a notable decision by Chief Judge Colm F. Connolly dismissed AstraZeneca's due process claims, asserting that the manufacturer did not have a constitutional property interest jeopardized by the program. This decision aligns with several key legal precedents cited in various amicus briefs that reinforce the government's position.The case also touches on broader implications for governmental regulatory powers and the limits of constitutional protections for businesses under economic regulation frameworks. Legal experts and scholars have argued that the claims raised by the pharmaceutical industry stretch constitutional interpretations to protect against price negotiation practices that have been historically upheld as constitutional.The legal battle also involves a debate over the First Amendment, with the government asserting that the program does not compel speech from drug manufacturers. Judges and legal experts have scrutinized these claims, emphasizing the potential impact of accepting such an interpretation on a wide range of regulatory activities.While the majority of amicus briefs support the government, a few filed on behalf of the pharmaceutical industry focus on concerns about stifling drug innovation and the severe financial penalties imposed for non-compliance with the program's pricing mandates.The ongoing legal proceedings at the district court level, though less common for amicus filings than higher courts, play a crucial role in shaping the preliminary legal landscape before potentially reaching the Supreme Court. The involvement of high-level legal expertise in the form of amicus briefs underscores the significant stakes and complex legal issues at play, reflecting the profound implications of the outcome on the healthcare sector and regulatory practices.Wave of Amicus Briefs Back Drug Price Plan at Trial Court StageThe EPA's recent final rule under the Comprehensive Environmental Response, Compensation, and Liability Act (CERCLA), commonly known as the Superfund law, designates two PFAS chemicals—perfluorooctanoic acid (PFOA) and perfluorooctane sulfonic acid (PFOS)—as hazardous substances. This designation is expected to significantly impact companies responsible for contaminated sites, potentially leading to the reevaluation and cleanup of sites previously considered resolved.The rule aims to address sites contaminated with PFOA and PFOS, which are part of a group of chemicals known as "forever chemicals" due to their persistence in the environment. Currently, only a small fraction of National Priorities List (NPL) sites have been identified as contaminated with these substances, but this number is expected to rise as more comprehensive testing is implemented. The EPA's action follows increasing evidence of the health risks associated with high concentrations of these chemicals, including potential links to cancer and other serious health issues.Companies and other entities responsible for releases of these chemicals will face new reporting requirements if they release one pound or more of PFOA or PFOS within a 24-hour period. These reports will contribute to the Toxics Release Inventory and are part of broader efforts to increase transparency and regulatory oversight regarding PFAS releases into the environment.The designation of PFOA and PFOS as hazardous substances under CERCLA is likely to lead to significant legal and financial implications for responsible parties due to the costly nature of cleanup efforts and potential litigation. Moreover, the rule's implications extend beyond immediate cleanup efforts, potentially impacting water utilities and prompting them to seek remediation and accountability from polluters as stricter limits on PFAS in tap water are set to take effect.This regulatory change reflects a growing recognition of the serious environmental and health impacts of PFAS chemicals, and it aligns with broader environmental justice efforts to address pollution exposure disparities among racial, ethnic, and socioeconomic groups. The long-term challenges of managing PFAS contamination will involve complex legal, environmental, and public health considerations, particularly as affected communities and regulatory agencies navigate the implications of these pervasive pollutants.New PFAS Designation Expected to Spark Rise in Superfund SitesHarvey Weinstein's 2020 conviction for sexual assault and rape was overturned by New York's highest court on April 25, 2024. The court, in a closely contested 4-3 decision, cited critical errors by the trial judge, particularly in allowing testimony about alleged assaults that were not directly related to the charges Weinstein faced. This decision has reignited discussions about the challenges in prosecuting powerful figures and has been met with dismay by many, including actress Ashley Judd, who viewed it as an institutional betrayal.The Manhattan District Attorney's office, led by Alvin Bragg, has indicated plans to retry the case, underscoring their ongoing commitment to addressing sexual assault. The overturned conviction, which had been a significant victory for the #MeToo movement, involved allegations by Miriam Haley and Jessica Mann that dated back to 2006 and 2013, respectively.Weinstein's legal team celebrated the decision as a triumph for justice, noting Weinstein's relief and resilience despite his ongoing incarceration. He remains imprisoned on a separate 16-year sentence in California for similar charges, which stands unaffected by the New York ruling.This case has had broad implications, influencing legislation and public awareness about sexual misconduct. New York, among other states, has passed laws allowing civil lawsuits for sexual misconduct outside the typical statutes of limitations, reflecting a legislative response to #MeToo. The case's developments continue to be closely watched, with potential impacts on both legal precedents and societal norms concerning accountability for sexual violence.Harvey Weinstein's rape conviction is overturned by top New York court | ReutersThe defamation lawsuit filed by Jack and Leslie Flynn against CNN, which involved claims of being wrongfully associated with the QAnon conspiracy theory, has been dismissed by a judge. The case revolved around a CNN segment that showed the Flynns at a barbecue raising their hands while Michael Flynn, the former National Security Advisor, recited a phrase linked to QAnon. The Flynns argued that this portrayal falsely labeled them as QAnon followers, which they considered defamatory.CNN countered that the phrase "where we go one, we go all" used by Michael Flynn during the event is widely recognized as associated with QAnon, and that the Flynns were visible participants in the event. The court, upon review, determined that the term "QAnon followers" as used in the context of the CNN segment is a non-defamatory opinion, not a statement of fact. The judge ruled that opinions, especially when based on disclosed, non-defamatory facts, do not constitute defamation.Furthermore, the court highlighted that the portrayal of the Flynns in the segment was based on their actual appearance and participation in an event alongside Michael Flynn, which is not disputed by the Flynns. The dismissal reflects judicial recognition of the challenges in proving defamation when the statements in question are based on interpreted opinions rather than explicit facts. The decision underscores the importance of context in defamation cases, particularly when public figures and political movements are involved. This case also reflects ongoing legal debates about the limits of free speech and the scope of media responsibility in reporting on controversial public figures and events.Flynn Family's SLAPP Suit Against CNN Slapped Down By Judge | TechdirtThis week's closing theme is by Ludwig van Beethoven.For this week's closing piece of classical music, where we will once again delve into the towering genius of Ludwig van Beethoven and his monumental Piano Sonata No. 29 in B-flat major, Op. 106, known as the "Hammerklavier." Composed in 1819, the "Hammerklavier" Sonata stands as one of the pinnacles of Beethoven's creative output and showcases his profound depth in musical structure and expressive range.This sonata is particularly renowned for its technical difficulty and ambitious scope, pushing the boundaries of the piano sonata form of the time. Beethoven's late period, during which he composed the "Hammerklavier," is marked by an increased use of complex structures and an exploration of new musical ideas, and this sonata is a testament to his innovative spirit.This week, we will focus specifically on the second movement of this sonata, the Scherzo: Assai vivace. In stark contrast to the grandiose and deeply serious first movement, the Scherzo bursts with energy and playfulness. Its rapid tempo and lively rhythms present a dazzling display of technical prowess and artistic flair. This movement is a brilliant example of Beethoven's ability to juxtapose contrasting moods within a single piece, providing a refreshing and exhilarating counterpart to the sonata's more introspective segments.The Scherzo is structured around a lively theme that leaps and dances across the keyboard, filled with syncopated rhythms and sudden dynamic changes that challenge even the most skilled pianists. It embodies a sense of joy and almost mischievous playfulness, showcasing Beethoven's mastery in transforming musical ideas into a vivid emotional narrative.As we close this week's episode with the Scherzo from Beethoven's "Hammerklavier" Sonata, let the vivacity and brilliance of this music inspire you. It serves not only as a showcase of Beethoven's technical mastery but also his undiminished spirit and the enduring power of his music to evoke a wide range of profound emotions. Enjoy the spirited journey through one of the most challenging yet rewarding pieces in the piano repertoire.Without further ado, Beethoven's Piano Sonata no. 29 “Hammerklavier”, Op. 106 - II. Scherzo - Assai vivace. Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

Beatrice Rana untermauert mit der wohl anspruchsvollste Beethoven-Sonate nachdrücklich ihre Stellung als einer der herausragenden Pianistinnen unserer Zeit.

Gerne hätte ich berichtet, dass alles halb so wild ist; noch in der Pause war ich dieser Überzeugung. Burgtheaterdirektor Martin Kušej hat doch schon interessante Inszenierungen geliefert. Doch am Ende muss ich sagen, die vernichtenden Medienstimmen sind berechtigt. Die Verlegung ins Mafiamilieu ist in keiner einzigen Situation überzeugend. Das Herumfuchteln mit den Pistolen erregt kaum jemanden, schon gar nicht Susanne und Figaro oder das Publikum. Negativer Höhepunkt ist das Finale des 2.Aktes, wo alle alle mit gezogener Waffe bedrohen und dabei auch noch banales Rampentheater liefern. Dass alle statisch den Dirigenten angeschaut haben, hat nichts zur Präzision beigetragen. Es war ein Chaos. Der neue Mozartstil wird diese Mischung hoffentlich nicht werden. Ich bin überzeugt, der akkurate Nikolaus Harnoncourt würde sich dagegen verwehren, von Raphaël Pichon als Vorbild genannt zu werden. Die Abkehr von zwingenden Noten hin zur Möglichkeit eigener Verzierungen wurde kaum wahrgenommen und wenn, dann mit wenig originellen Figuren. Überflüssig war auch das Geklimper vom Hammerklavier während der überlangen Umbaupausen. Auch das ohne den geringsten Bezug zu Mozarts genialer Musik. Der Asiate, der neben mir gesessen ist, hat fast die ganze Zeit durchgeschlafen. Mehr ist zum Dirigat des Herrn Pichon nicht zu sagen. Gegen die Regie und den Dirigenten haben sich nur die beiden Damen zeitweilig durchsetzen können. Zu recht kam nach der Arie der Gräfin Jubel auf. Adriana Gonzáles gestaltete das Seelengemälde einer enttäuschten Ehefrau mit schöner Stimme. Auch Sabine Devieilhe als Susanne konnte mit der Rosenarie noch Festspielniveau erreichen. Andrè Schuen habe ich schon besser gehört, gerade weil der Graf Almaviva sicher nicht zu seinen besten Rollen gehört. Gesangstechnisch ist es sicher eine Herausforderung die große Arie auf einem Bein stehend zu singen. Da wird er von einer Nackerten angezogen. Sehr witzig!!, da kann man sich voll auf die Empörung des Grafen konzentrieren ?! . Krzysztof Baczyk singt den Figaro, von Rollengestaltung keine Rede. Italienisch ist nicht seine Muttersprache. Ansprechend ist noch Lea Desandre als Cherubino. Alle andern Sänger  können sich in dieser Inszenierung nicht entwickeln. Keine Personenregie, aber auch keine kleinen Ideen. Martin Kušej ist diesmal nichts eingefallen. Das sachkundige Publikum differenzierte beim Applaus deutlich und feierte Adriana Gonzàles und Sabine Devieilhe. Auch der Schussapplaus wäre wohl schnell vorbei gewesen, hätte man das Haus für Mozart nicht lange hermetisch abgeriegelt. Wertnote: 5,3

Der Wiener Klavierbauer Bernhard Balas führt einen der letzten Handwerksbetriebe in Europa, der noch besaitete Tasteninstrumente in den verschiedensten Ausführungen herstellt und repariert. Nach seiner Meisterprüfung gründete er 1995 sein Unternehmen. Cembalo, Hammerklavier oder Piano - Musikgeschichte und innovative Klavierbautechnik werden in der Werkstatt des Meisters hautnah erlebbar. Was unterscheidet eigentlich einen "Steinway" von einem "Bösendorfer", wie viel Tonnen an Spannung haben die Klangsaiten aus Stahl und welches Tasten-Material ersetzt heute die Qualität von Elfenbein? Im Gespräch führt Bernhard durch die wunderbare Welt der Klangkörper. KAP Podcast website: https://www.kapture.ch Bernhard Balas website: https://www.klavierbau-balas.at

This episode starts out a bit differently than others--you hear an excerpt of Beethoven's "Hammerklavier" Sonata Op.106 (allegro) performed by our guest.

Eine aufsehenerregende 7CD-Box mit Mozarts Klaviersonaten, eingespielt vom renommierten Pianisten Robert Levin. Eine zeitgenössische Überschreibung von Arthur Schnitzlers Skandalstück «Reigen» in Zürich. Neben den bekannten Mozart-Sonaten gibt es viele Fragmente von ihm. Der amerikanische Pianist Robert Levin hat drei davon komplettiert und sie auf Mozarts originalen Hammerklavier eingespielt. – Die Regisseurin Yana Ross war zwei Jahre lang eine der Hausregisseur:innen am Schauspielhaus Zürich. Mit einer Inszenierung von Arthur Schnitzlers «Reigen» verabschiedet sie sich nun.  Weitere Themen: - Altbekannte und «neue» Mozart-Sonaten - Schnitzlers «Reigen» in Überschreibungen in Zürich

Hammerklavier - das klingt martialisch. Aber in Wirklichkeit waren die alten Klaviere, wie Mozart und Beethoven sie kannten, viel zarter und kleiner als die modernen Flügel. Und das hat große Vorteile, jedenfalls bei diesem Album mit zwei Mozart-Klavierkonzerten. Eingespielt hat sie der Hammerklavier-Spezialist Kristian Bezuidenhout zusammen mit dem Freiburger Barockorchester.

Ludwig van Beethoven - Piano Sonata No. 29 "Hammerklavier": 3rd movement Jeno Jando, piano More info about today's track: Naxos 8.550234 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Der Klavierstimmer trimmt unsere Instrumente auf Norm. Pioniere stürzen die Vorherrschaft der gleichschwebenden Stimmung und knüpfen mit wohlverstimmten «Clavieren» an vorbachsche Epochen an. Jedes Klavier klingt schief. Noch schiefer jede Orgel, weil die Unsauberkeiten lange nachklingen. Das liegt in der Mathematik begründet und dem unserem Tonsystem eigenen Fehler. Es ist unmöglich, alle zwölf Töne der Tonleiter so zu stimmen, dass die harmonisch wichtigsten Intervalle (Quinten und Terzen) sauber klingen. Mit dem Erlanger Traktat (um 1450) war die Forderung auf dem Tisch, die reine Terz anstelle der pythagoräischen Terz in die abendländische Musik einzuführen. Somit kamen der grosse Ganzton (9:8) und der kleine Ganzton (10:9) in die Welt. Jetzt musste ein Tonsystem gefunden werden, das unterschiedlichen Ganztönen genügte, neben der reinen Quinte auch die reine Terz enthalten sollte und zur Transponierung geeignet war. Der enharmonische Instrumentenbau florierte zuerst in Italien. Nicola Vicentino baute um 1555 das Archicemablo mit 36 Tasten pro Oktave, verteilt auf zwei Manuale mit gebrochenen Obertasten. In der Kirche San Martino in Lucca wurde 1584 eine der ersten Orgeln mit geteilter Tastatur eingeweiht. Das Klavier geht auf eine Erfindung um 1700 zurück. Bartolomeo Cristofori, Hofinstrumentenbauer von Ferdinand de Medici in Florenz, baute das erste dnyamisch abstufbare Cembalo und später das erste funktionstüchtige Hammerklavier. Wie die Tasteninstrumente (Claviere) gestimmt werden sollen, um der Vielfalt an Musik und ihren unterschiedlich gefärbten Tonarten gerecht zu werden, gibt fortan zu streiten. Auch Komponisten, allesamt abseits grosser Musikzentren wirkend, regen sich und treten der Vorherrschaft der «wohltemperierten» Stimmung entgegen. Sie beginnen schon im 19. Jahrhundert Töne zwischen den Halb- und Ganztönen zu komponieren und benötigen Claviere, auf denen ihre mikrotonale Musik erklingen kann. Corinne Holtz begibt sich mit dem Literatur- und Musikwissenschafter Silvan Moosmüller auf einen Streifzug durch die Musikgeschichte des Claviers und lädt zu Zwischenhalten in die Werkstatt von Urs Bachmann. Er überträgt die 10 kreierten Stimmungen von Edu Haubensak für 'Grosse Stimmung' auf 10 Flügel, Simone Keller probiert.

Tempo, tempo, tempo – the most important element of music? Listen as acclaimed pianist Dr Robert Taub and historian Professor James Daybell animate Beethoven today in our world. Beethoven was a non-conforming troublemaker whose revolutionary music continues to withstand all tests of time. Join us throughout this five-part series to take a fresh look at musical topics including how we perceive music, how our range of hearing has evolved over time, and how and why Beethoven composed. Part of Beethoven: Innovator – a 250th celebration music festival, 30 September - 2 October 2021. Brought to you by The Arts Institute, University of Plymouth. Discover more about Beethoven: Innovator - the podcast Intro music: Beethoven Piano Sonata Op. 106 (Hammerklavier), Allegro Robert Taub, pianist Recording used by permission.

This is my all-time favorite of Beethoven's 32 sonatas, the Hammerklavier.  This is the fourth of four movements.

This is my all-time favorite of Beethoven's 32 sonatas, the Hammerklavier.  This is the third of four movements.

This is my all-time favorite of Beethoven's 32 sonatas, the Hammerklavier.  This is the second of four movements.

This is my all-time favorite of Beethoven's 32 sonatas, the Hammerklavier.  This is the first of four movements.

Die Geigerin Isabelle Faust und der Pianist Alexander Melnikow haben sich an eine Gesamtaufnahme der Sonaten für Klavier und Sonaten von Mozart gemacht - auf Originalinstrumenten. Auch in der dritten von vier geplanten CDs fasziniert das vollkommen schlüssige Zusammenspiel, die klangliche Harmonie von Barockgeige und Hammerklavier sowie die explosive Musikalität der beiden Künstler.

Frühe Kompositionstechniken und historische Instrumente in einem modernen Jazz- und Popkontext - das hört man auf dem neuen Album der jungen Sängerin und Komponistin Francesca Gaza. Im Interview erzählt sie, wie sie musikalisch alles unter einen Hut bringt. Der junge französische Gitarrist Antoine Boyer beschäftigt sich intensiv mit Kontrapunkt und lässt diese Kompositionstechnik virtuos in seine Jazzbegleitung und Improvisation einfliessen. Er präsentiert ein neues Album. Und der niederländische Pianist Rembrandt Frerichs verwendet ein Hammerklavier, um in unübliche musikalische Gefilde vorzustossen.

Muito possivelmente a maior sonata de Beethoven (pode ou não ser superada pelo Hammerklavier, e também o nº 31 tem um bom acerto no título), e certamente uma das maiores obras para piano já escritas. Há muito a dizer sobre isso, mas basta dizer que Chopin o admirou o suficiente para imitar o início e o fim do primeiro movimento (na abertura de sua sonata em si bemol menor e no final do estudo revolucionário, respectivamente ) Conversa de Câmara é apresentado por Aroldo Glomb com o Eduardo Masses na unibancada! Estamos também no programa Antigas Novidades! ESSE PROGRAMA É PRODUZIDO POR NA PAUTA PODCAST! _______________________________________________________ _ FAÇA PARTE DO CONVERSA DE CÂMARA COM O NOSSO PADRIM! Então entre na conversa! No Padrin.com.br você pode ajudar o Conversa de Câmara a crescer e seguir divulgando ainda mais a boa música da humanidade. Mostre que você tem um gosto refinado apoiando a gente no Padrim.coim.br https://www.padrim.com.br/conversadecamara

durée : 00:17:20 - Beethoven : les trois dernières sonates - Sunwook Kim - Le pianiste Sunwook Kim est sud-coréen et il a 33 ans. Vainqueur du concours Clara Haskil et du concours de Leeds à tout juste 18 ans, on a déjà pu l'entendre dans les concertos de Beethoven avec Myung Whun Chung mais aussi dans la sonate Hammerklavier.

https://www.postguam.com/news/local/most-travel-related-cases-came-from-philippines/article_a9c9c3ac-a24b-11eb-a928-a3d8e814c7a4.html https://edition.cnn.com/travel/amp/international-travel-covid-19-open-countries/index.html Michael Malice and Yaron Brook: Ayn Rand, Human Nature, and Anarchy | Lex Fridman Podcast #178 https://www.youtube.com/watch?v=Pl3x4GINtBQ http://aynrandlexicon.com/lexicon/stolen_concept,_fallacy_of.html http://aynrandlexicon.com/lexicon/kant,_immanuel.html The future of management is teal by Frederic Laloux https://www.strategy-business.com/article/00344/ Reinventing Organizations: A Guide to Creating Organizations Inspired by the Next Stage in Human Consciousness by Frederic Laloux, Ken Wilber (Forward) https://www.amazon.com/Reinventing-Organizations-Frederic-Laloux/dp/2960133501 https://www.reinventingorganizations.com/resources.html No Contest: The Case Against Competition by Alfie Kohn https://www.amazon.com/No-Contest-Case-Against-Competition-ebook/dp/B00GQDOD7Q/ https://en.wikipedia.org/wiki/Finite_and_Infinite_Games bumper music Barenboim: Beethoven - Sonata No. 29 in B-flat major, Op. 106 "Hammerklavier" https://www.youtube.com/watch?v=J4hjpgtTe7M

"Here you have a sonata that will be a hard nut to crack; pianists will grit their teeth from it for another 50 years". 200 years later, pianists still grit their teeth from Beethoven's Hammerklavier sonata, and it stays quite a hard nut to crack! A few recordings to check out: https://spoti.fi/3k5hUQy https://spoti.fi/2OLydX5 (part 6) https://spoti.fi/2NOlYsA  

James Wood talks to Thomas Jones about Beethoven, drawing on his review of three recent books on the composer. They discuss some of the apparently immovable Beethoven mythologies – the keyboard pedagogy, the heroic glower, the many appropriations of the 9th Symphony – and the blend of Viennese tradition and radical invention which characterises his music, particularly the piano sonatas, from the ethereal melodic sweetness of The Tempest to the terrifying, thumping trills of the Hammerklavier.Read James Wood's piece here: https://lrb.me/beethovenpodSubscribe to the LRB from just £1 per issue: https://mylrb.co.uk/podcast20bPieces and recordings featured in this episode:5th Symphony: Berlin Philharmonic / Furtwängler (1954)3rd Symphony: Berlin Philharmonic / Furtwängler (1952)Piano Sonata No. 29 (‘Hammerklavier’): Barenboim (1984)Piano Sonata No. 29 (‘Hammerklavier’): Solomon (1952)Piano Sonata No. 17 (‘The Tempest’): Gould (1960)9th Symphony: Beyreuth Festival Orchestra / Furtwängler (1951)Piano Sonata No. 7: Horowitz (1959)Piano Sonata No. 26 (‘Les Adieux’): Kempff (1951)Piano Sonata No. 31: Hess (1953) See acast.com/privacy for privacy and opt-out information.

Jason Hardink just sent us a surprise—a full solo recital!—and asked if we’d share it with NOVA’s fans. Who can turn down an offer like that?A video version of this episode is available at https://www.youtube.com/watch?v=HrsMs5ei6W8.Ludwig van Beethoven’s “Hammerklavier” Sonata is one of the most monumental works in the piano repertoire. The work’s nickname came from its title page, which indicated that it was written for the more modern “hammer keyboard” piano, rather than the harpsichord or other contemporary instruments. The “Hammerklavier” certainly makes full use of the piano’s dynamic range and expressive power.Brittany Green is a composer from North Carolina whose works often explore the relationship between sound, movement, and text. “Portraits” is a suite of character sketches based on poems by Bessie Irene. These movements “depict people we all know,” says the composer, ranging from “Le garçon qui passe”, who is “trying to hold onto something that cannot last” to “La fille dans les nuages”, a woman facing “the complexity of struggling between who you are and who the world thinks you should be.”You can hear more music by Brittany Green at https://www.brittanyjgreen.com.Brittany Green: PortraitsI. La femme complexe (Complicated Woman, based on “I am You”) (01:25)II. Le garçon qui passe (Boy Passing By, based on “Fleeting”) (05:52)III. La mère dans le marché (Mother in the Market, based on “Mother in City Market”) (06:37)IV. L’homme durci (Hardened Man, based on “Confinement”) (10:00)V. La fille dans les nuages (Girl in the Clouds, based on “Beyond the Clouds”) (12:24)Ludwig van Beethoven: Piano Sonata No. 29 in B-flat Major “Hammerklavier”, op. 106I. Allegro (15:49)II. Scherzo (26:38)III. Adagio sostenuto (29:25)IV. Introduction & Fugue (46:31)Jason Hardink | pianorecorded December 10 and 14, 2020, Caine Wanlass Performance Hall, Utah State University, Logan, Utahrecorded by Michael Palmer and Wesley Morrisonrecording mastered by Michael Carneshosted and produced by Chris Myers (https://www.argylearts.com)Copyright © 2020 NOVA Chamber Music Series. All rights reserved.

Si tuviéramos que quedarnos con una única obra de Ludwig van Beethoven, ¿con cuál nos quedaríamos? Clásicos de todos los tiempos, la Patética, la Claro de luna, la Appassionata; la Eroica, la quinta, la Pastoral, la séptima; el Emperador, la Kreutzer, Fidelio. Bellezas de excepción, como la Sonata op. 110 o la canzona del Cuarteto op. 132. Rarezas metafísicas del último período, como la Hammerklavier o la Gran Fuga. ¿Cuál es la favorita, la que más nos gusta, la primera en la que pensamos cuando pensamos en Beethoven?

La historia de un regalo muy especial que recibió Beethoven en el verano de 1818: un piano Broadwood que llegó desde Londres y que resultó decisivo para la composición de la que tal vez sea su obra mayor para el teclado.

El Everest del Piano.1816-1819: afectado por su sordera, varias enfermedades e interminables pleitos legales por la tutela de su sobrino Karl, Beethoven compone muy pocas obras musicales. Pero entre ellas está la monumental y visionaria Sonata para Hammerklavier, hasta el día de hoy una de las obras más virtuosas, complejas y emocionalmente profundas del repertorio para piano.Nos gustaria saber tu opinion sobre el show, no dudes en dejar tu comentario en facebook https://www.facebook.com/beethoven.libertador

Episodio 38: El Everest del Piano.1816-1819: afectado por su sordera, varias enfermedades e interminables pleitos legales por la tutela de su sobrino Karl, Beethoven compone muy pocas obras musicales. Pero entre ellas está la monumental y visionaria Sonata para Hammerklavier, hasta el día de hoy una de las obras más virtuosas, complejas y emocionalmente profundas del repertorio para piano.Nos gustaria saber tu opinion sobre el show, no dudes en comentar en facebook https://www.facebook.com/beethoven.libertador

This week, the world-renowned pianist Angela Hewitt chooses five contrasting aspects of the piano sonatas to discuss with Donald Macleod. In 2020, Hewitt reaches the end of her survey of Beethoven’s piano works with the last recording in her acclaimed series of his 32 piano sonatas. Begun in 2005, her Beethoven odyssey has been taken at a deliberately measured pace, to give ample space and time to reflect on each sonata, each recording being a testament to her deep understanding of Beethoven. Well known for her award-winning interpretation of Bach’s music, she brings that special insight to Beethoven’s profound admiration for the composer, after which she explores the humour Beethoven injects into his music, the composer’s ability to write cantabile or singing style and how Beethoven responded to the advancement of the piano. 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: Piano Sonata No 1 in F minor, Op 2 No 1 (I. Allegro) Piano Sonata No 2 in A major, Op 2 No 2 (IV. Rondo: Grazioso) Piano Sonata No 3 in C major, Op 2 No 3 (II. Adagio) Piano Sonata No 3 in C major, Op 2 No 3 (IV. Allegro assai) Piano Sonata No 7 in D major, Op 10 No 3 (II. Largo e mesto) Piano Sonata No 3 in C major, Op 2 No 3 (III. Scherzo) Bach: Partita No 2 in C minor, BWV 826 (excerpt) Piano Sonata No 8 in C minor, Op 13 (Pathétique) (I. Grave – Allegro di molto e con brio) Piano Sonata No 28 in A major, Op 101 (IV. Allegro Geschwind) Bach: Fugue No 17 in A flat major, BWV 862 (excerpt) Piano Sonata No 31 in A flat major, Op 110 (III. Fuga: Allegro ma non troppo) Piano Sonata No 30 in E major, Op 109 (III. Andante molto cantabile ed expressive) Piano Sonata No 25 in G major, Op 79 (II. Andante) Piano Sonata No 11 in B flat major, Op 22 (II. Adagio con molta espressione) Piano Sonata No 27 in E minor, Op 90 (I. Nicht zu geschwind und sehr singbar vorgetragen) Piano Sonata No 28 in A major, Op 101 (I. Allegretto ma non troppo) Piano Sonata No 16 in G major, Op 31 No 1 (II. Adagio grazioso) Piano Sonata No 8 in C minor, Op 13 (Pathétique) (II. Adagio con espressione) Piano Sonata No 10 in G major, Op 14 No 2 (II. Andante) Piano Sonata No 16 in G major, Op 31 No 1 (I. Allegro vivace) Piano Sonata No 6 in F major, Op 10 No 2 (III. Presto) Piano Sonata No 18 in E flat major, Op 31 No 3 Piano Sonata No 23 in F minor (Appassionata), Op 57 (I. Allegro assai) Piano Sonata No 17 in D minor (Tempest), Op 31 No 2 (II: Adagio) Piano Sonata No 29 in B flat major (Hammerklavier), Op 106 (I. Allegro) Piano Sonata No 26 in E flat major, Op 81a (Les adieux) (II. Abwesenheit & III: Das Wiedersehen) Presented by Donald Macleod Produced by Johannah Smith 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: Piano Sonatas https://www.bbc.co.uk/programmes/m000nlwr 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

A podcast exploring why making art can be more practical than we think. Creatives from all around the world share their artistic journeys and explore the impact it has on their everyday lives. EPISODE SUMMARYA conversation with polish pianist and influential thinker Anna Szałucka. Have you ever been on stage and lost yourself completely? I think we all have, at least once. Anna had this experience too. "...I got this blackout, I just stopped. I looked at the audience and I said 'I'm sorry, I don't know what happened'. Everyone was dead silent". Listen to the full story of what happened after Anna finished one of the most difficult piece from piano repertoire the Beethoven's "Hammerklavier". LINK: https://openarted.simplecast.com/ (https://openarted.simplecast.com/) CONTRIBUTORS: Monika Mašanauskaitė, Anna Szałucka

Have you ever been on stage and lost yourself completely? I think we all have, at least once. Anna had this experience too. "...I got this black out, I just stopped. I looked at the audience and I said 'I'm sorry, I don't know what happened'. Everyone was dead silent". Listen to the full story of what happened after Anna finished one of the most difficult piece from piano repertoire the Beethoven's "Hammerklavier".Original text by the host - Why competing in a marathon might be similar to performing Beethoven? Find out more about Anna and her projects:https://annaszalucka.com/https://www.instagram.com/pianodeck/?... https://www.facebook.com/SzaluckaAnna/More about the host Monika:https://www.instagram.com/masanauskaitemonika/https://www.facebook.com/MonikaPianiste/Episode music:C. Debussy - Étude No. 11 "Pour les Arpèges Composés" performed by M.MašanauskaitėC. Debussy (1862 – 1918) - Petit suite L 65 for 4 hands performed by M.Masanauskaitė and Anna Szałucka. live in Vilnius, 2020, September.IV. Ballet: Allegro giusto M. Ravel - Sonatine No. 1, performed by Anna SzałuckaIf you have any comments or enquiries, drop me a line at monikapianiste@gmail.com  

durée : 00:59:13 - Musique matin du vendredi 26 juin 2020 - par : Jean-Baptiste Urbain - À l'occasion des 250 ans de Beethoven, François-Frédéric Guy invite neuf pianistes à interpréter les trente-deux sonates pour piano de Beethoven à l’Auditorium de Radio France. Il ouvre le cycle avec Maroussia Gentet et l'intense Hammerklavier. - réalisé par : Yassine Bouzar

durée : 00:59:11 - Vincent d'Indy cite Beethoven - par : Aurélie Moreau - Vincent D'Indy a cité les 1ères mesures de la sonate Hammerklavier dans sa Symphonie cévenole. Il a aussi écrit un ouvrage sur Beethoven en 1911 et comme lui, il s'est inspiré du poète Friedrich von Schiller dans l'une de ses œuvres - réalisé par : Lionel Quantin

Como cada comienzo de mes celebramos el #AñoBeethoven a través de su mejor música: hoy repasamos conocemos la música de este titán mediante su isntrumento de cabecera, el piano. Descubre cómo suenan sus sonatas Patética, Claro de Luna, Waldstein, Appassionata y Hammerklavier junto a Ana Laura Iglesias y Marcos Vega, en Noche tras Noche de RPA.

durée : 00:59:11 - Vincent d'Indy cite Beethoven - par : Aurélie Moreau - Vincent D'Indy a cité les 1ères mesures de la sonate Hammerklavier dans sa Symphonie cévenole. Il a aussi écrit un ouvrage sur Beethoven en 1911 et comme lui, il s'est inspiré du poète Friedrich von Schiller dans l'une de ses œuvres - réalisé par : Lionel Quantin

Les matinales, émission présentée par Sandrine Sebbane. Thème : Musique classique – Beethoven et Mozart. Avec le pianiste Pascal Amoyel pour la création du théâtre musical « Looking for Beethoven » au théâtre du Ranelagh et le Chef d’Orchestre Bernard Thomas pour sa nouvelle tournée de concerts dans les cathédrales autour de Mozart À propos du théâtre musical « Looking for Beethoven » au théâtre du Ranelagh Après les succès du Pianiste aux 50 doigts et du Jour où j’ai rencontré Franz Liszt, Pascal Amoyel crée son nouveau spectacle dédié au monstre sacré : Beethoven. Le compositeur le plus joué au monde n’en est pas moins l'un des plus mal connus. À l’occasion du 250ème anniversaire de sa naissance en 2020, Pascal Amoyel mène une enquête palpitante et décode le chef-d’oeuvre absolu du piano, les 32 Sonates, véritable journal d’une vie. Servi par un pianiste de renommée internationale, récompensé par une Victoire de la Musique, ce spectacle révèle le visage secret de l’homme. Ou comment, alors que la vie lui refusait la joie, Beethoven la créa lui-même dans sa musique pour en faire don à l’humanité... Entendrez-vous Beethoven de la même manière ? Grande musique pour tous ! LA PRESSE EN PARLE LA PROVENCE : "Un spectacle inoubliable. Grande musique pour tous : Incontournable !" FRANCE 3 : "Exceptionnel !" FRANCE BLEU : "Virtuose !" Distribution Auteur et interprète : Pascal Amoyel Mise en scène : Christian Fromont Lumières : Philippe Séon Programme musical Bach, Variations Goldberg BWV988, Aria Mozart, Fantaisie en ré mineur (extrait) Haendel, Menuet en la mineur HWV 549, andantino Beethoven, Sonates (extraits) op. 2/1, op. 2/2, op. 2/3, op. 7, op. 10/1, op. 10/2, op.13 « Pathétique » (1er mouvement), op. 27/1, op. 27/2 « Clair de lune », op. 31/2 « La Tempête » (3e mouvement), op. 57 « Appassionata « , op. 81a « Les Adieux », op. 101, op. 106 « Hammerklavier », op. 109, op. 110, op. 111

The musical Avant-Garde in general and Avant-Garde jazz, in particular, have either misleading or no connotations at all for most listeners (and non-listeners.) Say the words "free jazz," and most will think of musical anarchy—sonic chaos. And then they'll run for their lives. But when you consider the most prominent practitioners of so-called "free jazz"—the likes of John Coltrane (late period), Ornette Coleman, and Cecil Taylor—one thing should be clear: these are great musicians. So before you run, at least consider why they might be doing what they do, and what they're really doing. And also consider some of your favorite mainstream music may be imbued with musical ideas brought into the world by the so-called Avant-Gardists. The Choice By definition, there is not much in common in the music of artists like John Cage, John Coltrane, Edgar Varese, and Sun Ra. They are, after all, musical outliers: they don't hang out in the same clubs together. But all of them do have one thing in common: they made a choice, somewhere along the line, to create their own musical languages. Making such a choice can, of course, be artistically and personally dangerous, leading to ostracization within the artistic community, derision by fans, and diminished employment opportunities. So why do some do it, where others are satisfied to work solely within the "accepted" musical frameworks, seemingly passed on down for generations? Here's the thing: what we think of as the "accepted" frameworks are almost always languages created by some bold musical soul in the past. Now, I will be the first to admit that we will probably never walk around humming Cecil Taylor or Schoenberg tunes. This music is too extreme in its willingness to push boundaries to become part of the popular music culture in its own right. Seeping Into the Mainstream But these extremes of musical expression, if they are any good, do enter the musical lexicon, even if we're not consciously aware of them doing so. They have a way of filtering down into more mainstream forms, enriching them with surprising turns and details. Listen to the experimental elements in later albums by the Beatles, like Sergeant Pepper's, then go check out modern "classical" composers like Edgar Varése or Karlheinz Stockhausen. The Beatles did. Or, as a more recent example, check out Kendrick Lamar's To Pimp a Butterfly. Then check out late Coltrane,or Ornette Coleman. And movie music? Psychologically challenging scenes would be nowhere without Arnold Schoenberg's serialism. To be sure, Schoenberg created his twelve-tone system for reasons that had nothing to do with Hollywood (though ironically, he ended up living there) but the point is that once these new musical languages are let loose into the world, they find many "uses" beyond the composer's original intention. They simply add to to the ever-growing musical palette. So before you run away from the Avant Garde, seriously consider what it has given us. Artists Mentioned in this Podcast: Cecil Taylor: Conquistador certainly gets right down to it. Cecil's pianistic language is so distinctive as to be recognizable in about 3 seconds. If you're looking for traditional song structures, tunes, recognizable chord changes, etc., you've come to exactly the wrong place. But, try to get through it. There is a structure there, just not one you're used to. And, more importantly, it's simply beautiful music by an oft-maligned genius. Late Beethoven: I mentioned the Great Fugue(Grösse Fugue) in the podcast. It is really a strange and difficult piece of music. Fugues, in general, are intellectually challenging, and this is what's known as a double fugue (two themes interacting.) Also, check out Hammerklavier. The first movement is particularly challenging; the 2nd highlights an interesting trait in late Beethoven wherein he seems to be hinting at a swing (jazz) rhythm. What's up with that? Late Coltrane: Interstellar Space, is one of the last things John Coltrane recorded. It' a suite with just him and drummer, Rashied Ali. To say the least, it's relentless and challenging. But even as Coltrane was always pushing boundaries, there is always something of his lyrical side here. Carlo Gesualdo: The madrigal, Moro lasso al mioduolo, is so strange, and harmonically ahead of its time that people probably thought the composer was crazy. And he probably was. Edgar Varése: Perhaps Poem Eletronique sounds like so much noise and effects to our ears—sound design in modern terms, and pretentious sound design at that. But while it may not be something you put on to chill (or sing along with) it does prove my point about sounds of the Avant-Garde being incorporated into the mainstream. So you can easily hear elements of this being incorporated into a "chill vibe" if not being a very chilly vibe itself. I don't' know if that's good or bad. It just is. Follow: Podcast Homepage Episode Transcript Subscribe on Apple Podcasts Bandcamp Page Patreon Page Twitter Peter Saltzman Website Facebook Contact: info@petersaltzman.com

Triumphs and sufferings define Beethoven’s personal and professional life. His brother Carl dies, Beethoven becomes foster parent to his nephew, all while his profound deafness challenges his ability to communicate with others. His final works, while baffling and confusing to some of his contemporaries, are, in Beethoven's words, for another time. In this fifth and final episode, Michael also discusses the late five piano sonatas, and Beethoven’s almost experimental approach to composition. Written, narrated and performed by Michael Chertock Musical excerpts taken from the following: L. Van Beethoven: Piano Concerto No. 4 in G major, Op. 58, I. Allegro Moderato L. Van Beethoven: Piano Sonata No. 26 in E♭ major, Op. 81a "Les adieux/Das Lebewohl", I. Adagio L. Van Beethoven: Piano Sonata No. 28 in A major, Op. 101, I. Allegretto L. Van Beethoven: Piano Sonata No. 29 in B♭ major, Op. 106 “Hammerklavier”, I. Allegro L. Van Beethoven: Piano Sonata No. 29 in B♭ major, Op. 106 “Hammerklavier”, III. Adagio sostenuto L. Van Beethoven: Piano Sonata No. 32 in C minor, Op. 111, II. Arietta L. Van Beethoven: Piano Sonata No. 30 in E major, Op. 109, III. Theme L. Van Beethoven: Piano Sonata No. 30 in E major, Op. 109, III. Var. 2 L. Van Beethoven: Piano Concerto No. 5 in E♭ major, Opus 73 "Emperor", I. Allegro Piano excerpts recorded at the University of Cincinnati College-Conservatory of Music in the Robert J. Werner Recital Hall. Technical production provided by Tom Hughes Marketing Strategies © 2018 Michael Chertock

Zweite Hälfte des 18. Jhdts, Zeitalter der Aufklärung. Denken wird zum Sport, alle wollen ihr Wissen vermehren, manchmal geht's dabei drunter und drüber! Auch die Musik klingt anders, mit neuen Instrumenten, wie Hammerklavier und Klarinette.

In Ep. 18a, Beethoven pt. 10 "The Candle in the Wind", first part of our massive grand finale(!) we start Beethoven on the last leg of his life. As a new father, and aging man with ill health, life would become more and more difficult for our great composer. His compositional life would prove more cumbersome as well, as massive new works that took a considerable amount of time to complete were now at the forefront of his mind: the "Hammerklavier" Sonata, the Missa Solemnis, the Diabelli Variations, and of course the Ninth Symphony in D minor. ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com Introductory poem: "The Consolation of Philosophy" Boethius bk. 1, pg. 18-19, trans. Victor Watts (Penguin Books 1999, London.) Music heard in this episode in order of appearance: 1. String Quartet in A minor mvt. 5 op. 132 - Pascal Quartet 2. String Quartet in A minor mvt. 3 (selection) op. 132 - Pascal Quartet 3. Sonata for Piano in B-flat major op. 106, "Hammerklavier"  4. Thirty-three Variations on a Waltz by Anton Diabelli op. 120, "theme" - Neal O'Doan, piano 5. Sonata for Piano in C minor op. 111, mvt. 1 (selection) - Neal O'Doan 6-9. Symphony in D minor op. 125, mvt. 1-4 (selections) https://archive.org/details/BeethovenQuartetNo.15InAMinorOp.132 https://musopen.org/music/33466-diabelli-variations-op-120/ https://musopen.org/music/57-piano-sonata-no-32-in-cm-op-111/ All productions of The Great Composers Podcast are intended for educational purposes only. The Great Composers Podcast is a classical music podcast

If you're an audiobook listener, you will probably recognize this voice. We welcome Simon Vance, one of the most widely appreciated narrator of audiobooks. He discusses what it involves to record audiobooks, and how the audiobook industry works. This week’s guest: Simon Vance Show notes: Audiofile Magazine Simon Vance's award winning audiobooks (Audiofile) Audies Audible.com (Try Audible and get two free audiobooks) Audible UK (Free trial) Anthony Powell: A Dance to the Music of Time (first of four volumes) A Dance to the Music of Time (DVD) Alan Moore: Jerusalem William Boyd: Any Human Heart Julian Barnes: Levels of Life Iris Murdoch: The Sea, The Sea Kazuo Ishiguro: The Unconsoled Tom Malmquist: In Every Moment We Are Still Alive Our next tracks: Kirk: Murray Perahia: Beethoven: Piano Sonatas Op.106 “Hammerklavier” & op. 27/2 “Moonlight” Doug: Steely Dan: Pretzel Logic If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast. Special Guest: Simon Vance.

À propos du CD Beethoven: Piano Sonata No. 29 "Hammerklavier" & Bagatelles, Op. 126 2016 Artistes : Ludwig van Beethoven, Nelson Goerner Date de sortie : 25 mars 2016 Label : Alpha

Auf der Frankfurter Musikmesse, dem weltweiten Branchentreff für Instrumente und Zubehör, waren in der vergangenen Woche allerhand Neuheiten zu entdecken, so etwa auch das Seaboard, einer Weiterentwicklung des Keyboards. Stefan Bücheler hat es ausprobiert.

Franz Schubert: Impromptus D. 899; Klavierstücke D. 946 | Ludwig van Beethoven: Klaviersonate Nr. 29 B-Dur op. 106 "Hammerklavier" | Grigori Sokolov (Klavier)

The story behind Beethoven's masterful 'Hammerklavier' sonata, which will be performed by Rudolf Buchbinder at the Playfair Library Hall on Tuesday 10 August.

Piers Adams celebrates CPE Bach's 300th anniversary year with a visit to the city of Hamburg, where the 54-year-old Emanuel Bach began a new career as music director to the city's churches. Dutch keyboard player Pieter Jan Belder samples the vast collection of fortepianos and clavichords at the Museum of Decorative Arts, and there is a visit to the crypt of the Michaeliskirche where Emanuel Bach is buried. CPE Bach's three decades in Hamburg were the happiest and most productive of his career. He arrived there following many frustrating years at the Berlin court of Frederick the Great, who, he felt, never appreciated his talents. Emanuel took over the job previously occupied by his godfather Telemann in 1768, looking after the music of Hamburg's five main churches. He also found time to launch a series of subscription concerts, as well as leading a lively social life, as the English music historian Charles Burney noted when he paid him a visit. According to Burney, the best of CPE Bach's music is to be found in his keyboard works, and Pieter Jan Belder plays pieces written both for the new Hammerklavier, and for Emanuel's favourite instrument, the clavichord. Hamburg loved CPE Bach: one obituary praised his style as being so much superior to the 'kling-klang' of his contemporaries.

Obwohl Beethoven von op. 101 an versuchsweise die übliche Bezeichnung "Pianoforte" durch das deutsche Wort "Hammerklavier" zu ersetzen versuchte,