Beethoven, Triple Concierto y Fantasía Coral. Yo-Yo Ma, Perlman, Barenboim
Published on Dec 15, 2012
Ludwig van Beethoven (1770 - 1827)
Concerto for violin, cello and piano in C major, Opus 56
2. Largo (attacca)
3. Rondo alla polacca
Itzhak Perlman, violin,
Yo-Yo Ma, cello
Daniel Barenboim, piano and conductor.
Division of the Berliner Philharmonie in Berlin-Tiergarten.
Concerto for violin, cello and piano in C major, op. 56, is a sonata by Ludwig van Beethoven and commonly known as the Triple Concerto work. It was composed between 1804 and 1805. It was released in 1808 in the summer concerts "Augarten" Vienna.
This is the only concert Beethoven composed for more than one solo instrument. One of the first biographers of the composer, Anton Schindler claimed that the Triple Concerto was written for Beethoven's pupil, Archduke Rudolph of Austria. The Archduke, who under the tutelage of Beethoven managed to be an accomplished pianist and composer, was just a young man when the piece was composed, and this would be the reason why the piano part is colorful and easy to turn, supported by other two mature and skilled soloists. However, there is no knowledge that Rodolfo interpret the piece. At the time of publication, the dedication was for another of his patron, Prince Lobkowitz.
Besides violin, cello and piano solo, the piece is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets , tympani and strings. - Fantasy for piano, chorus and orchestra in C minor, Opus 80 (37 '30'' ~) 1. Adagio 2. Allegro 3.Meno allegro 4. Adagio ma non troppo 5. Marcia, assai vivace 6.Allegretto, ma non troppo 7. Presto Carola Höhn, Katharina Kammerloher, Andrea Böning, Endrik Wottrich, Pär Lindskog, Rene Pape. Chor der Deutschen Staatsoper Berlin. Berlin Philharmonic.Daniel Barenboim, conductor.
Fantasy begins with an introduction of 26 bars slowly but piano virtuoso, that modulates C minor to C major and back to the first. The main part of the work, marked "Finale" begins with a topic Allegro played by cellos and basses.
After the piano solo introduces the topic in an ornate coral version.Variations on the theme are then played by flutes, oboes, clarinets and soloists, strings respectively. A version of the theme with full orchestra, played forte leads to a more lyrical piano part. Orchestra accompanying a semiquavers of the piano while the work is modulating C minor to C major. A calm and smooth section in A major, which ends with a question and answer section between the double reed, horn and piano, Marcia leads to a variation in F major style main march theme. A repeat of the instrumental theme of the first allegro is a transition to the choral entrance. choir enters with the sopranos and altos singing the main theme, harmonized in triads. The tenors and basses sing the theme then, and then the chorus is joined by the orchestra in tutti. A presto coda in orchestra, choir and piano gives way to the work.
With grace and sweetness echoing the harmonies of our life and the sense of beauty begets flowers that bloom forever.'s advance peace and joy which friends like the alternating game the waves, and insisting on being rude and hostile becomes part of the sublime. queen When the magic tones and words of inspiration configure how wonderful night turn light storm. outer and inner joy Calm a precedence for the blessed, and the spring sun of the arts allows both born light. contained Something big chest blooms anew in all its beauty, if a spirit has elevated a chorus of spirits always resonates around. Accept, then, beautiful souls, cheerfully gifts of good art. bind When love and strength the favor of the gods to reward man. ---