Ludwig van Beethoven (16 December 1770 – 26 March 1827) was a German pianis… Read Full Bio ↴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 is often regarded as 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 of 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). Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas.
Deconstructing 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 Bartók, 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.
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 of 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). Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas.
Deconstructing 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 Bartók, 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.
Allegro Assai
Ludwig van Beethoven Lyrics
We have lyrics for 'Allegro Assai' by these artists:
C. P. E. Bach 3. Leichte Segler in den Höhen Leichte Segler in den Höhen, …
We have lyrics for these tracks by Ludwig van Beethoven:
"An die Hoffnung" Op. 94 LUDWIG VcN BEETHOVEN (1770-1827) cn die Hoffnung op.94 (aus…
1 Joyful, joyful, we adore You, God of glory, Lord of love; He…
9th Symphony Freude, schöner Götterfunken, Tochter aus Elysium, wir bet…
Ah perfido Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! perfido! Op. 65 Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
An die Hoffnung op. 32 LUDWIG V. BEETHOVEN (1770-1882) cn die Hoffnung op. 32 Tex…
An die Hoffnung Op. 32 LUDWIG V. BEETHOVEN (1770-1882) cn die Hoffnung op. 32 Tex…
An die Hoffnung Op. 94 LUDWIG VcN BEETHOVEN (1770-1827) cn die Hoffnung op.94 (aus…
Joyful Joyful Joyful, joyful, we adore You, God of glory, Lord of love; He…
Moonlight Sonata Camper Van Beethoven Camper Van Beethoven We Love You All…
Presto Freude, schöner Götterfunken, Tochter aus Elysium, wir bet…
String Quartet in A major Kimi no te de kirisaite Omoi hi no kioku wo Kanashimi no…
String Quartet in A major Op. 18 No. 5: III. Andante cantabile Kimi no te de kirisaite Omoi hi no kioku wo Kanashimi no…
Symphony No. 2 in D Major I saw you standing on the corner You looked so big…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@Specok
Радость, первенецъ творенья,
Дщерь великая Отца,
Мы, какъ жертву прославленья,
Предаемъ тебѣ сердца!
Все, что̀ дѣлитъ прихоть свѣта,
Твой алтарь сближаетъ вновь,
И душа, тобой согрѣта,
Пьетъ въ лучахъ твоихъ любовь!
ХОРЪ.
Въ кругъ единый, Божьи чада!
Вашъ Отецъ глядитъ на васъ!
Святъ Его призывный гласъ,
И вѣрна Его награда!
Кто небесъ предвидѣлъ сладость,
Кто любилъ на сей земли,
Въ миломъ взорѣ черпалъ радость,
Радость нашу раздѣли:
Всѣ, чье сердце сердцу друга
Въ братской вторило груди;
Кто жъ не могъ любить,—изъ круга
Прочь съ слезами отойди!..
ХОРЪ.
Душъ родство! О, лучъ небесный,
Вседержащее звено!
Къ небесамъ ведетъ оно,
Гдѣ витаетъ Неизвѣстный!
У груди благой природы
Все, что̀ дышетъ, радость пьетъ!
Всѣ созданья, всѣ народы,
За собой она влечетъ:
Намъ друзей дала въ несчастьѣ,
Гроздій сокъ, вѣнки Харитъ,—
Насѣкомымъ—сладострастье,
Ангелъ—Богу предстоитъ.
ХОРЪ.
Что, сердца, благовѣстите?
Иль Творецъ сказался вамъ?
Здѣсь лишь тѣни, солнце тамъ,
Выше звѣздъ Его ищите!..
Душу Божьяго творенья
Радость вѣчная поитъ,
Тайной силою броженья
Кубокъ жизни пламенитъ;
Травку выманила къ свѣту,
Въ солнцы—хаосъ развила,
И въ пространствахъ—звѣздочету
Неподвластныхъ—разлила.
ХОРЪ.
Какъ міры катятся слѣдомъ
За вседвижущимъ перстомъ,
Къ нашей цѣли потечемъ
Бодро, какъ герой къ побѣдамъ.
Въ яркомъ истины зерцалѣ
Образъ твой очамъ блеститъ,
Въ горькомъ опыта фіалѣ
Твой алмазъ на днѣ горитъ.
Ты, какъ облакъ прохлажденья,
Намъ предходишь средь трудовъ—
Свѣтишь утромъ возрожденья
Сквозь разсѣлины гробовъ.
ХОРЪ.
Вѣрьте правящей Десницѣ!
Наши скорби, слезы, вздохъ
Въ ней хранятся какъ залогъ
И искупятся сторицей!
Кто постигнетъ Провидѣнье?
Кто явитъ стези Его?
Въ сердцѣ сыщемъ откровенье,
Сердце скажетъ Божество!
Прочь вражда съ земного круга!
Породнись душа съ душой!
Жертвой мести—купимъ друга,
Пурпуръ—вретища цѣной.
ХОРЪ.
Мы врагамъ своимъ простили,
Въ книгѣ жизни нѣтъ долговъ,
Тамъ, въ святилищѣ міровъ.
Судитъ Богъ, какъ мы судили!
Радость грозды наливаетъ,
Радость кубки пламенитъ,
Сердце дикаго смягчаетъ,
Грудь отчаянья живитъ.
Въ искрахъ къ небу брызжетъ пѣна,
Сердце чувствуетъ полнѣй,
Други, братья, на колѣна!
Всеблагому кубокъ сей!..
ХОРЪ.
Ты, чья мысль духовъ родила,
Ты, чей взоръ міры зажегъ!
Пьемъ Тебѣ, Великій Богъ!
Жизнь міровъ и душъ свѣтило!
Слабымъ—братскую услугу,
Добрымъ—братскую любовь,
Вѣрность клятвъ—врагу и другу,
Долгу въ дань—всю сердца кровь!
Гражданина голосъ смѣлый
На совѣтъ къ земнымъ богамъ;
Торжествуй святое дѣло,
Вѣчный стыдъ его врагамъ.
ХОРЪ.
Нашу длань къ Твоей, Отецъ,
Простираемъ въ безконечность!
Нашимъ клятвамъ даруй вѣчность,
Наши клятвы—гимнъ сердецъ!
@user-qs5jk8kp2h
Два композитора, которых вы ни с кем никогда не перепутаете, услышав хоть раз их произведения, два гения, имеющих свой отличительный почерк - великий Бетховен, и великий Шопен.
@kokimotousa
Beethoven's unrivaled composition for sure!
@shin-i-chikozima
No9 is a compilation of the musical aesthetics of Beethoven, and irreplaceble, and unrivaled, and off the charts
@georgemartin1906
Fantastic performance!!! Gotta love a conductor so passionate about conducting, in my opinion the greatest piece of music ever written, that his shirt gets pulled out of his pants.
@sershpool6006
Muy bella sinfonía gracias por subirla.
@madduxdonald2800
i dont mean to be so off topic but does anyone know of a tool to log back into an instagram account?
I was dumb forgot the password. I love any tricks you can offer me!
@marleyyousef9413
@Maddux Donald Instablaster =)
@rasenks
Me salieron unas lágrimas de lo emocionante que suena.
@honeybreadjo8512
Beethoven wrote a song for the hero, but he didn't give in to all kinds of authority, and everyone said yes and said no alone when choosing a comfortable path
It was the hero of the times.
@AdairFelizardo
É de tirar o fôlego, e as lágrimas!!! Impressionante!