Concerto for Piano, Violin, Violoncello and Orchestra in C Major, Op. 56, "Triple Concerto": II. Largo
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.
Concerto for Piano Violin Violoncello and Orchestra in C Major Op. 56 "Triple Concerto": II. Largo
Ludwig van Beethoven Lyrics
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…
Ah! perfido Op. 65: "Ah! perfido" Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! perfido Op. 65: "Per pietà non dirmi addio" Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! Perfido Spergiuro 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. 94 LUDWIG VcN BEETHOVEN (1770-1827) cn die Hoffnung op.94 (aus…
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
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@shannonparatene8262
What an experience.
Beethoven's composition's are without a doubt superhuman.
I appreciate when people put the dedication in to giving his peice's justice and this rendition did just that.
Mezmarizing, enchanted and smooth.
Loved it
@pauberlangacalvo475
Sé que no viene a cuento pero cito: "A pesar de saberse vencidos de antemano, y conocedores de su inferior posición táctica, los capitanes y las tripulaciones españolas y francesas se batieron con auténtica heroicidad durante horas contra un enemigo claramente en inferioridad numérica pero en posición de ventaja y superior maniobrabilidad, de tal forma que en algunas ocasiones ni siquiera quedó un oficial que rindiera el navío tras la batalla, puesto que muchos de ellos terminaron muriendo o fueron gravemente heridos en la cubierta superior, donde se encontraban a tiro de metralla de las carronadas y de los tiradores apostados en los palos de los buques enemigos. En Trafalgar murieron, entre muchos otros, Cosme de Churruca, alcanzado por un disparo de cañón en una pierna; Dionisio Alcalá Galiano y Francisco Alsedo y Bustamante. El vicealmirante Federico Gravina y Nápoli moriría meses más tarde a causa de las heridas sufridas en esta batalla.
Francia perdió doce de sus dieciocho barcos, con 2218 muertos, 1155 heridos y unos 500 prisioneros capturados por los británicos. Solo un tercio de los 15 000 franceses participantes en la batalla volvieron un día a Francia. El Reino Unido sufrió en Trafalgar 449 muertos (entre los que, además de Nelson, estaban trece de sus mejores oficiales) y 1241 heridos. Un costo significativo en una victoria que, desde luego, consolidó el liderazgo incuestionable de la armada británica en todos los mares. Para los españoles, Trafalgar fue una derrota dura que pronto adquirió connotaciones trascendentes. Los efectos trágicos fueron bien patentes. España perdió diez de los quince barcos con los que luchó, con un total de 1022 muertos, 1383 heridos y unos 2500 prisioneros, del total de 12 000 españoles que intervinieron en la batalla." - José Rafael Amaya Núñez
Aquí lo dejo. 37:26
@peachchung1604
I've never seen such as nice smiling during the playing music like the violinist Giora Schmidt. His smiling makes me happy a lot.
@FlexingClassicalMusic
🌅 "In the sunrise of each symphony, there's a new dawn of emotions awakening, painting the canvas of our hearts with the hues of classical brilliance." 🌄🎶
@Mundo_Dos_Sonhos777
Que palavra maravilhosa! Uma belo dia para você ☀️
@gnnasser
A proud conductor seeing his daughter mastering this concerto with her dad.
@erdalonurhan8056
What a performance? Best of the Triple Concerto. The violin player must be congratulated twice for having the courage to play with Itzhak Perlman conducting - by far the best contemporary violin player IMHO.
@emillyguimaraes335
A sensação que a música clássica transmite é inexplicavelmente sensacional. Simplesmente Esplendido. 👏👏👏👏
@claudinhalopes5056
9 e maravihloso
@zhyeltv9397
Concordo
@rosarodriguezsanchez6877
@@claudinhalopes5056 kñ
@efrainmaza3967
Me conpañarias