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.
Piano Sonata No. 1 in F minor Op. 2 No.1: I. Allegro
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! 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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46 x100tokk
Sonata Op.2 No.1 Beethoven
Kovacevich
-I. 00:01 "Allegro"
-II. 03:05 "Adagio"
-III. 07:20 "Allegretto"
-IV. 10:15 "Prestissimo:
Lewis
-I. 14:55 "Allegro"
-II. 19:22"Adagio"
-III. 24:00"Allegretto"
-IV. 27:32 "Prestissimo"
Buchbinder
-I. 32:44 "Allegro"
-II. 36:14 "Adagio"
-III. 41:44 "Allegretto"
-IV. 44:40 "Prestissimo:
Staven Byrne
Personal interpretation of Prestissimo.
Exposition I: Hunt/chasse. This is deer (or other hunting target) POV. Bloodcurdling chase.
Exposition II. Panting while running, very tiring and molto agitato.
Development I: Deer found a shelter, hides, falls asleep. Sweet dreams.
Development II: Deer wakes up, hearing footsteps and hunting dog
Recapitulation I: FOUND! Run for your life!
Recapitulation II: Pant, pant, pant...
Coda: Chase is still fierce. Will the hunter win, or the deer? You decide!
TO BE CONTINUED
Elaine Blackhurst
@FrostDirt
Understood, but there are far better examples across a swathe of works by Mozart and Haydn that better illustrate sonata form than K545.
In some respects, this sonata facile simplifies sonata form too much: though not as much as Beethoven’s sonate facile Opus 49 No 2 for example where the development in the 1st movement - which is extremely straightforward and predictable - consists of just 13 bars (including a lead back); this does not really balance the exposition and recapitulation so in this respect, K545 is better.
The first movement recapitulation of K545 is of course also very untypically in the subdominant rather than the tonic which would mislead any ‘beginner’ who may think this oddity normal.
The recapitulation of K545 also contains no further development of the material which became a key feature of Classical sonata form, and once again, it is entirely predictable - it’s the sort of thing you or I could write, rather than what we could expect from Mozart.
There is of course no coda here either which became an important part of Classical sonata form, so I would have chosen a work with a recognisable one such as Haydn’s sonata in E flat Hob. XVI:49, or any Mozart sonata with one.
You’re quite right that Mozart never intended K545 to be anything other than what it is, and yes, it does illustrate sonata form for beginners; I just think there are better examples elsewhere to begin studying the form.
gustavo silva
Beethoven, the great composer of the universe
Francisco Walker
I always admired Beethoven (along with Bach, Mozart, Chopin and dozen more) BUT I never realized how unparalleled genius he is; thanks for posting...this is a GOLD MINE of Music
Jing Gong
My fav composers, 1, Liszt, 2, Mozart, 3, Haydn, 4, Beethoven
_cat_
@Jing Gong ik its ur opinion but no way u put haydn in front of Beethoven
Elaine Blackhurst
@_cat_
The greatest composers cannot be ranked; it’s like wasting your time trying to rank the colours of the rainbow, and ends up in most cases just being a list of personal preferences.
Joseph Saab
@Elaine Blackhurst I think the fact the music is very emotional makes an objective ranking really hard and probably impossible when it comes to the greats
Tricen Osborne
lies mozart was much more masterfull
Kayla Pietrobono
I love Beethoven's work. The Sonata form is perfect.
Jonathan Paquette
I want to personally thank you for posting all the Sonatas. It was really insightful to always hear more than interpretation, to understand how many different interprets see the music. I made me rethink how I play and listen to music.
Thank you.
Cantonese Jyutping Pinyin Lyrics粵語拼音歌詞
As a beginner in listening to classical music, the notes, your analysis, and the provision of different versions are very useful. Thank you so much! I would not have understood as much without your help.