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Beethoven | Deutsche Welle

Beethoven's most famous symphonies performed by excellent young orchestras and new compositions by award-winning composers: a free musical experience offered by Deutsche Welle

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50 Folgen
  • Folge vom 23.09.2011
    Beethoven and more 2011 podcast #9: Bursting the bounds
    Beethoven's 'Kreutzer Sonata' is one of the most famous chamber music works ever written. It inspired Leo Tolstoy to write a novella and Leos Janacek to his string quartet of the same name in 1923.Ludwig van Beethoven Sonata No. 9 in A Major for violin and piano, op. 47 (Kreutzer): 2nd movement: Andante con variationi (I-IV) Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 19, 2011 When British violinist George Bridgetower and Beethoven got to know each other in 1803, the composer immediately set to work writing an extremely virtuosic violin sonata for his new friend. But before it went to print, the two firebrands found themselves in a bitter argument (supposedly involving a young woman) - and Beethoven instead dedicated the work at the last minute to French violinist Rodolphe Kreutzer. Kreutzer never played the sonata however, deriding it as incomprehensible and unplayable. Clearly, Beethoven had created a work that burst the bounds of the violin sonata form. Beethoven noted in the subtitle, "Scritte in uno stile molto concertante, quasi come d'un concerto" ("Written in a very concertante style, almost like a concerto"). "This is just the character of the Kreutzer Sonata I love," explained Itamar Golan. "You've got two men on stage playing an entire concerto with the violin and piano. There's no orchestra. It's just unbelievable." For both Itamar Golan and Julian Rachlin, the virtuosic, passionate parts aren't the most important in the piece, but rather the meditative second movement. "It exudes lightness and peace, but Beethoven spices it up with syncopation and trills," Golan added. Author: Marita Berg / gsw Editor: Rick Fulker
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  • Folge vom 23.09.2011
    Beethoven and more 2011 podcast #8: A carefree finale
    The sonatas in op. 30 are revolutionary works by a revolutionary composer. One commentator called this sonata one of the most harmonious in the ten-part cycle. Ludwig van Beethoven Sonata No. 8 in G Major for violin and piano, op. 30, No. 3: 3rd movement: Allegro vivace Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 19, 2011 Hungarian-American violinist Joseph Szigeti (1892-1973), known for his collaborations with Benny Goodman and Bela Bartok, came up with perhaps the best description of this sonata. Szigeti wrote that in it, the listener enters a sphere of perfection: "The radiant cheer of the first movement, the gently detached beauty of the minuet and the spirited merriness of the final rondo - it all adds up to one of the most harmonic works of the entire series." "Almost every one of these ten violin sonatas has revolutionary characteristics," said violinist Julian Rachlin. "Starting in op. 30, Beethoven stands all of the usual traditions on their head. That is revolution. For more than fifty years, the violin had been seen just as an accompanying voice, and Beethoven infuses the instrument with its own life, plays with its colors and brings it into a real dialogue with the piano." Author: Marita Berg / gsw Editor: Rick Fulker
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  • Folge vom 23.09.2011
    Beethoven and more 2011 Podcast #7: Passion and depth
    Beethoven's opus 30 'middle' violin sonatas point the way toward his later work. 'They have something of the incredible depth and drama of the later pieces,' said Julian Rachlin. Ludwig van Beethoven Sonata No. 7 in C Minor for violin and piano, op. 30, No. 2: 4th movement: Finale. Allegro - Presto Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 18, 2011 Beethoven wrote the sonatas of opus 30 in 1801 - the time in which he became aware that his hearing was growing worse and that he would go deaf. That plunged Beethoven into despair, but it also turned him into a fighter. Putting all of his energy into his compositions, he set out to create new sounds and forms of expression. The liberated voices heard in op. 30 are one result. Another is the addition of a fourth movement in op. 30, Nr. 2, revolutionizing the three-movement sonata form. "With this form, Beethoven took a huge step into the future - in the direction of the grand sonata," said Itamar Golan. "But that's not all. The passionate tone and the dramatic gesture all clearly point the way for developments in the violin sonata through the late 19th century. As usual, Beethoven was well ahead of his time." Author: Marita Berg / gsw Editor: Rick Fulker
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  • Folge vom 23.09.2011
    Beethoven and more 2011 podcast #6: An intense dialogue
    Violinist Julian Rachlin calls the sonatas of opus 30 'key works' within the cycle, as they mark Beethoven's departure from the tradition of focusing on the piano. 'For me, it's a revolution,' Rachlin said.Ludwig van Beethoven Sonata No. 6 in A Major for violin and piano, op. 30, No. 1: 2nd movement: Adagio molto espressivo Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 18, 2011 In 1801, just after Beethoven had finished composing the sonatas of op. 23 and 24, he began sketching new violin sonatas. By early 1802, three new works - in A Major, C Minor and G Major - were finished. Beethoven clearly treads new paths here, treating both piano and violin as full equals and no longer distinguishing between melodic and accompanying instrument. Instead, both share themes inseparably, both present the essential musical ideas and motifs. "I love the A Major Sonata, its purity and intensity," said Julian Rachlin. "I consider it a bridge between the early and later sonatas. Here, for the first time, Beethoven really turns the listener's expectations upside down." Author: Marita Berg / gsw Editor: Rick Fulker
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