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Ludwig van Beethoven etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
Ludwig van Beethoven etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
Ludwig van Beethoven's Symphony No.5 in C minor, Op.67, conducted by Thomas Zehetmair and performed in Yekaterinburg by the Ural Philharmonic Orchestra at the 2020 Be@thoven Festival.
Beethoven's Fifth is amongst the most well-known symphonies of all time. Its opening, four-note motif made history in and of itself – Ludwig van Beethoven reportedly saying of it "Thus, fate knocks at the door!". This bon mot gave rise to the popular name "Fate Symphony" for Beethoven's Fifth. The Symphony No.5 also stands out formally, however – within its traditional four-movement structure, for the first time the emphasis is shifted from the first movement to the final movement, resulting in a mounting intensification across the entire work, culminating in a triumphant finale. This effect is underscored by the amplification of the instrumentation in the fourth movement – Beethoven additionally utilizing the trombone, contrabassoon, and piccolo.
Beethoven made his first notes for this symphony in 1800, more detailed sketches date from 1804, and the composition was then laid out and completed between April of 1807 and the spring of 1808. The premiere took place in that same year on December 22. Beethoven's Fifth Symphony has long remained one of the composer's most popular works.
From the Be@thoven Festival 2020 in the Russian cultural metropolis of Yekaterinburg, the performance of Beethoven's Symphony No.5 is one of the highlights – not least on account of the concert being held at all. While almost all of the anniversary events for Beethoven's 250th birthday had to be cancelled owing to the coronavirus pandemic, the Yekaterinburg concert went ahead – adhering to strict hygiene regulations. DW was the project's media partner.
Ludwig van Beethoven (1770-1827)
♪ Symphony No.5 in C minor, Op.67 (1807-1808)
i. Allegro con brio [00:17]* ii. Andante con moto [07:27] iii. Scherzo: Allegro [15:55] iv. Allegro [20:31]
* Start time of each movement
Ural Philharmonic Orchestra
Conductor: Thomas Zehetmair
Yekaterinburg, Sverdlovsk Philharmonic, November 26, 2020
(HD 1080p)
Thomas Zehetmair enjoys enviable international acclaim not only as a violinist, but also as a conductor and chamber musician. He is Chief Conductor of Stuttgarter Kammerorchester and Musikkollegium Winterthur.
Zehetmair has appeared as a conductor and violinist with orchestras including Seattle Symphony, Seoul Philharmonic Orchestra, Swedish Chamber Orchestra, Rotterdam Philharmonic, Orchestra of the Eighteenth-Century, Budapest Festival Orchestra and Hamburger Philharmoniker. He was Chief Conductor of Orchestre de Chambre de Paris, Artistic Partner of St Paul's Chamber Orchestra and Music Director of Royal Northern Sinfonia with whom he continues his association as Conductor Laureate.
In the 2020-2021 season, Zehetmair conducts the Russian National Youth Symphony Orchestra, Antwerp Symphony Orchestra, Sofia Philharmonic Orchestra and returns to Royal Northern Sinfonia and Irish Chamber Orchestra. He is soloist with Yomiuri Nippon Symphony (Weigle), gives a solo recital at Toppan Hall Tokyo and performs with Zehetmair Quartet in Amsterdam, Germany and the UK.
Thomas Zehetmair has an extensive and varied discography as a violinist, conductor and with the Zehetmair Quartet. His recording of the Paganini Caprices attracted a Midem Classic Award and his rendition of the Elgar Concerto with the Hallé Orchestra under Sir Mark Elder received a Gramophone Award in 2010. Recent recordings include Brahms Four Symphonies and Bruckner Symphony No.3 with Musikkollegium Winterthur. His latest CD release is Bach Six Sonatas and Partitas for solo violin, selected by the New York Times as one of "The 25 Best Classical Music Tracks of 2019", named by Die Zeit as one of their favourite recordings of 2019 and winner of the Opus Klassik 2020 for the best solo recording.
Christophoros Petridis is one of the most awarded greek violinists of the young generation – at 16 years old – with distinctions, awards, prizes and medals at important Greek and international competitions. Highlights of his career include the First Absolute Prize Winner award and the Best Beethoven Performance Special Prize in the Vienna Grand Prize Virtuoso competition, as well as his participation in the 14th Wienawski - Lipinski competition (Poland). His Megaron recital has it all, from Bach for solo violin and Beethoven's charming Spring Sonata to the dazzling pyrotechnics of Paganini, Wieniawski and Sarasate.
Johann Sebastian Bach (1685-1750)
♪ Partita No.2 in D minor for Solo Violin, BWV 1004 (1717-1720)
iii. Sarabanda
Ludwig van Beethoven (1770-1827) ♪ Violin Sonata No.5 in F major, Op.24 (1801)
Μόλις 16 ετών, ο Χριστόφορος Πετρίδης είναι ένας από τους πιο πολυβραβευμένους Έλληνες βιολονίστες της νέας γενιάς, με διακρίσεις, έπαθλα και μετάλλια σε σημαντικούς διαγωνισμούς εντός και εκτός Ελλάδος.
Κορυφαίες στιγμές στην καριέρα του ήταν η απονομή του First Absolute Prize Winner και του ειδικού βραβείου για την καλύτερη ερμηνεία έργου του Μπετόβεν (Best Beethoven Performance Special Prize) στον Διεθνή Μουσικό Διαγωνισμό Vienna Grand Prize Virtuoso καθώς και η συμμετοχή του στον 14ο Διεθνή Διαγωνισμό Βιενιάφσκι - Λιπίνσκι (Πολωνία).
Ο πολλά υποσχόμενος βιρτουόζος ανεβαίνει στη σκηνή του Μεγάρου Μουσικής Αθηνών την Κυριακή 28 Μαρτίου στις 20:30, και το κοινό θα έχει την ευκαιρία να τον απολαύσει διαδικτυακά σε ένα live streaming με έργα μουσικής δωματίου των Γιόχαν Σεμπάστιαν Μπαχ, Λούντβιχ βαν Μπετόβεν, Χένρυκ Βιενιάφσκι, Νικολό Παγκανίνι, Φριτς Κράισλερ, Βιτόριο Μόντι, Πάμπλο ντε Σαρασάτε αλλά και Γιάννη Κωνσταντινίδη. Τον νεαρό δεξιοτέχνη του βιολιού πλαισιώνει ο πιανίστας Νίκος Κυριόσογλου.
Κομμάτια-μικρογραφίες, αποσπάσματα από φημισμένα έργα για σόλο βιολί καθώς και για βιολί και πιάνο, αλλά και η Σονάτα για βιολί και πιάνο σε Φα μείζονα αρ. 5 του Μπετόβεν συνθέτουν το μουσικό τοπίο της βραδιάς.
Αρκετές από τις συνθέσεις του προγράμματος έχουν χορευτικό χαρακτήρα: η Σαραμπάντα από την Παρτίτα για βιολί σε Ρε ελάσσονα αρ. 2 του Μπαχ, το ιταλικής έμπνευσης Σκέρτσο-Ταραντέλα για βιολί και πιάνο, έργο 16 του Βιενιάφσκι, το Liebesleid (O πόνος του έρωτα) του Κράισλερ, ένα σύντομο έργο για βιολί που βασίζεται σε μελωδίες παλιών αυστριακών χορών, το Τσάρντας του Μόντι, μια παρτιτούρα εμπνευσμένη από την ουγγρική χορευτική παράδοση.
Από την ίδια παράδοση αντλούν άλλωστε το μουσικό υλικό τους και οι Τσιγγάνικοι σκοποί, μια από τις πιο αντιπροσωπευτικές συνθέσεις του Σαρασάτε που θα παρουσιαστεί σε μεταγραφή για βιολί και πιάνο.
Στο πρόγραμμα περιλαμβάνονται επίσης τρία αποσπάσματα (αρ. 1, 5 και 6) από τη Δωδεκανησιακή Σουίτα για βιολί και πιάνο του Κωνσταντινίδη, ο οποίος, σε αυτό το διάσημο έργο του, αναδεικνύει με ευφάνταστο τρόπο μελωδίες της ελληνικής δημοτικής μουσικής.
Στο ρεσιτάλ του στο Μέγαρο, ο Χριστόφορος Πετρίδης επέλεξε ακόμη να ερμηνεύσει δύο ιδιαίτερα απαιτητικά κομμάτια του Παγκανίνι, τα Καπρίτσια αρ. 5 και 24, γραμμένα και τα δύο σε Λα ελάσσονα, που θεωρούνται από τα δυσκολότερα και πλέον δεξιοτεχνικά του ρεπερτορίου για βιολί.
Οι διακεκριμένοι σολίστ Αλέξης Καραϊσκάκης-Νάστος και Αλεξάνδρα Παπαστεφάνου συμπράττουν για πρώτη φορά στο Μέγαρο Μουσικής Αθηνών παρουσιάζοντας ένα πρόγραμμα για βιολοντσέλο και πιάνο που εκτείνεται από τον 18ο μέχρι και τον 20ό αιώνα. Από τη σονάτα για φορτεπιάνο και βιολοντσέλο ομπλιγκάτο, έργο 5 αρ. 2 σε σολ ελάσσονα του Μπετόβεν, που αντικατοπτρίζει την γνωριμία του συνθέτη με τους διάσημους τσελίστες αδελφούς Ντυπόρ, οι δυο καλλιτέχνες περνούν στον ονειρικό κόσμο των φανταστικών κομματιών του Ρόμπερτ Σούμαν καταλήγοντας στη μοναδική ως προς το μουσικό λεξιλόγιο δεύτερη σονάτα του Γκαμπριέλ Φωρέ.
Το ταξίδι του Αλέξη Καραϊσκάκη-Νάστου και της Αλεξάνδρας Παπαστεφάνου στον κόσμο της ευρωπαϊκής μουσικής δωματίου αρχίζει με τη Δεύτερη σονάτα για πιάνο και βιολοντσέλο από το έργο 5, μια νεανική σύνθεση του Μπετόβεν, η οποία γράφτηκε στο Βερολίνο στα 1796 για τον Φρειδερίκο-Γουλιέλμο Β΄ της Πρωσίας, φανατικό φιλόμουσο και εξαίρετο τσελίστα. Πρωτοπαρουσιάστηκε με τον ίδιο τον συνθέτη στο πιάνο και με τον Γάλλο βιρτουόζο Jean-Louis Duport (Ζαν-Λουί Ντυπόρ) στο βιολοντσέλο. Η μουσική διαδρομή των δύο σολίστ συνεχίζεται με τα Φανταστικά κομμάτια για κλαρινέτο και πιάνο, έργο 73 σε μεταγραφή για τσέλο και πιάνο του Ρόμπερτ Σούμαν, κορυφαίου εκπροσώπου του ευρωπαϊκού Ρομαντισμού. Ο Γερμανός μουσουργός συνέθεσε το έργο στα 1849 μέσα σε μόλις δύο μέρες και γνώρισε αμέσως μεγάλη επιτυχία. Μάλιστα, η εντυπωσιακή δημοτικότητα των Κομματιών συνετέλεσε στη γρήγορη ενσωμάτωσή τους στο ρεπερτόριο εκείνης της εποχής και στη συχνή τους παρουσίαση σε συναυλίες. Περίπου εβδομήντα χρόνια αργότερα (1921), ο Γάλλος Γκαμπριέλ Φωρέ, ένας από τους σημαντικότερους παρισινούς συνθέτες και μουσικοπαιδαγωγούς του καιρού του, θα ακολουθήσει το δικό του μονοπάτι. Θα διαφοροποιηθεί από τη Γαλλική Σχολή και θα γράψει τη Σονάτα αρ. 2 για πιάνο και βιολοντσέλο, έργο 117, αποφεύγοντας τα υπερβολικά δεξιοτεχνικά περάσματα και παραδίδοντάς μας μια σύνθεση που συνδυάζει τον λεπτό λυρισμό με την έντονη δραματικότητα.
The live broadcast is over
Ludwig van Beethoven: Sonata No.2 in G minor, Op.5
Robert Schumann: Fantasy pieces, Op.73 (clarinet/piano), transcription for cello and piano Gabriel Fauré: Sonata No.2 in G minor, Op.117
I'm delighted to welcome you to the 2020 West Wycombe Chamber Music Festival! We are so excited to share with you what we have been working on over the past month – as I mentioned here before, for obvious reasons we were unable to present the festival this year with live audience. However I feel this has presented us with fascinating challenges and questions... How do we recreate the energy and soul of our special festival on film? How should we programme without the energy of an audience to help and influence a performance? All questions that need answering. I feel privileged to have been joined by some truly magnificent artists on this voyage of discovery – you can discover them all here on the website and our social media channels throughout October.
A Fermata is arguably the most powerful musical device available to a composer, within which the most special, unexpected moments can take place. It can magically suspend time, it can invite wild Improvisation or it can simply invite silence... I hope these films recreate in some small way the soul of our special festival during this hiatus. Enjoy.
We have all felt a felt a collective grand pause over the past six months but this sadly continues for most performing artists all over the world today – it means so much to me that we were able to present these artists in this special way. Thanks again for your loyalty and trust during this creative endeavour. Inevitably, we have incurred more costs than usual presenting these films without the usual ticket revenue. If you enjoy these Festival films and want to support us we would be so grateful for any donations. Not only will it help to fund this year’s festival, but also help to secure future years.
I so look forward to seeing you in 3D (!) next year for our tenth anniversary...
Lawrence Power
Artist Director WWCMF
George Frideric Handel (1685-1759) / Johan Halvorsen (1864-1935)
♪ Sarabande for Violin and Viola [02:10]*
Vilde Frang, violin
Lawrence Power, viola
Vilde and Lawrence In Conversation at the George and Dragon pub
Jean-Philippe Rameau (1683-1764)
♪ Pièces de Clavecin en Concerts: La Cupis & La Forqueray (1741) [14:20]
Lawrence Power, violin
John Myerscough, cello
Pavel Kolesnikov, piano
Intermission: Lawrence Power, John Myerscough and Pavel Kolesnikov chat
Recap from the 2019 Festival:
Grażyna Bacewicz (1909-1969)
♪ Piano Quintet No.1 (1952) [28:15]
i. Moderato molto espressivo
ii. Presto
iii. Grave
iv. Con passione
Tim Crawford, violin
Annabelle Meare, violin
Lawrence Power, viola
John Myerscough, cello
Simon Crawford-Phillips, piano
✻
String Quintet ‘Souvenirs’
Heinrich Ignaz Franz Biber (1644, baptised-1704)
♪ Battalia À 10: Presto (1673) [37:53]
Wolfgang Amadeus Mozart (1756-1791)
♪ String Quintet No.1 in B flat major, K.174, Allegro Moderato (1773)
Johannes Brahms (1833-1897)
♪ String Quintet No.2 in G major, Op.111, Adagio (1890) [49:08]
Ludwig van Beethoven (1770-1827)
♪ Fugue for String Quintet in D major, Op.137 (1817)
Ivor Gurney (1890-1937)
♪ 5 Elizabethan Songs, "Sleep" (1912), arranged for solo viola and string quartet by Richard Birchall (2018) [58:10]
Wolfgang Amadeus Mozart
♪ String Quintet No.1 in B flat major, K.174, Allegro (1773) [1:01:05]
Alexander Sitkovetsky, violin
Timothy Crawford, violin
Lawrence Power, viola
Timothy Ridout, viola
John Myerscough, cello
Church of St Lawrence, West Wycombe, UK, October 8, 2020
German violinist Christian Tetzlaff performs Ludwig van Beethoven's Violin Concerto in D major, Op.61, with the NHK Symphony Orchestra under the baton of the Estonian conductor Paavo Järvi. The concert was recorded at NHK Hall, Tokyo, Japan, on May 12, 2018.
✻ Beethoven wrote his Violin Concerto in D major, Op.61 (1806), at the height of his so-called "second" period, one of the most fecund phases of his creativity. In the few years leading up to the Violin Concerto, Beethoven had produced such masterpieces as the Symphony No.3, Op.55 (1803), the Piano Concerto No.4, Op.58 (1805-1806), and two of his most important piano sonatas, No.21 in C major, Op.53 ("Waldstein", 1803-1804), and No.23 in F minor, Op.57 ("Appassionata", 1804-1805). The Violin Concerto represents a continuation – indeed, one of the crowning achievements – of Beethoven's exploration of the concerto, a form he would essay only once more, in the Piano Concerto No.5 (1809). By the time of the Violin Concerto, Beethoven had employed the violin in concertante roles in a more limited context. Around the time of the first two symphonies, he produced two romances for violin and orchestra; a few years later, he used the violin as a member of the solo trio in the Triple Concerto (1803-1804). These works, despite their musical effectiveness, must still be regarded as studies and workings-out in relation to the Violin Concerto, which more clearly demonstrates Beethoven's mastery in marshalling the distinctive formal and dramatic forces of the concerto form. Characteristic of Beethoven's music, the dramatic and structural implications of the concerto emerge at the outset, in a series of quiet timpani strokes that led some early detractors to dismiss the work as the "Kettledrum Concerto". Striking as it is, this fleeting, throbbing motive is more than just an attention-getter; indeed, it provides the very basis for the melodic and rhythmic material that is to follow. At over 25 minutes in length, the first movement is notable as one of the most extended in any of Beethoven's works, including the symphonies. Its breadth arises from Beethoven's adoption of the Classical ritornello form – here manifested in the extended tutti that precedes the entrance of the violin – and from the composer's expansive treatment of the melodic material throughout. The second movement takes a place among the most serene music Beethoven ever produced. Free from the dramatic unrest of the first movement, the second is marked by a tranquil, organic lyricism. Toward the end, an abrupt orchestral outburst leads into a cadenza, which in turn takes the work directly into the final movement. The genial Rondo, marked by a folk-like robustness and dancelike energy, makes some of the work's more virtuosic demands on the soloist. At the prompting of Muzio Clementi – one of the greatest piano virtuosi of the day aside from Beethoven himself – Beethoven later made a surprisingly effective transcription of the Violin Concerto as the unnumbered Piano Concerto in D major, Op.61a, famously adding to the first movement an extended cadenza that employs tympani in addition to the piano. Source: Michael Rodman (allmusic.com)
Ludwig van Beethoven (1770-1827) ♪ Violin Concerto in D major, Op.61 (1806)
i. Allegro ma non troppo ii. Larghetto iii. Rondo. Allegro
Encore: Johann Sebastian Bach (1685-1750) ♪ Violin Partita No.3 in E major, BWV 1006 (1720): iii. Gavotte en Rondeau
Christian Tetzlaff, violin
NHK Symphony Orchestra Conductor: Paavo Järvi
NHK Hall, Tokyo, Japan, May 12, 2018
(HD 1080p)
Christian Tetzlaff has been one of the most sought-after violinists and most exciting musicians on the classical music scene for many years. "The greatest performance of the work I’ve ever heard", wrote Tim Ashley (The Guardian, May 2015) of his interpretation of the Beethoven Violin Concerto with the London Symphony Orchestra and conductor Daniel Harding. Concerts with Christian Tetzlaff often turn into an existential experience for both the interpreter and the audience; suddenly old familiar works appear in a completely new light. In addition, he frequently turns his attention to forgotten masterpieces such as Joseph Joachim's Violin Concerto which he successfully championed, and he also attempts to bring important new works into the repertoire such as Jörg Widmann's Violin Concerto, which he premiered in 2013. He has an unusually extensive repertoire and performs approximately 100 concerts every year. Born in Hamburg in 1966 and now living in Berlin with his family, there are three things that make this musician unique, aside from his astounding skill on the violin. He interprets the musical manuscript in a literal fashion, perceives music as a language, and views great works as narratives which reflect existential experiences. As obvious as it may sound, he brings an unusual approach in his daily concert routine. Christian Tetzlaff tries to follow the manuscript as closely as possible – without regard for "performance tradition" and without indulging in the usual technical short-cuts on the violin – often allowing a renewed clarity and richness to arise in well-known works. As a violinist Tetzlaff tries to disappear from the music – paradoxically this makes his interpretations very personal. Secondly, Christian Tetzlaff "speaks" through his violin. Like human speech, his playing comprises a wide range of expressive means and is not aimed solely at achieving harmoniousness or virtuosic brilliance. Above all, however, he interprets the masterpieces of musical history as stories about first-hand experiences. The great composers have focused on intense feelings, great happiness and deep crises in their music; as a musician Christian Tetzlaff also explores the limits of feelings and musical expression. Many pieces deal with none other than life and death. Christian Tetzlaff's aim is to convey this to his audience. Christian Tetzlaff played in various youth orchestras for many years. His teacher at the Lübeck University of Music was Uwe-Martin Haiberg, for whom musical interpretation was the key to mastering violin technique, rather than the other way round. Christian Tetzlaff founded his own string quartet in 1994, and until now chamber music is still as important to him as his work as a soloist with and without the orchestra. The Tetzlaff Quartett received the Diapason d'or in 2015, and the trio with sister Tanja Tetzlaff and pianist Lars Vogt was nominated for a Grammy award. Christian Tetzlaff has also received numerous awards for his CD recordings, including the "Jahrespreis der Deutschen Schallplattenkritik" in 2018, the "Diapason d'or" in July 2018 and the Midem Classical Award in 2017. The new Ondine recording of Beethoven and Sibelius violin concertos with the Deutsches Symphonie-Orchester Berlin and Robin Ticciati is highly anticipated in autumn 2019. Of special significance is his solo recording of Bach's Sonatas and Partitas, which he has recorded for the third time and was released in September 2017. The Strad magazine praised this recording as "an attentive and lively answer to the beauty of Bach's solos". Christian Tetzlaff plays a violin made by the German violin maker Peter Greiner and teaches regularly at the Kronberg Academy. Source: christian-tetzlaff.de
Under the baton of the young Finnish conductor and cellist Klaus Mäkelä, the Oslo Philharmonic Choir and Orcestra, and the soloists Lauren Fagan (soprano), Hanna Hipp (mezzo-soprano), Tuomas Katajala (tenor) and Shenyang (bass-baritone) perform Ludwig van Beethoven's Symphony No.9 in D minor, Op.125. Recorded at Oslo konserthus, on January 4, 2019.
✻
Symphony No.9 in D minor, Op.125, byname the Choral Symphony, orchestral work in four movements by Ludwig van Beethoven, remarkable in its day not only for its grandness of scale but especially for its final movement, which includes a full chorus and vocal soloists who sing a setting of Friedrich Schiller's poem "An die Freude" ("Ode to Joy"). The work was Beethoven's final complete symphony, and it represents an important stylistic bridge between the Classical and Romantic periods of Western music history. Symphony No.9 premiered on May 7, 1824, in Vienna, to an overwhelmingly enthusiastic audience, and it is widely viewed as Beethoven's greatest composition.
Beethoven's Symphony No.9 was ultimately more than three decades in the making. Schiller's popular "Ode to Joy" was published in 1785, and it is possible that Beethoven made his first of multiple attempts to set it to music in the early 1790s. He clearly revisited the poem in 1808 and 1811, as his notebooks include numerous remarks regarding possible settings. In 1812 Beethoven determined to place his setting of "Ode to Joy" within a grand symphony.
Ten more years passed before that symphony's completion, and during that time Beethoven agonized over the composition's every note. His notebooks indicate that he considered and rejected more than 200 different versions of the "Ode to Joy" theme alone. When he finally finished the work, he offered to the public a radically new creation that was part symphony and part oratorio – a hybrid that proved puzzling to less-adventuresome listeners. Some knowledgeable contemporaries declared that Beethoven had no understanding of how to write for voices; others wondered why there were voices in a symphony at all.
The story of the premiere of Symphony No.9 is widely told and disputed. Beethoven had steadily lost his hearing during the course of the symphony's composition, and by the time of its premiere he was profoundly deaf. Although he appeared onstage as the general director of the performance, kapellmeister Michael Umlauf actually led the orchestra with the conductor's baton, taking tempo cues from Beethoven. According to one account of the event, the audience applauded thunderously at the conclusion of the performance, but Beethoven, unable to hear the response, continued to face the chorus and orchestra; a singer finally turned him around so that he could see evidence of the affirmation that resounded throughout the hall. Other accounts maintain that the dramatic incident occurred at the end of the second movement scherzo. (At the time, it was common for audiences to applaud between movements.) Whenever the applause occurred, that it passed unnoticed by Beethoven makes clear that he never heard a note of his magnificent composition outside his own imagination.
Symphony No.9 broke many patterns of the Classical style of Western music to foreshadow the monolithic works of Gustav Mahler, Richard Wagner, and other composers of the later Romantic era. Its orchestra was unusually large, and its length – more than an hour – was extraordinary. The inclusion of a chorus, moreover, in a genre that was understood to be exclusively instrumental, was thoroughly unorthodox. The formal structure of the movements, while generally adhering to Classical models, also charted new territory. For example, the first movement, although in Classical sonata form, confounds listeners first by rising to a fortissimo climax in the harmonically unstable exposition section and then by delaying a return to the home key. The scherzo, with all its propulsive energy, is placed as the second movement, rather than the customary third, and the third movement is a mostly restful, almost prayerful adagio. The last movement builds from a gentle beginning into a brazen finale, while recalling some of the themes from earlier movements; once the "Ode to Joy" theme arrives, the musical form essentially becomes that of variations within a broader sonata-form structure.
Despite some sharp initial critique of the work, Symphony No.9 has withstood the test of time and, indeed, has made its mark. In the world of popular culture, the symphony's menacing second movement in brisk waltz time provided a backdrop for some of the most tense and twisted moments in Stanley Kubrick's 1971 film adaptation of Anthony Burgess's psycho-thriller novel A Clockwork Orange (1962). The choral fourth movement accompanies a triumphant soccer (football) scene in Peter Weir's film Dead Poets Society (1989). In the realm of technology, the audio capacity of the compact disc was set at 74 minutes in the early 1980s, purportedly to accommodate a complete recording of Beethoven's Symphony No.9.
Symphony No.9 has also been used to mark monumental public events, among the most moving of which took place on Christmas Day 1989 in Berlin. There, in the first concert since the demolition of the Berlin Wall just a few weeks earlier, American conductor Leonard Bernstein led a group of musicians from both the eastern and western sides of the city in a performance of Beethoven's Symphony No.9 with a small but significant alteration: in the "Ode to Joy" the word Freude was replaced with Freiheit ("freedom"). A performance of the choral finale of the symphony – with simultaneous global participation via satellite – brought the opening ceremony of the 1998 Winter Olympics in Nagano, Japan, to a powerful close.
Source: Betsy Schwarm (britannica.com)
Ludwig van Beethoven (1770-1827) ♪ Symphony No.9 in D minor "Choral", Op.125 (1822-1824) i. Allegro ma non troppo, un poco maestroso ii. Scherzo: Molto vivace iii. Adagio molto e cantabile iv. Presto – Allegro ma non troppo – Vivace – Adagio cantabile Lauren Fagan, soprano Hanna Hipp, mezzo-soprano Tuomas Katajala, tenor Shenyang, bass-baritone Oslo Philharmonic Choir (conductor: Øystein Fevang) Oslo Philharmonic Orcestra
Conductor: Klaus Mäkelä Sound production: NRK Music Producer: Krzysztof Drab Recording engineers: Elisabeth Sommernes and Marit Askeland Video production: Trippel-M Levende Bilder Director: Patrick Bakkland Gjerde
Oslo konserthus, January 4, 2019 (4K Ultra High Definition)
Klaus Mäkelä (b. 1996, Helsinki) has established a strong international presence through his instant musical connection with orchestras around the world. Mäkelä is Chief Conductor and Artistic Advisor Designate of the Oslo Philharmonic Orchestra and will assume the position at the beginning of the 2020-2021 season. He is also Principal Guest Conductor of the Swedish Radio Symphony Orchestra, Artist in Association with Tapiola Sinfonietta, and Artistic Director of the Turku Music Festival. In the 2019-2020 season, Mäkelä makes his first appearances with the NDR Elbphilharmonie, Münchner Philharmoniker, Bamberg Symphony Orchestra, Nederlands Radio Filharmonisch Orkest, Orchestre Philharmonique de Radio France, Orquesta Nacional de España, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, The Hallé and Scottish Chamber Orchestra. He returns to the Oslo Philharmonic Orchestra, MDR Leipzig, Frankfurt Radio Symphony Orchestra, The Minnesota Orchestra, NAC Ottawa, Gothenburg and Tokyo Metropolitan symphony orchestras, and Orchestre de Chambre de Lausanne. Mäkelä also continues his tenures with the Swedish Radio Symphony Orchestra, and Tapiola Sinfonietta where he has embarked on a Beethoven Cycle which will continue over the next two seasons. This seasons' concert programmes also include masterworks by Bruckner, Rachmaninov, Shostakovich, and Debussy, Ravel and Berlioz. Highlights from last season include appearances with Orchestre de Paris, Orchestre National de Lyon, Frankfurt Radio, Antwerp, Bern, and Malmö symphony orchestras, Bergen Philharmonic, Iceland Symphony Orchestra and Orchestre National du Capitole de Toulouse which have led to immediate and consistent re-invitations. Also working in opera, Mäkelä made his operatic debut in with the Finnish National Opera conducting The Magic Flute and a concertante performance of Erkki Melartin’s Aino. Mäkelä studied conducting at the Sibelius Academy with Jorma Panula and cello with Marko Ylönen, Timo Hanhinen and Hannu Kiiski. As a soloist, he has performed with Finnish orchestras such as the Lahti Symphony, Kuopio Symphony and Jyväskylä Sinfonia as well as appearing at many Finnish festivals including the Kuhmo Chamber Music and Naantali Music Festival. He plays a Giovanni Grancino cello from 1698, kindly made available to him by the OP Art Foundation. Source: klausmakela.com
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