Ludwig van beethoven beethoven - lorin maazel maazel fidelio
Beethoven 's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven 's creative personality. Beethoven profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works as the "Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle An die ferne Geliebte of 1816 set the pattern for similar cycles by all the Romantic song composers, from Schubert to Wolf. The Romantic tradition of descriptive or "program" music began with Beethoven 's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Brahms , who, like Beethoven , fundamentally stayed within the confines of Classical form) and radicals (such as Wagner , who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven 's music remains universally appealing because of its characteristic humanism and dramatic power.
In 1789 Beethoven obtained a legal order by which half of his father's salary was paid directly to him for support of the family.  He also contributed further to the family's income by playing viola in the court orchestra. This familiarised him with a variety of operas, including three by Mozart that were performed at court in this period. He also befriended Anton Reicha , a flautist and violinist of about his own age who was a nephew of the court orchestra's conductor, Josef Reicha . 
…poetry. What Goethe meant to Beethoven and Berlioz and what German folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
Finally, here is a video of Beethoven’s Grosse Fugue (Great Fugue). This is one of the Late String Quartets . This is very serious music. It is music to think about.
At Vienna, the young musician took lessons with Haydyn, then with Albrechtsberger and Salieri. He captured the attention of, and astonished Vienna with his virtuosity and his improvisations on piano. In 1794, Beethoven composed Opus 1, the Trios for Piano . The following year, Ludwig Van Beethoven made his first public performance at Vienna (an “Academy”) where each musician played his own work. Then followed a tour: Prague, Dresden, Leipzig, and Berlin, before leaving for a concert in Budapest.
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