Ludwig van Beethoven

Top Tracks

Track Artist Album
Sonata No. 14 "Moonlight" in C-Sharp Minor", Op. 27 No. 2: I. Adagio sostenuto Ludwig van Beethoven Beethoven: Piano Sonatas, Vol.3
Symphony No. 7 in A Major, Op. 92: II. Allegretto Ludwig van Beethoven Beethoven, Van L.: Symphonies Nos. 2 and 7
Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2, "Moonlight": I. Adagio sostenuto Ludwig van Beethoven Beethoven: Piano Sonatas Nos. 8, 14 and 23
Piano Quartet in E-flat Major, Op.16: II. Andante cantabile Ludwig van Beethoven Beethoven, Schumann: Piano Quartets (Remastered)
String Quartet No. 16, Op. 135: II. Vivace Ludwig van Beethoven Beethoven: Complete String Quartets
Concerto for Piano and Orchestra No. 5 in E-Flat Major, Op. 73: II. Adagio un poco moto - attacca Ludwig van Beethoven The Beethoven Journey - Piano Concerto No.5 "Emperor" & Choral Fantasy
Moonlight Sonata Ludwig van Beethoven Piano Clásico
Für Elise, WoO 59 Ludwig van Beethoven Absolute Masterworks - Romantic
Beethoven: Piano Sonata No. 8 in C Minor, 'Pathétique', Op. 13: II. Adagio cantabile Ludwig van Beethoven Beethoven: Piano Sonatas
Piano Sonata No. 4 in E-Flat, Op. 7: III. Allegro Ludwig van Beethoven Beethoven: Piano Sonatas, Vol. 2 - Nos. 4, 14 'Moonlight, 24 &Fantasy in G Minor
Sonata Op.31 No.2: III. Allegretto Ludwig van Beethoven Beethoven: Moto perpetuo
Concerto for Piano and Orchestra No. 4 in G Major, Op. 58: II. Andante con moto Ludwig van Beethoven Beethoven: Piano Concertos Nos.2 & 4
Symphony No. 4 in B-Flat Major, Op. 60: I. Adagio - Allegro vivace Ludwig van Beethoven Beethoven: Symphonies Nos. 4 & 5
Piano Concerto No.5 in E flat major Op.73 -"Emperor": 2. Adagio un poco mosso - Excerpt Ludwig van Beethoven Yellow Lounge
Piano Sonata No. 32 in C Minor, Op. 111: II. Arietta: Adagio molto, semplice e cantabile Ludwig van Beethoven Garrick Ohlsson Edition: Beethoven Sonatas, Vol. 2
Piano Sonata No.29 in B-Flat Major, Op. 106 “Hammerklavier”: II. Scherzo. Assai vivace Ludwig van Beethoven Beethoven Piano Sonatas Nos. 9, 13 & 29 "Hammerklavier", Vol. 6
Concerto for Piano and Orchestra No. 5 in E-Flat Major, Op. 73: II. Adagio un poco moto - attacca Ludwig van Beethoven The Beethoven Journey - Piano Concertos Nos.1-5
Claro De Luna Ludwig van Beethoven Los Éxitos De Richard Clayderman
Sonata Opus 10, No. 7 in D Major, No. 3: III. Menuetto: Allegro Ludwig van Beethoven Beethoven: The Complete Sonatas
Symphony No. 8 in F Major, Op. 93: IV. Allegro vivace Ludwig van Beethoven Beethoven: The Symphonies (Live from Rotterdam, 2011)
Piano Sonata No. 10 in G Major, Op. 14, No. 2: I. Allegro Ludwig van Beethoven Beethoven: The Complete Piano Sonatas
Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto Ludwig van Beethoven Beethoven: Piano Sonatas, Vol. 2 - Nos. 4, 14 'Moonlight, 24 &Fantasy in G Minor
Quartet VII No.1 In F major, Op.59: I. Allegro Ludwig van Beethoven Beethoven: "Razumovsky" Quartets (Op.59, Nos.1-3)
Moonlight Sonata (From The Vampires diaries) Ludwig van Beethoven Studying Music - Music for Study
Beethoven: Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2, "Moonlight": III. Presto agitato Ludwig van Beethoven Beethoven : Piano Sonatas
Sonate No. 9 en Mi majeur, Op. 14 No. 1: I. Allegro Ludwig van Beethoven Beethoven: Sonates pour piano, Vol.2
Beethoven: Symphony No. 3 in E-Flat Major, Op. 55, 'Eroica': I. Allegro con brio Ludwig van Beethoven Harnoncourt - The Complete Beethoven Recordings
Beethoven: Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2, 'Moonlight': I. Adagio sostenuto (Excerpt) Ludwig van Beethoven Relax
Für Elise, WoO 59 Ludwig van Beethoven Schroeder's Greatest Hits
Symphony No. 7 in A Major, Op. 92: II. Allegretto Ludwig van Beethoven Beethoven: Symphonies Nos. 5 & 7
Piano Sonata No.29 in B-Flat Major, Op. 106 “Hammerklavier”: I. Allegro Ludwig van Beethoven Beethoven Piano Sonatas Nos. 9, 13 & 29 "Hammerklavier", Vol. 6
Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2 "Moonlight": I. Adagio sostenuto Ludwig van Beethoven Alessio Bax Plays Beethoven: Hammerklavier & Moonlight Sonatas, The Ruins of Athens
Trio for piano, violin and cello No. 7 in B Flat Major, Op. 97: II. Scherzo - Allegro Ludwig van Beethoven Beethoven: Piano Trios, Op. 70 No. 2, Op. 97 "Archduke"
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 -"Moonlight" : 1. Adagio sostenuto Ludwig van Beethoven Moonlight Sonata - The Greatest Piano Sonatas
Piano Sonata No. 3 in C Major, Op. 2 No. 3: I. Allegro con brio Ludwig van Beethoven Beethoven: Complete piano sonatas
Symphony No. 9 in D Minor, Op. 125 "Choral": II. Molto vivace Ludwig van Beethoven Beethoven, Van L.: Symphony No. 9, "Choral"
Beethoven: Symphony No. 9 in D Minor, 'Choral', Op. 125: IV. 'Ode to Joy' Ludwig van Beethoven 50 Best Classics
Beethoven: Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio Ludwig van Beethoven 50 Best Classics
Symphony No. 1 in C Major, Op. 21: IV. Adagio - Allegro molto Ludwig van Beethoven Beethoven: The Symphonies - Reflections
Sonata No 8 in C Minor, Op. 13 "Pathétique": Andante Cantabile Ludwig van Beethoven Beethoven: Piano Sonatas (Pathétique, Hammerklavier)
Beethoven: Piano Sonata No. 14 in C-Sharp Minor, 'Moonlight', Op. 27 No. 2: I. Adagio sostenuto Ludwig van Beethoven Beethoven: Piano Sonatas 14 'Moonlight', 21 'Waldstein' & 23 'Appassionata'
Symphony No. 5 in C Minor, Op. 67, "Fate": I. Allegro con brio Ludwig van Beethoven Beethoven - 5th Symphony and beyond
Sonata # 14 in C-sharp minor, Op. 27 No 2 “Moonlight”:: Adagio sostenuto Ludwig van Beethoven Beethoven: The Complete Piano Sonatas
Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo Ludwig van Beethoven Beethoven: Piano Sonatas, Vol.4
Allegretto in B-Flat Major, WoO 39 Ludwig van Beethoven Beethoven: The Complete Piano Trios, Vol. 1
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 -"Moonlight" : 1. Adagio sostenuto Ludwig van Beethoven Classical Study Music
Symphony No. 6 in F Major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings Upon Arrival in the Country: Allegro ma non troppo Ludwig van Beethoven Beethoven, L. Van: Symphonies Nos. 2 and 6
II. Adagio cantabile - Remastered Ludwig van Beethoven 50 Masterworks - Glenn Gould
Piano Sonata No. 24 in F Sharp Major, Op. 78: I. Adagio cantabile ? Allegro ma non troppo Ludwig van Beethoven Janáćek, Beethoven & Brahms: Perspectives 4
Concerto for Piano and Orchestra No. 3 in C Minor, Op. 37: II. Largo Ludwig van Beethoven Beethoven: Piano Concertos Nos.1 & 3

Best Of Beethoven
2009-10-07
Beethoven (Best of)
2012-04-20
Beethoven's 7th
2013-07-23

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 remains 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 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). Many people in his time period do not think these works measured up to his first few symphonies, and his works with J. Reinhold were frowned upon. Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas. Destructuring 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 Bartòk, 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. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.