Beethoven: Symphony no. 2 in D major, op. 36

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Herbert von Karajan conducting the Berlin Philharmonic

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I (0:00) II (10:56) III (24:10) IV (29:21) V (32:22) Ludwig van Beethoven Symphony No. 6, (Full version) I. Happy Arrival 0:00 II. By the Brook 10:56 III. V. Shepherd's Song 32:22 Conducted by Frans Brüggen (Orchestra of the 18th Century) I'm happy for you all. Thank you for watching this nice symphony. Beethoven's 6th Symphony (Pastoral) A Love of Nature The Pastoral Symphony is a charming masterpiece which both paints a picture of nature and describes man's feelings towards it. Beethoven's great love of nature, the delight in strolling through the countryside in Vienna, the fact that he always found his equilibrium in the heart of nature, all these inspired him to create his sixth symphony. Beethoven's 6th Symphony is filled with colorful sounds, simple folk tunes, nice development, and a feeling of calm beauty. It contains meaningful emotional aspect which reflects mankind's feelings towards the natural world. Beethoven began sketching out his 6th symphony in 1802 and finished it in 1808. "How happy I am to be able to walk among the shrubs, the trees, the woods, the grass and the rocks! For the woods, the trees and the rocks give man the resonance he needs," Beethoven said in the summer of 1808. The premiere of the 6th Symphony was probably the grandest musical event in Beethoven's life. It was a massive concert packed with indelible moments of brand new Beethoven music! This programmatic endeavor is clearly expressed through the suggestive title of the symphony, as well as through the titles of each movement. When Beethoven found refuge in the midst of nature, he jotted down themes inspired by the trill of birds, the trickling of creeks or the rustle of leaves. In a notebook from 1803 was found an outline of a river's trickling with the additional note: "The greater the river, the more grave the tone." Beethoven spread out the symphony into five movements and gave each movement a little subtitle explaining what it was about. I. "Happy Arrival" (Awakening of cheerful feelings upon arrival in the country) The Pastoral symphony opens with warmth and calm, setting the scene as we arrive in the countryside. This has a programmatic indication. In this movement, we find a genuine popular sonority through the choice of instruments neatly weaved together. [Allegro ma non troppo] II. "By the Brook" (The natural scene of the stream) This slow movement is a beautiful depiction of the delicate nature of... nature itself. It is a wonderful scene of nature with exceptionally musical themes in the pure pastoral air. You can almost breathe the fresh country air! It is more of a description of sensations rather than images. Towards the end, we find the onomatopoeic sounds of birds. [Andante molto mosso] III. "Merrymaking" (Joyful gathering of countryfolk) Now we turn our attention to the loud, jolly peasants who live in the countryside. Here we see them celebrate with a joyful dance. Of course, these are simple folks, so the music itself is simple, but very energetic. [Allegro] IV. "ThunderStorm" (Heavy rumblings of natural forces) 29:21 With no pause between the previous movement and this movement, there is a dramatic surprise, hinting at trouble ahead. Yes, a storm is brewing! Beethoven inserts fantastic lightning crashes and a whirl of wind. He renders the stages of the storm as it unravels on the horizon and moves closer more and more threatening. The instruments with grave chords - cellos and double basses - through their sounds announce the storm, then the staccato sounds of the violins render the falling raindrops, and through the timpani and the flutes we sense the thunder and lightning. Then comes the rainbow. Above all these images, we feel the tense disposition that captures man facing the realities of nature. There is an urgent sense of human fear since humanity is powerless against the forces of nature. When the storm is over, all living creatures come to the surface, taking their place in the natural cycle. This is rendered by a choral of flutes which come as a sunray. [Allegro] V. "Shepherd's Song" (Expression of thanks when the storm is over) As the storm fades away, all the animals emerge, and there's a general feeling of relief. Sunshine reappears, and everyone's mind is relaxed again. This is the song of gratitude towards nature. It is a calm movement, full of grace. It starts out quiet, but quickly gets faster and happier. The music is fairly simple, but this makes its emotions of gratitude endearing. [Allegretto] Beethoven's Pastoral Symphony, through its simplicity, is just sincere and natural. Category Music License Standard YouTube License Music "IV. Allegro (Storm and tempest) (extract)" by Roger Norrington

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(FULL) Beethoven Symphony No.6

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Collins Classics OFFICIAL - Beethoven (FULL ALBUM) Symphony No.6 "Pastorale" and Egmont Overture Op.68 Buy it here: http://apple.co/1IRxKWV Spotify: http://spoti.fi/204jBk0 Read the CD booklet here: http://bit.ly/1JzFqNs 0:00 I Allegro Ma Non Troppo "Awakening of cheerful feelings on arrival in the countryside." 12:24 II Andante Molto Mosso "Scene by the brook." 25:35 III Allegro "Merry gathering of country folk." 31:11 IV Allegro "Thunder. Storm." 34:49 V Allegretto "Shepherd's song. Happy and thankful feelings after the storm." 45:48 VI Sostenuto Ma Non Troppo "Egmont Overture" Conducted by James Loughran Performed by the London Philarmonic Orchestra Symphony No. 6 in F major, Op. 68 ‘Pastoral’ Beethoven provided the movements at this symphony with titles, as well as the work itself; but he also declared that he was concerned with sensation rather than depiction — in fact his own musical reactions to country Iife, and not what life in the country looks and sounds like. There is in fact some pictorial effect in the Pastoral Symphony: the birdcalls at the end of the Andante sound Iike birdcalls and not like Beethoven’s reaction to birdsong; and the Storm is perfectly vivid, But the work is not a country diary which can be followed step by step, and so it is probably best to think about the music as music. The Pastoral was completed quite quickly, for Beethoven, between 1807 and 1808, as a relaxation from the ardours at the Fifth Symphony. The two symphonies were performed together at a concert in 1808, and both were dedicated to two at Beethoven's princely friends jointly. The symphony opens at a relaxed tempo but with bracing thoughts, and the subtitle speaks of the blessed exhilaration that the town—dweller feels on breathing country air’. The music is more lyrical than dramatic, and the ideas which supplement the easy— going first tune are presented in a conversational, almost obviously not quite casual manner, though they are thoroughly expanded as the movement proceeds. The whole thing sounds what it is, a contrast to the electric drama of the Fifth Symphony. The broad unhurried pace is maintained in the slow movement which was inspired by the landscape at a riverside. As the movement unfolds expansively, so too the music grows more sonorous and warmer, with the rich advantage at divided and muted cellos. When the famous birdcalls arrive, they are neatly dovetailed into a longer phrase, and the cuckoo call is echoed unobtrusively in the second half at the phrase by bassoons. The scherzo has the subtitle, ‘High-spirited reunion at country Folk’; it is mercurial and yet sturdy in mood, not at all unlike the scherzo part at the corresponding movement in the Seventh Symphony, Beethoven comes near to tone—painting in the trio section, where it is easy to hear the stamping of hob—nailed boots, but the inspiration has undergone a transformation into musical poetry, and it is more exact to say that the music is danceable, rather than literally danced. Beethoven was in the habit of enlarging his scherzo form by playing the trio section twice, but this time the second trio is interrupted by a pattering figure that heralds the Storm section, for which Beethoven augmented his orchestra with a piccolo, trombones and, for the first time in this symphony, the drums. When the storm has passed, a sigh of relief from the oboe leads to C major and the finale. And this unorthodox key shows that the movement had actually begun with the Storm in F minor, which is perfectly proper key for the introduction to an F major movement. The descriptive part of the symphony here is the excuse for a reintroduction of the eloquent formal device that Beethoven was simultaneously practising in the Fifth Symphony — an introduction to the finale that sounds like a bridge passage though it isn’t one. The Allegro port of the finale is built on a cowcall, and is headed ‘Shepherds Hymn‘. Like the first movement it deliberately avoids drama and obvious symphonic effect, though the climax is overwhelming, ’Egmont' Overture, Op. 84 After Fidelio, Egmont is Beethoven's most substantial dramatic score. As with the third Leonora overture, so the overture to Egmont is a grand tone poem summing up the emotional content of the drama. Egmont, Prince of Gaure, saved Flanders from the French invasion, at a time in the sixteenth century when the Netherlands were under Spanish rule. He protested against the decision to make Flanders a Spanish dependency and was arrested and condemned For treason through the machinations of the Duke of Alba, his enemy and the military governor of Flanders. In the overture we hear contrasted moods that express at once the conflict of patriotism and love, and of harsh Spain and suffering Flanders; this is a completely satisfying and convincing ambivalence that is music's special property.

4 лет назад