Classical Music

Classical Music

Classical Music

Beethoven and the flute Sonata Op. 17 On 1801 the Sonata was published in Vienna by Mollo, with the title Sonata for Piano with a Horn or Cello. The tradition to perform the composition with the flute dates back to those same years, first of several versions for flute or violin during the composer's life, for distribution in Germany and England. The adaptation for flute was authenticated officially when it was included among other compositions in the opera omnia of Beethoven's work put together by Haslinger in Vienna in 1830, although it was never published. The Serenade Op. 25/41 is a charming succession of six pieces, preceded by an overture. The numbers of the compositions follow one another alternating between peaceful and lively, and the heart of the piece is the magnificent Andante con Variazioni e coda. The spirit of the work is still very eighteenth century, so much so that for a long time it was believed to have been written in 1795. More recent research has placed it closer to the year of publication. Sonata Op. A4 After his death, the manuscript of a Sonata for flute and piano in B flat major was found in his house. It dates back to the eighties and nineties of the eighteenth century, it shows many corrections and deletions, and is not the handwriting of the composer. For this reason, and the fact that no further testimony we received confirms that Beethoven composed a sonata for flute and piano, the origin of the work has long been questioned, and we still lack certainty as to who the author really is. Authoritative Beethovenscholars, the foremost of whom is Willy Hess, consider it authentic. For this, the piece has entered firmly in concert repertoire as a work of the great composer.

This is the first of five recordings dedicated to Beethoven's complete symphonies transcriptions. Gabriele Baldocci has appeared at the most important concert halls and at major music festivals. He is an ambassador, performer and professor of the Martha Argerich Presents Project and frequently plays in chamber ensembles.

Ian Watson and Susanna Ogata's acclaimed series on Coro Connections continues with the third album in their exploration of Beethoven's Sonatas for fortepiano and violin. Written at a time when the composer was struggling to accept his growing deafness, the three sonatas on this volume were published together in 1803 as his Opus 30 and provide a remarkable trilogy - a collection of incredible variety and sophistication. The wide compositional range of this set demonstrates Beethoven's prowess in creating bucolic, even humorous moments, contrasted with deep intensity, pathos and the truly sublime. Susanna Ogata has been praised for her ''totally convincing, spontaneous and free-flowing playing'' (The Berkshire Review) and is a tenured member of the Handel and Haydn Society where she was appointed Assistant Concertmaster of the orchestra in 2014. Ian Watson has been described by the Frankfurter Allgemeine Zeitung as ''a conductor of formidable ability'', and by The Times in London as a keyboard performer with ''virtuosic panache and brilliantly articulated playing'' and ''a world-class soloist.'' He was appointed Associate Conductor of Boston's Handel and Haydn Society in 2016.

Classical Music

Beethoven as the symbol of affinity to the masters of Viennese Classicism, but also as a visionary and a trigger of the new - this is in keeping with the "main focus" of the TrioVanBeethoven: the cultivation of classical trio literature, but also composition commissions for world premieres or crossover projects are features of its activity. Nevertheless, with their first album Clemens Zeilinger, Verena Stourzh and Franz Ortner devote themselves to the name giver of their ensemble with an arch from Beethoven's first listed work, the Piano Trio in E flat major, Op. 1/1, the even earlier Trio in E flat major WoO 38 up to one of the best-known works of the genre, teh Piano Trio in D major, Op. 70/a, which was later give the sobriquet of "Ghost Trio" because of the sometimes mystic mood in teh slow movement. Why "van Beethoven"? Beethoven stands for independence of mind, for revolutionary ideas, for music that reaches far beyond his own time. Beethoven was a "lone wolf", but at the same time the central point of departure for new traditions of composition, such as the lineage from Brahms to Schoenberg. In its foundation year in 2011, the trio held its debut at the renowned FEstival Tage der Alten Musik in Herne. Since then, the ensemble has appeared in Austria, Germany, Italy, and many other countries throughout the world.

Beethoven: Fidelio, Op. 72

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music