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Daniel Barenboim - Beethoven For All - Symphonies 1-9 - 2012

19-06-2016, 15:53
Classical Music | FLAC / APE

Title: Beethoven For All - Symphonies 1-9
Year Of Release: 2012
Label: Decca
Genre: Classical
Quality: FLAC / MP3
Total Time: 05:56:18
Total Size: 1,38 gb / 816mb


Daniel Barenboim - Beethoven For All - Symphonies 1-9 - 2012

If you ve ever fought down an unworthy temptation, or triumphed over impulses you d rather not have, you ll be able to understand Beethoven s music. If you ve ever felt your soul stirred by the sublime beauty of nature, you ll understand Beethoven s music. If you ve ever wept alone for loss, or laughed in a crowd till your sides hurt, you ll understand Beethoven s music. For if ever there was a composer who looked into the beating heart of what it means to be human, and then expressed what he saw in all its complexity it is Beethoven.
Complexity is also an appropriate word to use when describing a man who was a tangle of contradictions. His career as a piano virtuoso and conductor depended on a perfect sense of hearing, and yet from his twenties onwards he suffered from debilitating deafness. He longed for companionship, but fought bitterly with every one of his friends and then often made up with them soon after. He became the legal guardian of his nephew, and insisted that the young man behave with proper decorum; but he himself lived in levels of squalor that shocked all who knew him. He fell in love with only the most unattainable, high-born women, and his feelings were never fully reciprocated. He was a man who certainly didn t make life easy for himself. And yet, just listen to the playful vigour of the Scherzo from Symphony No. 3 (CD 1 [2]), or the exquisite melody which seems to smile through tears in the slow movement from the Emperor Piano Concerto (CD 1 [3]). He may have found life difficult, and yet it is clear that he loved it too.
He was born in the German city of Bonn in December 1770. His father, a music teacher and tenor, quickly recognised his son s remarkable musical talent and pushed him to perform in public and to begin composing. But it was a difficult childhood. Beethoven s father was a fearsome man who flew into brutal rages when drunk, and after the death of his wife in 1787, his bouts with the bottle became worse than ever. The loss of his mother was a terrible blow to the young Beethoven, as she had tried to shield her family from the worst of her husband s behaviour. But the problem was more than just an emotional one: the teenager was also suddenly forced to become the head of the family. In 1789, aged just eighteen, he went to his father s employer and demanded half his salary so that the family could be provided for. Responsibility came early and came hard to the young man. Understandably, no great grief was felt when Beethoven Senior died in 1792.
All this was taking place against a background of enormous political change. The French Revolutionary Wars were rolling over Europe, and the radical Beethoven thrilled to ideas of freedom and equality. But he was also making artistic progress. He met the composer Haydn in 1792 and, supported by noble patrons who were impressed with his music, he moved to Vienna to study with the older composer.
At first his compositions were based on models by Mozart and Haydn in a style we now call Classical . (The word has two distinct meanings. As used here, it refers to a style of late-eighteenth-century music which favours order, clarity and formal elegance. This is a different use from the catch-all term classical music which means the opposite of pop music.) To get a flavour of Beethoven s work during this period, try the long-breathed melody of the Pathétique Sonata (CD 2 [3]), or the cheerful finale to the Piano Concerto No. 1 in C (CD 1 [4]), or the straightforward urgency of Piano Concerto No. 3 (CD 2 [5], CD 1 [7]). The famous Moonlight Sonata (CD 2 [1]) comes from this period too. There is drama and feeling here, but it obeys the rules. It is formally constrained. This was about to change.
By 1796 Beethoven was already going deaf, and in 1802 he moved to a small village outside --Warwick Thompson

Beethoven for All with Barenboim helps mark the maestro s 70th birthday year (with the date November 15, 2012). In his booklet essay for the complete symphonies set, this veteran artist who has explored the music of Beethoven on record to acclaim since the 1960s lays out his rationale for Beethoven for All : the composer s music as universal art for all time, all people. He writes: Many people feel or think, without really knowing, that music is somehow elitist that it is for people who can afford the money and the time; it s something that has only to do with leisure. But music is not elitist. On the contrary. Music is not only not elitist, music is universal. Even though all the great composers of the past are European, music doesn t speak only to Europeans. (I was born in Argentina; if I were limited to my music, I could only play tango!) This music, although it was written by Beethoven in Bonn or in Vienna, speaks to people in Ramallah, in Australia, and everywhere else. This is why it is not elitist. Music is for all, for everybody everybody who opens their mind and heart to it. It needs that curiosity, and it needs attentive listening, but then it s for all. And if you ask people who do not think of themselves as musically inclined: Who do you know? They all say, Beethoven. So if we want music for all, then it must be Beethoven. --Daniel Barenboim

Daniel Barenboim - Beethoven For All - Symphonies 1-9 - 2012

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Daniel Barenboim - Beethoven For All - Symphonies 1-9 - 2012

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dreamfs   User offline   20 March 2015 22:56

Çok çok teşekkür ederim. 3

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tiger   User offline   21 May 2015 20:11

Thanks a lot.

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platico   User offline   20 June 2016 21:39

Gracias por compartir...

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