Beethoven: The Piano Concertos(2007)

Immortal Beloved(en)

A chronicle of the life of infamous classical composer Ludwig van Beethoven and his painful struggle with hearing loss. Following Beethoven's death in 1827, his assistant, Schindler, searches for an elusive woman referred to in the composer's love letters as "immortal beloved." As Schindler solves the mystery, a series of flashbacks reveal Beethoven's transformation from passionate young man to troubled musical genius.

BBC Proms: Bernstein's On the Town(en)

John Wilson and the London Symphony Orchestra present the hit Broadway musical On the Town live from the Royal Albert Hall. With classic numbers such as New York, New York and l Can Cook Too and a star-studded line-up of singers including Nathaniel Hackmann and Louise Dearman, this concert performance launches a packed bank holiday weekend of Proms tributes to the late composer and conductor Leonard Bernstein, who would have been 100 years old on 25 August 2018. Katie Derham presents, with special guest Clarke Peters.

Ode to Joy: Beethoven's Symphony No. 9(en)

Showcasing a musical masterpiece in a rare full-length television recording by the Vienna Chamber Orchestra with the Westminster Symphonic Choir, under the direction of conductor Mark Laycook. An introduction to the performance, narrated by actor John Lithgow, gives a unique perspective on music history.

Bernstein in Vienna: Beethoven, The Ninth Symphony(en)

To play Beethoven's music is to give oneself over completely to the child-spirit which lived in that grim, awkward, violent man. Without that utter submission it is impossible to play the Adagio of the Ninth. Or, Heaven knows, the first movement. And the Finale? Most of all! It is simply unplayable unless we go all the way with him, as he cries out "Brüder!" - Leonard Bernstein

Beethoven's Birthday: A Celebration in Vienna with Leonard Bernstein(en)

In this documentary portrait prepared for the anniversary of Ludwig Van Beethoven's 200th birthday, Leonard Bernstein illustrates his analysis with excerpts from his performances of Beethoven's Piano Concerto No. 1 in C Major and the Ode to Joy from the Ninth Symphony.

Bernstein In Vienna: Beethoven, Piano Concerto No. 1 in C Major(en)

In Vienna's Musikverein, Leonard Bernstein and the Vienna Philharmonic celebrates Ludwig Van Beethoven's 200th birthday with a joyful performance of his Piano Concerto No. 1 in C Major. Maestro Bernstein conducts the orchestra from the keyboard in this historic concert.

Beethoven: Fidelio - Salzburg Festival(de)

Ivo Pogorelich: Bach, Scarlatti, Beethoven(en)

Pianist Ivo Pogorelich in a 1987 studio recital of works by Bach, Scarlatti, and Beethoven, recorded at historical palaces of Veneto Villa Caldogno in Vincenza and Eckartsau Castle in Lower Austria. The program consists of: BACH English Suites ##2,3 // SCARLATTI Sonatas K487 in C, K20 in E, K98 in e, K450 in g, K1 in d, K159 in C // BEETHOVEN Sonata #11 in B♭ op22; Bagatelle "für Elise".

Daniel Barenboim: Beethoven - Piano Concertos 1-5(en)

If Daniel Barenboim is not the world's greatest living classical musician he is certainly the most versatile. In a career spanning more than 50 years, his name is attached to many of the celebrated recordings of opera, symphony, small ensemble and piano solo. With the later half of his career marked by distinction at the podium, one may forget that he is still an accomplished concert pianist. Here we are treated to both talents as Barenboim conducts the Staatskapelle Berlin and plays all five of Beethoven's piano concerti. From the accompanying booklet we find that Barenboim first recorded these works in 1967 at the age of 24 under Otto Klemperer. Now he is revisiting them 40 years later on the occasion of his 65th birthday.

Beethoven: The Complete Symphonies(de)

Christian Thielemann and the Vienna Philharmonic Orchestra performing Beethoven Symphonies 1-9

Beethoven: The Complete Piano Sonatas(en)

In this recording, seven-time GRAMMY® Award-winning pianist and conductor Daniel Barenboim tackles the so-called 'New Testament' of music, Ludwig van Beethoven's thirty-two piano sonatas, composed over twenty-five years and embodying the shift of musical taste from the Classic to the Romantic, their performance requires a musician of extraordinary versatility. Daniel Barenboim is one such pianist his recordings run the gamut from Bach and Mozart to Bruckner and Bartók.

Beethoven · Die Symphonien(de)

Karajan · Die Symphonien(de)

Beethoven: Symphony No. 7(en)

In the ancient theater of Delphi, against the backdrop of the ruins of the Temple of Apollo, musicAeterna, conducted by Teodor Currentzis, performs Ludwig van Beethoven’s 7th Symphony, in conjunction with a new choreography by Sasha Waltz and her company.

The Unanswered Question I : Musical Phonology(en)

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Phonology is the linguistic study of sounds, or phonemes. Bernstein's application of this term to music results in what he calls "musical phonology".

The Unanswered Question II : Musical Syntax(en)

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Syntax refers to the study of the structural organization of a sentence, or as Bernstein summarizes, "the actual structures that arise from that phonological stuff."

The Unanswered Question III : Musical Semantics(en)

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse:Semantics is the study of meaning in language, and Bernstein's third lecture, "musical semantics", accordingly, is Bernstein's first attempt to explain meaning in music. Although Bernstein defines musical semantics as "meaning, both musical and extramusical" this lecture focuses exclusively on the "musical" version of meaning.

The Unanswered Question IV : The Delights and Dangers of Ambiguity(en)

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Bernstein provides two distinct meanings of the term ambiguity. The first is "doubtful or uncertain" and the second, "capable of being understood in two or more possible senses"

The Unanswered Question V : The Twentieth Century Crisis(en)

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Lecture 5 picks up at the early twentieth century with an oncoming crisis in Western Music. As these lectures have traced the gradual increase and oversaturation of ambiguity, Bernstein now designates a point in history that took ambiguity too far.

The Unanswered Question VI : The Poetry of Earth(en)

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: This lecture takes its name from a line in John Keats' poem, "On the Grasshopper and Cricket". Bernstein does not discuss Keats' poem directly in this chapter, but he provides his own definition of the poetry of earth, which is tonality. Tonality is the poetry of earth because of the phonological universals discussed in lecture 1. This lecture discusses predominantly Stravinsky, whom Bernstein considers the poet of earth.