Beethoven 2 Streaming

Leonard Bernstein filmed Piano Concertos 3, 4, and 5 in 1989, but did not live to film the first two. He died in 1990. So Krystian Zimerman, the pianist, paid tribute to Bernstein and rounded out the set in 1991 by both playing and conducting Concertos 1 and 2.

Brothers Russell and Ron Mael formed one of the most unique bands to ever grace the planet when they came up with Sparks (or Halfnelson as they were initially known) in 1968. Albums such as KIMONO MY HOUSE and NUMBER ONE IN HEAVEN spawned big hit singles, although the band continued to plough an often lonely furrow through the music world, seemingly oblivious to whether they were successful of not. In 2002 they released LIL' BEETHOVEN, another superlative addition to their catalogue. Here, they perform the album in its entirety for an expectant Swedish crowd, with songs such as "The Rhythm Thief," "Ride Em Cowboy," and "What Are All These Bands So Angry About'," illustrating their continued sense of adventure and fun in the pop medium.

Painter David Brody has created a stunning computer animation to Beethoven string quartet music called “Beethoven Machinery”. The viewer follows the course of an octagonal prism through a wire-frame world of girders, changing direction at musical modulations and textural changes.

This production is a gala affair; the sets are traditional (evocative of 18th-19th century Spain); the lighting is bright, so colors are good and one can see all of the action. Singers are generally well chosen and perform admirably. However, at this point, slight reservations creep in; although Janowitz (Fidelio/Leonore) and Kollo (Florestan) look "good" and act well, the singing parts tax them a bit when pushed to the limit. Most of the time that doesn't matter, and an argument can be made that a little vocal strain is in character with their dire plight. Ideally, for me, Vickers as Florestan would have added extra vocal heft and more sensitive acting than Kollo.

A tribute to marriage coming from a bachelor is a tad suspicious. But for Beethoven the idealization of the woman-bride was heartfelt and sincere. It has always been a unique opera starring a courageous wife who wows audiences. Fidelio is a moral title, associated with the ideals of liberty of the French Enlightenment. Nobility and commoners are united in their thirst for justice against the oppression of power. For once the faithful consort of a desaparecido wins her battle against a treacherous tyrant, and the collective joy truly is “nameless”, as is sung on the stage. Especially because the “our heroes to the rescue” finale is recounted by the triumphant symphonic flair of the quintessential musician. Beethoven really does bring the world to collapse at the conclusion of this opera, which begins like a delightful little comedy, but which scales and transcends all the summits of the dramatic-musical art.

Even as a young boy, Beethoven marched to the beat of a different drummer. Trained in the traditional music methods by his father, Beethoven was an accomplished pianist by the age of 12. But he yearned to try new sounds and persevered until audiences heard his music. By his early twenties, this persistent young man performed for Joseph Haydn, who compared him to the great Mozart. Sadly, Beethoven began to lose his hearing, but he threw himself even more deeply into his music, composing "Fur Elise," "Sonata Pathetique" and the dramatic "Fifth Symphony" years later, audience members heard what he could not and leapt to their feet in ecstatic appreciation for such passionate music. His creativity gave the world then, as it does today, music that stirs the soul. The video begins in 1827 with 30,000 people paying tribute to the great Beethoven in Vienna, Austria. Then the video switches to his life as a child...

Recording of the Berlin Philharmonic Orchestra conducted by Herbert von Karajan playing Beethoven's 8th Symphony.

With this performance of the Missa solemnis Nikolaus Harnoncourt, Honorary Guest Conductor of the Royal Concertgebouw Orchestra, once more attained the status of a living legend, due mostly to his wide-ranging expertise of music from the Baroque and Classical era. The highly acclaimed soloists are Marlis Petersen (Soprano), twice the singer of the year by the renowned Opernwelt magazine, Elisabeth Kulman (Alto), Werner Güra (Tenor), winner of the BBC Music Magazine Award for the best vocal performance, and Gerald Finley (Bass), Grammy-Awardwinner for the best opera recording. They are accompanied by the famous Netherlands Radio Choir.

Christian Thielemann and the Vienna Philharmonic Orchestra performing Beethoven Symphonies Nos. 1, 2 and 3

Christian Thielemann and the Vienna Philharmonic Orchestra performing Beethoven Symphonies Nos. 4, 5 and 6

Christian Thielemann and the Vienna Philharmonic Orchestra performing Beethoven Symphonies Nos. 7, 8 and 9

Conductor: Claudio Abbado. Orchestra/Ensemble: Berlin Philharmonic Orchestra. 1.Symphony no 1 in C major, Op. 21 2. Symphony no 2 in D major, Op. 36 3. Symphony no 3 in E flat major, Op. 55 "Eroica" 4. Symphony no 4 in B flat major, Op. 60 5. Symphony no 5 in C minor, Op. 67 6. Symphony no 6 in F major, Op. 68 "Pastoral" 7. Symphony no 7 in A major, Op. 92 8. Symphony no 8 in F major, Op. 93 9. Symphony no 9 in D minor, Op. 125 "Choral"

LUDWIG VAN BEETHOVEN Symphonies Nos. 1, 8 & 9 Performed by Gwyneth Jones · Hanna Schwarz René Kollo · Kurt Moll In Vienna at the Konzertvereinigung With the Wiener Staatsopernchor and the Wiener Philharmoniker Leonard Bernstein, conducting

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

Play by Peter Ustinov, about a return to the modern world by Beethoven, who knocks on the door of a London music critic. He is fitted with a hearing aid, and l istens in horror to his works. The critic wishes Beethoven to complete his tenth symphony, and one night the piano emits a few notes by itself.

Even as a young boy, Beethoven marched to the beat of a different drummer. Trained in the traditional music methods by his father, Beethoven was an accomplished pianist by the age of 12. But he yearned to try new sounds and persevered until audiences heard his music. By his early twenties, this persistent young man performed for Joseph Haydn, who compared him to the great Mozart.