Coriolan : Work information
- Ludwig van Beethoven ( Music, Images,)
- Performed by
- Bruno Walter (Recording Artist), Columbia Symphony Orchestra (Orchestra), John Mcclure (Original Producer), Columbia Symphony Orchestra (Recording Artist), Bruno Walter (Conductor), John Mcclure (Producer), New York Philharmonic (Recording Artist), New York Philharmonic (Orchestra)
- Work name
- Work number
- Op. 62
- C minor
- 1807-00-00 02:00:00
- SONY CLASSICAL/LEGACY
- Recording date
Ludwig van Beethoven
Ludwig van Beethoven is regarded as one of the greatest composers in the history of Western music, and certainly the most dominant of the 19th century. In taking the Viennese Classicism of Mozart and Haydn to its limits and developing his own intensely personal style, his output heralds the birth of musical romanticism.
Although Beethoven's personal life was often turbulent, he managed to produce some of the most sublime music ever written. Among his most profound works can be counted the nine symphonies, the Missa Solemnis, many of the piano sonatas, the late string quartets, the Piano Concerto No. 5, and his only opera, Fidelio. All enjoy a permanent and important place in the musical canon.
Born in 1770, the son of an obscure musician in the provincial town of Bonn, Beethoven received his early musical training from his father and other local musicians. His talents for composition and the piano were quickly recognised and nurtured by court organist, Christian Gottlob Neefe, for whom the young Beethoven deputised.
Sent to Vienna in 1792 to study with Haydn, Beethoven spent the next decade establishing an enviable reputation as a virtuoso pianist and composer. He published an increasing number of works and enjoyed the patronage of Prince Lichnowsky and the Esterházys among others.
His gradual loss of hearing, though, threatened the course of his career. Realising that his condition was both incurable and permanent, Beethoven shunned social occasions to avoid revealing his potentially damaging secret. By 1818 he was virtually deaf and had to use conversation books to communicate.
Upon learning of his deafness, Beethoven suffered a period of fluctuating moods, powerfully voicing his despair in an 1802 letter to his brothers, the 'Heiligenstadt testament'. Managing to pull himself out of his malaise, Beethoven threw himself into the work that was now spreading his fame all over Europe.
With financial stability finally achieved through the patronage of Beethoven's supporters, Archduke Rudolph, Prince Lobkowitz and Prince Kinsky, Beethoven's professional life reached a peak. His personal life, in contrast, was still in turmoil.
In 1812 he wrote a passionate love-letter to an unknown 'immortal beloved', now thought to be Antoine Brentano, a married and, hence, unavailable woman. This was the culmination of a series of unrequited or doomed love affairs and marked a turning point in the composer's life.
From this point on, Beethoven seems to have accepted the impossibility of marriage and, after a long period of diminished creativity, decided to dedicate his energies to composition. His recovery began in 1817 with the Hammerklavier sonata and continued with the Missa Solemnis, but further conflict with his sister-in-law over custody of his nephew, Karl, kept his personal life turbulent.
After the monumental Ninth Symphony of 1823-4, Beethoven dedicated his last years to the string quartet, though illness began to increasingly disrupt his compositional activities. Beethoven's relationship with his nephew also deteriorated and Karl's attempted suicide in August 1826 shattered the ailing composer. In late 1826 he developed jaundice and, after a lengthy illness, died on 26 March 1827; an estimated 10,000 people attended the funeral three days later.
Beethoven's influence, as both a composer and romantic artist, has proved enormous. His compelling private life and wonderful music ensured that his perceived 'heroic' struggle over personal obstacles became the idealised view of the composer in the romantic era. Similarly, there can be few composers born since that have escaped the shadow of his immense creativity and musicianship. He stands above virtually all others as one of the most admired composers of all time.
- MIDI FILE - Piano Sonata op.2 no.1: 1 Mov. (2'32'')
- MIDI FILE - Piano Sonata op.2 no.1: 2 Mov. (5'21'')
- MIDI FILE - Piano Sonata op.2 no.1: 3 Mov. (2'21'')
- MIDI FILE - Piano Sonata op.2 no.1: 4 Mov. (4'25'')
- MIDI FILE - Piano Sonata op.2 no.2: 1 Mov. (4'52'')
- MIDI FILE - Piano Sonata op.2 no.2: 2 Mov. (4'40'')
- MIDI FILE - Piano Sonata op.2 no.2: 3 Mov. (2'46'')
- MIDI FILE - Piano Sonata op.2 no.2: 4 Mov. (5'50'')
- MIDI FILE - Piano Sonata op.2 no.3: 1 Mov. (7'02'')
- MIDI FILE - Piano Sonata op.2 no.3: 2 Mov. (7'05'')
- MIDI FILE - Piano Sonata op.2 no.3: 3 Mov. (3'20'')
- MIDI FILE - Piano Sonata op.2 no.3: 4 Mov. (4'30'')
- MIDI FILE - Piano Sonata "Waldstein" (complete) (21'52'')
In March 1807 the Fourth Symphony and Fourth Piano Concerto were premièred at one of the subscription concerts in the Palais Lobkowitz. At the same event, Beethoven's new overture, Coriolan, was presented for the first time.
Unlike Beethoven's music for Goethe's Egmont, Coriolan, though inspired by Heinrich Joseph von Collin's play and dedicated to its author, was conceived as an independent work. Such was its success among the Viennese, though, that it prompted a revival of Collin's 1802 play on 24 April, at which Beethoven's new overture was heard in context.
From the opening unisons and orchestral outbursts to the hesitant main theme, the tragedy and high drama of this overture are unmistakable. A contrasting world of idealised beauty attempts to gain control at several points, but the furious energy of the main theme always pulls the music back and the overture ends in resigned acceptance of its fate.