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| Composer : | Beethoven, Ludwig van (1770 - 1827) | ||||
| Instrumentation : | Flute and Harp | ||||
| Style : | Classical | ||||
| Key : | E♭ major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1806 | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 19 Dec 2020 Ludwig van Beethoven (1770 – 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire. His works span the transition from the classical period to the romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. The "early" period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his "middle" period showed an individual development from the "classical" styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as "heroic". During this time he began to suffer increasingly from deafness. In his "late" period from 1812 to his death in 1827, he extended his innovations in musical form and expression. He was born in Bonn, Beethoven's musical talent was obvious at an early age, and he was initially harshly and intensively taught by his father Johann van Beethoven. Beethoven was later taught by the composer and conductor Christian Gottlob Neefe, under whose tutelage he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and he was soon courted by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795. His first major orchestral work, the First Symphony, appeared in 1800, and his first set of string quartets was published in 1801. During this period, his hearing began to deteriorate, but he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the 'Emperor'), dedicated to his frequent patron Archduke Rudolf of Austria, was premiered in 1810, but not with Beethoven as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. He described his problems with health and his unfulfilled personal life in two letters, his "Heiligenstadt Testament" (1802) to his brothers and his unsent love letter to an unknown "Immortal Beloved" (1812). After Beethoven's death, many works were published with the master's name. Most were transcriptions from famous works, or part of famous works. However, in some cases, the works are apocryphal. This was done on purpose to make money using Beethoven's name. These works, for piano, came mainly from the USA and were published in 1830-1840, when the catalogue of Beethoven's works was not well known. The 6 Waltzes (Anh 14) is not generally believed to be the work of Beethoven although published using his name. Apocryphal works such as this waltz still have real strength and virtuosity. Beethoven may not have been the author of the 6 Ecossaises (WoO 83); a small assemblage of dances. Little is known about their origin, though they were published in 1807. The Ecossaise, a dance with origins in both England and France, despite the word's Scottish derivation, did not figure prominently in Beethoven's output, though he did produce one in E flat for piano, WoO 86, and ones in D and G for wind ensemble, WoO 22 and 23, respectively. The six for piano here are really played as one piece rather than as a set or collection. Each dance theme (or variant) is presented and then followed by the same refrain, which thus serves to bridge and unite all the material. The refrain has a hearty character as it dances jauntily up the keyboard on each of its appearances. The mood throughout the piece is playful and humorous, the pacing lively, the writing challenging in its mixture of elegance and rollicking fun. Each thematic segment lasts but a few seconds -- likewise for the refrain -- the whole passing by quickly, with a duration of a bit less than two minutes. The music is delightful and infectious throughout, even if the fingerprints of Beethoven cannot be clearly discerned. Source: Wikipedia (https://en.wikipedia.org/wiki/Ludwig_van_Beethoven) Although originally composed for Piano, I created this Interpretation of the 6 Scottish Dances in Eb Major (WoO 83) for Flute & Concert (Pedal) or Celtic Harp. Sheet central : | Six Ecossaises pour piano et orchestre en mi bémol majeur (9 sheet music) | | |||
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