 | Beethoven, Ludwig van - Canon: "Liebe Mich, werter Weissembach" for Flute Trio Hess 300 3 flûtes (trio) |
VoirPDF : Canon: "Liebe Mich, werter Weissembach" (Hess 300) for Flûte Trio (4 pages - 109.38 Ko)273x⬇ VoirPDF : Flûte 1 (57.77 Ko) VoirPDF : Flûte 2 (57.6 Ko) VoirPDF : Flûte 3 (56.89 Ko) VoirPDF : Conducteur complet (84.51 Ko) MP3 : Canon: "Liebe Mich, werter Weissembach" (Hess 300) for Flute Trio 26x⬇ 659x
Vidéo :
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| Compositeur : | Beethoven, Ludwig van (1770 - 1827) | ||
| Instrumentation : | 3 flûtes (trio) | ||
| Genre : | Classique | ||
| Tonalité : | Sol majeur | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 05 Fév 2021 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. 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). In the years from 1810, increasingly less socially involved, Beethoven composed many of his most admired works including his later symphonies and his mature chamber music and piano sonatas. His only opera, Fidelio, which had been first performed in 1805, was revised to its final version in 1814. He composed his Missa Solemnis in the years 1819–1823, and his final, Ninth, Symphony, one of the first examples of a choral symphony, in 1822–1824. Written in his last years, his late string quartets of 1825–26 are amongst his final achievements. After some months of bedridden illness, he died in 1827. Beethoven's works remain mainstays of the classical music repertoire. The drafts for this Canon "Liebe mich, werter Weissenbach", Hess 300. (1819-1820) can be found amidst the sketches for the Credo of the Missa Solemnis. Although these drafts have been known to Beethoven scholars for more than a century, apparently no attempt has been made to reconstruct the canon before. An interpretation of the notes as written by Beethoven is somewhat difficult, because both clef and key signature are missing. However, all the pieces of the puzzle fall in place if we assume a treble clef and the key of E Flat Major (Transposed here in G Major), a reading which is also totally satisfactory from a musical point of view. The canon is scattered over four different places in the sketchbook. First we have a single line with the first 4 bars of the melody, and the word "Canon" written above the stave. Several pages later we find three attempts by Beethoven to work out the canon. The first of these is very sketchy, giving very few clues. The two last attempts on the other hand are more or less fully worked out, but differ from one another in detail. Three staves joined together in one system makes clear that Beethoven was working on a 3 in 1 canon (or actually a round, to be annoyingly pedantic). The present reconstruction is the result of combining the best elements from these last two attempts. And isn't it typical of Beethoven that after begging his friend Weissenbach to love him in the most gentle way for three bars, he commands to be loved every fourth bar? Source: Wikipedia (https://en.wikipedia.org/wiki/Ludwig_van_Beethoven) Although originally composed for Choir, I created this Interpretation of the Canon: "Liebe Mich, werter Weissembach" (Hess 300) for Flute Trio. | |||
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