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luís soares

Blog do escritor Luís Soares

Herzlichen Glückwunsch, Herr Beethoven

On May 7, 1824, Beethoven shared his 9th Symphony with the world even though he could never hear it. On May 7, 2015 celebrate the anniversary of Beethoven’s most glorious and jubilant masterpiece with Riccardo Muti and the Chicago Symphony Orchestra and Chorus. An exhilarating testament to the human spirit, Beethoven’s Ninth bursts with brooding power and kinetic energy and culminates in the exultant hymn, “Ode to Joy.”The video is now available free on demand for all to enjoy! - See more at:


KUBRICK from somersetVII on Vimeo.

"A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later."
― Stanley Kubrick

Beethoven - Symphony No.7 in A Major, Op.92: II. Allegretto

Film List:
Eyes Wide Shut (1999)
Full Metal Jacket (1987)
The Shining (1980)
Barry Lyndon (1975)
A Clockwork Orange (1971)
2001: A Space Odyssey (1968)
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
Lolita (1962)
Spartacus (1960)
Paths of Glory (1957)
The Killing (1956)
Killer’s Kiss (1955)

Created: Oct 31, 2012

Gleen Gould does Ludwig

Ludwig Van Beethoven [ 1770 - 1827 ],
Sonata For Piano And Cello No.3 In A Major, Op.69

I. Allegro Ma Non Tanto
II. Scherzo, Allegro Molto
III. Adagio Cantabile - Allegro Vivace

From The Album "The Glenn Gould Collection"
Vol.4 ; A Russian Interludes & Interweaving Voices
Recorded 1975, Mono [ Sony, 1990 6 LD ]

Pianist ; Glenn Gould [ 1932 - 1982 ]
Cellist ; Leonard Rose [ 1918 - 1984 ]

Piotr Anderszewski toca as Variações Diabelli

Diabelli Variations (Op. 120):

Tema: Vivace 00:00
Var. I. Alla marcia maestoso 00:54
Var. II. Poco allegro 02:49
Var. III. L'istesso tempo 03:45
Var. IV. Un poco più vivace 05:23
Var. V. Allegro vivace 06:28
Var. VI. Allegro na non troppo e serioso 07:29
Var. VII. Un poco più allegro 09:26
Var. VIII. Poco vivace 10:40
Var. IX. Allegro pesante e risoluto 12:08
Var. X. Presto 14:00
Var. XI. Allegretto 14:37
Var. XII. Un poco più vivace moto 16:08
Var. XIII. Vivace 17:11
Var. XIV. Grave e maestoso 18:15
Var. XV. Presto scherzando 24:47
Var. XVI. Allegro 25:31
Var. XVII. Allegro 26:32
Var. XVIII. Poco moderato 27:35
Var. XIX. Presto 30:08
Var. XX. Andante 31:14
Var. XXI. Allegro con brio 34:08
Var. XXII. Allegro molto 35:51
Var. XXIII. Allegro assai 36:43
Var. XXIV. Fughetta. Andante 37:37
Var. XXV. Allegro 41:25
Var. XXVI. Piacevole 42:22
Var. XXVII. Vivace 43:32
Var. XXVIII. Allegro 44:36
Var. XXIX. Adagio ma non troppo 45:35
Var. XXX. Andante, sempre cantabile 46:58
Var. XXXI. Largo, molto espressivo 50:04
Var. XXXII. Fuga. Allegro 56:40
Var. XXXIII. Tempo di menuetto moderato 01:00:20


Beethoven, Ludvig van (1770-1827)
Piotr Anderszewski -piano


In 1819, the music publisher Anton Diabelli decided to raise money for the family members of soldiers killed in recent wars. He wrote a theme in hopes of inducing some of the leading composers of the day to contribute variations, planning to publish the entire set . In all, he sent his melody to 51 composers in Austria, one of whom was Beethoven (another was Schubert). Beethoven's initial inclination was to turn down the project, though eventually he submitted a variation. But the composer soon became intrigued at the prospect of writing a larger set of variations on Diabelli's theme. In the end, he turned out a nearly hour-long work with more variations than any other of his works in the form. This composition makes a worthy companion piece for Bach's mighty Goldberg Variations.
Diabelli's theme is lively and rather simple, and while many have derided it as bland and even stupid, it does have a rather naive charm, with its little turns and its rhythmic drive. This was just the kind of simple theme that had inspired the composer's variation thinking in the past. One example is Beethoven's Seven Variations on "Kind, willst du schlafen," WoO 75, from 1799. He seemed to regard such weak or trite melodic creations as skeletal outlines whose notes begged to be infused with personality and color.
There are several key features to the method Beethoven used in fashioning the Diabelli Variations. For one thing, he tended to retain in each variation some aspect of the previous one. Some have argued that each item is arranged almost randomly, that they could be reordered to make the work more effective. Yet one finds both delightful commentaries on the variation just gone by and an overarching structure to the whole set. The first variation, marked Alla Marcia, is a deliberately pompous and parodistic take on the theme. It is in a slow tempo; the succeeding variations, with a mixture of fast and slow, gradually work toward a climactic release reached in Variation 10. After that, the music relaxes for a time. Other patterns of peaks and valleys are discernible, with the greatest of the climactic episodes occurring with the fugue near the end of the work.
The work's final moments share, in Joseph Kerman's words, the "visionary aura" of the variations that concude the Piano Sonata No. 32 in C minor. Other noteworthy variations include No. 14, marked Grave e maestoso, a most profound entry and one of the longest, lasting around four minutes. Both Variations 23 and 24 are powerful panels, too, the former a brilliant, energetic creation and the latter divulging a somewhat Bach-like character. Several times Beethoven explores chromatic harmonies that seem far beyond even Schubert's prescient works of the 1820s.
For all its inspired artistry the work has typically proven difficult for listeners. Like the "Hammerklavier" Sonata, No. 29, it is both long and extremely concentrated. Some publishers and pianists have tampered with the score in an effort to make it more listenable, but their efforts tend to weaken what is a somewhat intellectual masterpiece.
This work was first published in 1823 in Vienna, bearing a dedication to Antonie Brentano (sometimes believed to be the "Immortal Beloved" of an earlier phase of the composer's life). A typical performance of this composition lasts about 50 to 58 minutes.

Valha-nos a música.

Beethoven - Piano Concerto No. 4 in G major


Mitsuko Uchida piano
Bavarian Radio Symphony Orchestra
Mariss Jansons conductor
Proms festival 2013, London
Royal Albert Hall


Mitsuko Uchida returns to the Proms after an absence of almost 20 years as the soloist in Beethoven's Piano Concerto No. 4, which overturned formal traditions by opening with a simple statement for solo piano. Musical ideas are tested to their limits in a conversation between keyboard and orchestra.