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#8  Beethoven‘s String Quartet No 12--16             Go Back
Jacqueline du Pre Beethoven-Seven Variations on `Bei Mannern

        

#7  Beethoven‘s String Quartet No 12--16             Go Back
Beethoven - Große Fuge B-Dur Op. 133

Alban Berg Quartett

Grnd Fuge

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#6  Re: Beethoven‘s String Quartet 15 In A Minor, Op. 132,             Go Back
Beethoven String Quartet No 12 Op 127 in E flat major
Alban Berg Quartet

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#5  Re: Beethoven‘s String Quartet 15 In A Minor, Op. 132,             Go Back
Beethoven String Quartet No 16 Op 135 in F major Es muß sein! It must be

Alban Berg Quartett

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#4  Re: Beethoven‘s String Quartet 15 In A Minor, Op. 132,             Go Back
Beethoven String Quartet No 13 Op 130 in B flat major
Alban Berg Quartet

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#3  Re: Beethoven‘s String Quartet 15 In A Minor, Op. 132,             Go Back
再贴个第十四号

Beethoven String Quartet No 14 Op 131 in C♯ minor
Alban Berg Quartet


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#2  Beethoven‘s String Quartet 15 In A Minor, Op. 132,             Go Back
贴一个全曲

Beethoven String Quartet No 15 Op 132 in A minor
Alban Berg Quartet

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#1【听音乐 】   Beethoven‘s String Quartet No 12--16             Go Back
Beethoven, String Quartet 15 In A Minor, Op. 132, "Heiliger Dankgesang" - 3. Molto Adagio
("Heiliger Dankgesang eines Genesenen an die Gottheit" --- "A Convalescent's Holy Song of Thanksgiving to the Divinity".)




http://en.wikipedia.org/wiki/String_Quartet_No._15_%28Beethoven%29

The Quartet in A minor, Op. 132, by Ludwig van Beethoven, was written in 1825, given its public premiere on November 6 of that year by the Schuppanzigh Quartet and was dedicated to Count Nicolai Galitzin, as were Opp. 127 and 130. The number traditionally assigned to it is based on the order of its publication; it is actually the thirteenth quartet in order of composition.

The third movement (15 to 20 minutes in duration) is the longest in the quartet. Formally described, it alternates slow sections in a modal F with faster sections, "Neue Kraft fühlend" (feeling new strength), in D. The slow sections each have two elements, (1) a passage reminiscent of the opening of the first movement in which the instruments overlap each other with a brief motive; (2) a chorale, the actual song. In the three instances of the slow section, the overlapping motives become increasingly complex rhythmically, while the chorale is pared down, and the two elements become increasingly integrated. There is a characteristic intensification of the head-motif toward the end of the movement.

Beethoven wrote this piece after recovering from a serious illness which he had feared was fatal because he had been afflicted with intestinal disorder during the entire winter of 1824-5. He thus headed the movement with the words, "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" (Holy song of thanksgiving of a convalescent to the Deity, in the Lydian Mode).


Last modified on 04/09/15 01:02
        



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