Trio For two Flutes and Clarinet in D Major

 

        Trio For Two Flutes and Clarinet in D Major, Op.87

I.Allegro

II.Adagio cantabile

III.Menuetto : Allegro molto - Scherzo

IV. Finale : Presto

کیانا فاطمی فر، فلوت یک

نگار عزیزخانی، فلوت دو

امیر حسین صادق زاده، کلارینت

 

Beethoven wrote a great deal of music for various combinations of wind instruments during his teens and 20s. his Trio, Op. 87 comes from a different genre altogether: it was intended for the growing number of amateur performers in Vienna. Beethoven composed the Trio for the unlikely combination of two oboes and English horn in 1794.
Because amateur performers would gather in unusual permutations of players, this Trio was quickly arranged for many other combinations of instruments: versions exist for two violins and bass line, two flutes and viola, two clarinets and bassoon, as a sonata for violin and piano, and in various piano settings. In 1806, Beethoven approved an arrangement (not by him) for two violins and viola, which was published that year. It was assigned the misleadingly-high opus number of 87, which would seem to place it near the Seventh Symphony; in fact, this music was written before Beethoven had published his Opus 1

Trio for Piano, Flute and Basson in G Major

 

        Trio For Piano, Flute and Basson in G Major , WoO37

I.Allegro

II.Adagio

III.Andante (Theme and Variations)

ریحانه حاجی محمد، فلوت

امیر حسین محمدیان، فاگوت

صدف الماسی، پیانو

 

The Trio for piano, flute and bassoon in G major, WoO. 37 is a composition for piano trio by Ludwig van Beethoven that was discovered amongst Beethoven's papers following his death. Believed to have been composed in his teens and demonstrating the influence of Mozart, the composition remained unpublished until 1888.
The composition is in three movements:
    1    Allegro
    2    Adagio
    3    Thema Andante con Variazioni

Ten National Airs for Flute and Piano

 

        Ten National Airs for Flute and Piano , Op.107

I.No.1 : Air tirolien (I bin Tiroler Bua)

II.No.2 : Air ecossais (Bonny Laddie, Highland Laddie)

III.No.3 : Air de la petite Russie (Volkslied aus Kleinrussland)

IV.No.7 : Air ecossais(Schone Minka)

V.No.10 : The highland watch

فرید شاهسار، فلوت

سینا کفاشی اصل، پیانو

 

The Ten National Airs with Variations for Flute and Piano, Op. 107, were composed by Ludwig van Beethoven in 1818 and 1819. Beethoven wrote this piece based on folk-derived melodies.This is one of several sets of pieces that Beethoven wrote that are folk-derived. The piece was for George Thomson, with whom he had a difficult business relationship ,a wealthy Edinburgh-based publisher. These variation sets were first published in 1819 in both London and Vienna.

Flute Sonata in B Flat Major

 

        Flute Sonata in B flat Major , Anh.4

I.Allegro

II.Polacca (Polonaise)

III.Largo

IV.Thema mit Varationen : Allegretto

کیانا فاطمی فر، فلوت

پرنیان خلف رضایی، پیانو

 

The Flute Sonata in B-flat major, Anh. 4 is a composition for flute and keyboard attributed to Ludwig van Beethoven found amongst his papers after his death. It remained unpublished until 1906.The composition is in four movements.
    1    Allegro
    2    Polacca (polonaise)
    3    Largo
    4    Thema mit Variationen : Allegretto
Carla Rees, in a review of a recording of the sonata released by Naïve Records in 2008 noted that the sonata is a true duo with both instruments sharing in the melodic material. She also speculated based on the writing for the flute that the work may have been a transcription of a violin sonata.

Violin Sonata No.10 in G Major

 

        Violin Sonata No.10 in G Major , Op.96

I.Allegro moderato

II.Adagio espressivo

III.Scherzo : Allegro - Trio

IV.Poco allegretto

ستاره بهشتی، ویولن

بابک پاکزاد، پیانو

 

Beethoven wrote ten sonatas for piano and violin. In all of them he treats the two instruments with equal importance. 
Completed in 1812, Beethoven’s final sonata for piano and violin has a lyrical serenity that sets it apart from the previous nine sonatas. Dedicated to Beethoven’s devoted patron, Archduke Rudolf, it was premiered in 1812 with the Archduke at the piano and Pierre Rode on the violin.
 
The first movement, Allegro Moderato, opens with a fragment of three beats (a quarter note, two eighth-notes, a quarter note), played at first by the violin, and then repeated by the piano. The movement continues as each new melody grows from the previous one. The hymn-like second movement is marked Adagio Espressivo, and it is considered one of the most beautiful slow movements in Beethoven’s chamber music.
Performers have to breathe seemingly in slow motion to make way for the lyrical, uninterrupted line. The Scherzo in G minor follows, the only section of the piece that suggests a tremulous mood. The trio in the middle of the movement is a contrast, as it is in a major mode key of E-flat, in the style of a 3-beat dance.
 
The last movement, Poco Allegretto, is folk-like and is a set of loose variations, with a flowing quality similar to the first movement. In the middle of the movement is the Adagio Espressivo variation, heavily ornamented and bearing resemblance to the hymnal second movement.

Thirty two Variations

 

        32 Variations on an Original Theme in C minor, WoO 80

مهران مظلوم مقدم

 

از پر اجرا ترین آثار در میان مجموع بیست و دو تم و واریاسیون بتهوون. اگر چه، بتهوون، به دلیلی مرموز و ناشناخته آن را متعلق به خود نمی دانست. این اثر به فرم پاساکالیا نوشته شده است و اغلب می گویند در نیمۀ راه شاکن ویولن باخ و موومان پایانی سمفونی چهارم برامس قرار دارد.

Piano Sonata No.21 in C Major

 

        Piano Sonata No.21 in C Major , Op.53 (Waldstein)

I.Allegro con brio

II.Introduzione : Adagio molto

III.Rondo : Allegretto moderato - Prestissimo

مریم صوفی سیاوش

 

بتهوون این شاهکار خود در دو ماژور را به حامی همیشگی اش تقدیم کرد. نواختن این سونات به تکنیکی درخشان و کنترل ساختار های پیچیدۀ ریتمیک نیاز دارد. شکل اصلی این اثر در دو موومان خلاصه می شود که بخشی بیست و هشت میزانی در میان آن دو، اینترودوتسیونه-آداجو مولتو آتاکا، در اصل جای موومان دوم را به خود اختصاص داده است. کمپف می گوید:«این بخش همچون پرتویی از نبوغ آهنگساز بر تیرگی میان دو تنالیتۀ ماژور و مینور می تابد و آن را روشن می سازد. تم روندو چونان فرازگاه یک معبد یونانی در سپیده دمان می درخشد.» این سونات اولین اثری بود که بتهوون در هنگام خلق آن از کلاویه های اضافی موجود بر روی پیانویی بزرگتر که کارخانۀ پیانو سازی ارار به او اهدا کرده بود، استفاده می کرد.

Violin Sonata No.9 in A Major

 

        Violin Sonata No.9 in A Major , Op.47 (Kreutzer)

I.Adagio sostenuto , Presto

II.Andante con variazioni

III.Presto

اویتا آراکلیان، ویولن

سروش صادقی، پیانو

 

The “Kreutzer” Sonata is an extraordinary work. Performing it, the performer always struck by the sheer energy and control necessary for the bursts of emotional intensity, with running notes, melodic lines, and dialogue with the piano. These qualities, combined with the extremely challenging technical demands, become mental and physical stretch exercises for the performers.
 
The first movement best exemplifies Beethoven’s own description on the manuscript: “Sonata for piano and violin obbligato, written in a very concertante style, brilliant (this crossed out by Beethoven in the manuscript), quasi concerto-like.”  
The introductory Adagio Sostenuto, opens with a choral-like phrase, initially by the violin and then followed by the piano. This movement is really almost entirely in a minor mode, contradicting the major key indicated in the title, Sonata in A Major, leaving the opening violin phrase the only “obvious” A major phrase of the movement. The Second Movement, Andante con Variazioni, is a set with four variations, mostly in F major. Considering that this is a “slow” movement, Beethoven nonetheless incorporated much humor throughout, with his off-beats, pizzicatos, continuous trills, etc. 
 
The last movement, Presto, was written originally about a year before, and was to be the last movement of another piano-violin sonata – Sonata in A Major, Op. 30, No. 1. Beethoven ended up writing a set of variations for the earlier work instead, and recycled the original for use in the “Kreutzer” Sonata.

Six Variation for Piano in F major on an Original Theme

 

        6 Variations for Piano in F Major on an Original Theme , Op.34 (1802)

پریا شکوهی موید

 

6 Variations in F major, Op.34 is a piece for solo piano composed by Ludwig van Beethoven in 1802. It was first published in 1803 and dedicated to Anna Luise Barbara Odescalchi, geb. Gräfin von Keglevics.

Piano Sonata No.18 in E flat Major

 

        Piano Sonata No.18 in E flat Major , Op.31 , No.3 (The Hunt) (1801-02)

I.Allegro

II.Scherzo - Allegretto vivace

III.Minuetto - Moderato e Grazioso

IV.Presto con fuoco

سینا کفاشی اصل

 

ادوین فیشر سونات توفان را «روان مردانۀ» بتهوون نامیده است و این سونات، در می بمل ماژور را برخاسته از «روان زنانۀ» او می داند. این قطعۀ چهار موومانی درخشان سرشار از ظرافت، شور، حرارت و زیبایی است. تم اول پرسش های ظریفی می پرسد که به موتیفی شاد می انجامد. به راستی در اینجا وجود بتهوون لبریز از شادمانی است. موومان دوم بر خلاف انتظار موومان آرامی نیست بلکه سکرتسویی پر جنب و جوش است که ضرب آن به عوض 3/4 همیشگی، 2/4 است. سپس نوبت به منوئتی اشرافی و ظریف، به سبک قدما می رسد. در آخر نیز موومانی پر از جوش و حرکت به فرم سونات پایان بخش قطعه می شود.