At the Easter Festival 2015 in Baden Baden the Berliner Philharmoniker were all over Beethoven. Under the baton of Bernard Haitink, who is regarded as an authority on the music of Beethoven, they played the famous Symphony No. 6 "Pastorale". For the Violin Concerto the Berliner Philharmoniker were joined by multi-awarded Isabelle Faust.

This set was recorded in the late 1960s to early 1970s. Herbert von Karajan is widely acknowledged to be one of the finest conductors of the 20th century, and around 1970 he was at his peak.

Carlos Keliber conducts the Concertgebouw Orchestra.

Excellent Bernstein performance. Interesting version for String Orchestra. Interesting video details to introduce your friends to classic orchestral music (lets them to understand the sound of each instrument the music comes from).

There is hardly a better way to approach Ludwig van Beethoven than through his piano concertos. Beethoven’s own instrument was the piano, and in his improvisations – which made him the darling of the Viennese salons – he merged virtuosity and unbridled expression. The piano concertos give a clear idea of these performances. At the same time, they are prime examples of Beethoven’s ability to create large orchestral works with seemingly endless arcs of tension. The complete recording of all five works with Mitsuko Uchida and Sir Simon Rattle was one of the most spectacular projects of the Berliner Philharmoniker during the Rattle era – and at the same time the highlight of the collaboration between the orchestra and the pianist, which began in 1984.

Following his acclaimed Mendelssohn concerto recording earlier in 2019, celebrated Canadian Pianist Jan Lisiecki has released a complete cycle of Beethoven’s piano concertos on September 13. The recording is part of Deutsche Grammophon’s celebration of Beethoven’s 250th anniversary in 2020. “If one thinks of the Beethoven concerti as novels", says Lisiecki, “each offers a deep spiritual journey. Performed together, this definitive anthology gives new light to the power of Beethoven’s genius.” ”A sparkling performance that seems refreshingly spontaneous - intellectually perfectly formed" – Der Tagesspiel.

Short film by Robert Bruce Rogers.

A young man goes on a journey to embrace his new identity.

Wiener Philharmonic Christian Thielemann

Wiener Philharmonic Karl Bohm Claudio Abbado

The film begins with a visualization of Beethoven's Piano Sonata No. 32 in C minor, Op. 111, and Wyborny nearly misses the first movement. Yes, the "savage and bare fire" (Kaiser) of this tempestuous last piece of Beethoven nearly tears him apart. He who, while the aggressive Allegro explodes (when the sonata has begun to spread out with a deliberately "false" address in the old French overture rhythm), gets wrapped up in every pause and every peak; he who absolutely wants to work on these dialectical poles of tension in the finest agogic gradations, to shape the contrasts of the tempo in an angular way, will be torn apart. Wyborny escapes from the abyss, Beethoven would have done the same in an emergency, improvising on his own. Many spectators probably did not notice the drama. Others noticed it, were shocked, pulled themselves together, took a breath - and then were overwhelmed by the ingenious solution.

Painter David Brody has created a stunning computer animation to Beethoven string quartet music called “Beethoven Machinery”. The viewer follows the course of an octagonal prism through a wire-frame world of girders, changing direction at musical modulations and textural changes.

These recordings, filmed in March and April 1974 for the BBC, occurred at the tail end of the old performance era and the very start of the new. Vladimir Ashkenazy was a graduate of the same Soviet school of piano playing that produced Sviatoslav Richter, Emil Gilels, Lazar Berman and a host of others of that era. There are simularities that unite them, including a broad romanticism, a degree of Lisztian showmanship coupled with periods of introspection, powerful technique that occasionally borders on pounding and an intellectual streak that produces some deeply insightful playing. Ashkenazy was younger than the others, more modern in his playing.