ΗΜΙΤΕΛΕΙΣ ΣΥΜΦΩΝΙΕΣ ~ BEETHOVEN ~

  ~ BEETHOVEN ~

*Christos Sipsis

Σιγουρα πολλοι απο εσας δεν ξερετε ότι -υποτιθεται τουλαχιστο ότι- ο Μποετοβεν ειχε ξεκινησει μια ακόμη συμφωνια... την 10 του... Καποια σπαραγματα - προσχεδια αυτης της υποτιθεμενης συμφωνιας βρηκε ο Barry Cooper και τα επεξεργαστηκε. Ιδου το αποτελεσμα:

Beethoven. Sinfonia N° 10. Andante - allegro - andante.wmv
http://youtu.be/5qWSpVt9oaM

 Symphony No. 10 (Beethoven/Cooper)WikipediaLudwig van Beethoven's Symphony No. 10 in E flat major is a hypothetical work, assembled by Barry Cooper from Beethoven's fragmentary sketches. This title is controversial since it cannot be proven that all the sketches assembled were meant for the same piece. There is consensus, however, that Beethoven did intend another symphony.BackgroundAfter completing the Ninth Symphony, he devoted his energies largely to composing string quartets, although there are contemporary references to some work on a symphony (e.g. in a Beethoven letter of 18 March 1827); allegedly he played a movement of this piece for his friend Karl Holz, whose description of what he heard matches the material assembled by Cooper. Cooper claimed that he found over fifty separate fragments, which he wove together to form the symphonic movement. Cooper assembled material for a first movement consisting of an Andante in E-flat major enclosing a central Allegro in C minor. Cooper claims to have also found sketches for a Scherzo which are not developed enough to assemble into a performing version.There are numerous references to this work in Beethoven's correspondence (originally, he had planned the Ninth Symphony to be entirely instrumental, the Ode to Joy to be a separate cantata, and the Tenth Symphony to conclude with a different vocal work).Earlier, in 1814–15, Beethoven also began sketches for a 6th piano concerto in D major, Hess 15. (Unlike the fragmentary symphony, the first movement of this concerto was partly written out in full score and a reconstruction by Nicholas Cook has been performed and recorded.)OtherJohannes Brahms's First Symphony is sometimes referred to as "Beethoven's Tenth Symphony", after a remark by Hans von Bülow.[2][3] Both the Brahms work and Cooper's realisation of Beethoven's sketches feature C-minor 6/8 Allegros.
Symphony No. 10 (Beethoven/Cooper) - Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Symphony_No._10_(Beethoven/Cooper)

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Μερικες φορες η 1η του Μπραμς αναφερεται ως 10 του Μπετοβεν για λογους που θα δειτε στο επομενο σχόλιο.Την ακουμε με τον Bruno Walter
Brahms Symphony 1, Bruno Walter and Columbia Symphony Orchestra
http://youtu.be/-wzHj0CylLs
The Symphony No. 1 in C minor, Op. 68, is a symphony written by Johannes Brahms. Brahms spent at least fourteen years completing this work, whose sketches date from 1854. Brahms himself declared that the symphony, from sketches to finishing touches, took 21 years, from 1855 to 1876. The premiere of this symphony, conducted by the composer's friend Felix Otto Dessoff, occurred on November 4, 1876, in Karlsruhe, then in the Grand Duchy of Baden. A typical performance lasts between 45 and 50 minutes.....The conductor Hans von Bülow was moved in 1877 to call the symphony "Beethoven's Tenth", due to perceived similarities between the work and various compositions of Beethoven.[3] It is often remarked that there is a strong resemblance between the main theme of the finale of Brahms' First Symphony and the main theme of the finale of Beethoven's Ninth Symphony. Also, Brahms uses the rhythm of the "fate" motto from the opening of Beethoven's Fifth Symphony. This rather annoyed Brahms; he felt that this amounted to accusations of plagiarism, whereas he saw his use of Beethoven's idiom in this symphony as an act of conscious homage. Brahms himself said, when comment was made on the similarity with Beethoven, "any ass can see that."[4] Nevertheless, this work is still often referred to as

"Beethoven's Tenth".[5] However, Brahms' horn theme, with the "fate" rhythm, was noted in a letter to Clara Schumann (dated 1868), overheard in an alphorn's playing.[6]...The long violin solo is reminiscent of some of Beethoven's later works: the late quartets and Missa Solemnis. The third, scherzo-like movement, has an easy spirit yet is full of complex rhythms and interwoven textures.The fourth movement begins with a slow introduction, where a new melody competes with "gloomy dramatic rhetoric."[2] In the Piu andante section, the horns and timpani introduce a tune that Brahms heard from an Alpine shepherd with the words, "High on the hill, deep in the dale, I send you a thousand greetings!"[2] This movement contains melodies reminiscent of Beethoven symphony No. 9. The last section—Allegro non troppo, ma con brio—contains a grand melody in a major key, as the novel, Beethoven-like main subject of the grand finale
Symphony No. 1 (Brahms) - Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Symphony_No._1_(Brahms)