I never knew Beethoven wrote this piece, it is delightful. I always enjoy pieces for combinations of wind instruments, Mozart wrote some wonderful examples. Good to hear the great composers' lesser-known works, which probably rarely get performed in public.
Somewhat relatedly, I gather that Beethoven’s Septet, opus 20, was incredibly popular in its day. That, to the point that he occasionally regretted writing it, because too many people requested it in his concert venues. It’s worthwhile checking out, if you haven’t already!
I personally have always really enjoyed the heck out of small wind ensembles, this being one of the more formative works. Mozart also wrote a fantastic wind octet, along with his pivotal _Serenade for 13 Winds_ (actually 12winds and a string bass, although sometimes contrabassoon is substituted for the bass).
As far as I know (but I may be wrong) this is a transcription of one of the last works that Beethoven wrote before leaving Bonn. It is a very good job. That exmplains top level recommendations that he got to go and study in Vianna with Haydn. We all know the following of the story.
Reverse, actually. This is one of the last works he wrote before leaving Bonn and becoming established in Vienna, and was later transcribed and reworked into the String Quintet Op. 4 three years later. en.wikipedia.org/wiki/Octet_(Beethoven)
Since I'm so enchanted by the woods I'm always in joy in stumbling across something like this piece Beethoven did compose there, I'm actually loaded with ideas for compositions on my own and I hope to get something done with a year or so in restored conditions to develop my skills in composition though I guess I'm not able never ever to reach ❤Katjuschas❤ brilliance there... ...especially I got a lot of melodies in mind with an oboe and a flute to express the silence the way I feel and perceive it... ...Michelangelo actually headed for new goals after one year of learning how to deal with fresco-paintings ( go get a look in the Sixtina to see what he was able to execute... ), so just get me two years with the possibility to get through the art of composing and we will see... Le p'tit Daniel🐕🏒🍔🍟 and never ever forget though I highly appreciate the skills of Newton I do not eat less in order to get more concentrated it is the other way around... ...stuff me with fish-mäcs and I guess I can make my silence speak
In fact I find this better than B's later more and more excentric pieces like jammerklavier, Diabelli etc. It is much more difficult to write a good coherent piece in 8 real parts than concocting sprawling keyboard ones.
Can someone please ask😇❤ Katjuscha❤😇 on her final judgement respecting 2:47 in the clip: I do hear an < a flat > in the clarinetts... ...but there is supposed to be played an < a >... ...right or wrong? Le p'tit Daniel
Bien plus convaincant que la version pour quintette opus 4. Du reste on peut faire la même remarque avec la sérénade de Mozart en ut mineur transformée en quintette à cordes.
Complements on the playing, it was very nicely done! The music, knowing it's such an early piece by Beethoven, obviously lacks much of his soon to be developing application and skill with development, scope, vitality and originality. The whole piece does show a sense of careful control and sustained attention, with some nice musical ideas, but it does, as a whole piece, rely on the strong influence and style of what came before him. That's to be expected. So it's a trade-off; not a typical Beethoven piece, almost undetectable as being by Beethoven, but worth at least one listen to see where he was coming from, which was the composers world in Germany's area, of the aristocratic circles paying their composers for a fairly limited scope of style in music, with names like Haydn and Mozart being commonly known in that system, and with obviously many others employed at the music mill too. I'd say the music is nice, but instantly forgettable, it would have been received well as par for the course, and good for instrumentalists to practice with, but wasn't anything to build a career on. All things considered, PERFORMANCE = 9/10. MUSICAL CONTENT: 5/10
Do I have to expect all of Beethoven's string music to be heard as Grand Fugue to be musically rich? Would the Hammerkalvier sonata be so special if all of his sonatas are sounding similar? As a personal opinion, sure--as a general argument, not really.
I actually agree so much with you. Some less known music can be good and dull at the same time - the octet presents no imperfections, as expected from Beethoven piece, but this doesn't mean that it's memorable. We have to let go and sometimes admit that some pieces from great composers are somewhat forgettable.
@@miguelfontesmeira agreed is not necesarily that every composition have to be a masterpiece. But even thouthg this is Beethoven and he had his bad days too, a cold a head pain and no asperine in those day. So what since nowadays everybody is an expert critics in everything ( including how to fart) every asshole write anything. Pure banality and infinite stupidity.
In fact I find this better than B's later more and more excentric pieces like hammerklavier, Diabelli etc. It is much more difficult to write a good coherent piece in 8 real parts than concocting sprawling keyboard ones.
The Hammerklavier and Diabelli are "spraling" on purpose, think about it like this, this occet was composered by a LESS mature composer than who composed op 109, 120 But there are many moments in both that are gorgeous Diabelli: th-cam.com/video/Wp59KCg_DCY/w-d-xo.html Hammerklavier: th-cam.com/video/erD1Yy-4F5M/w-d-xo.html
It is much more diffuclt to write 4 parts for 1 instrument (piano) than it is to write 8 part for 8 instruments. Take for example Mozart, he could write a 4 part fugue for Quarte just fine, but he needed 4 hands (2 pianos) for his Piano fugue in c
@@leonhardeuler6811 BTW 4 hands isn't required for the fugue. With decent partwriting knowledge one could easily rearrange it for one player, in fact I think this has been done. But I disagree when you say that it's easier to compose multitudinous parts for different instruments than it is to do the same but with only one. The blending of parts, making sure everything flows well, abides by invertible counterpoint, etc., is all easier with one piano, at least for me.
@@therealrealludwigvanbeethoven The implication of saying " With decent partwriting knowledge one could easily rearrange it for one player" is that Mozart doesn't have "decent partwriting knowledge". Some parts would need to be deleted from the fugue in order for it to be played with 2 hands which is why I find Beethoven fugues to be so impressive: they are just as "bombastic" without sacrificing solo part-writing. Having multiple instruments doesn't entail invertibel counterpoint at all... op 103 doesn' have it, for example. I still stand with my og comment; there is a reason students of counterpoint learn to write fugues on string trios/quartet and not solo piano, the latter is harder to do
@@leonhardeuler6811 "Some parts would need to be deleted from the fugue..." Not really. I bet you I could make an arrangement of it without sacrificing playability nor the parts. "Having multiple instruments doesn't entail invertibel counterpoint at all..." Oh, I see. I'm talking about very CONTRAPUNTAL works, not just standard ensemble pieces like this. All I'm saying is that invertible counterpoint is easier on the piano, not necessarily that ensemble writing entails this.
It's such a unique sound. It's like an orchestra without the strings.
I never knew Beethoven wrote this piece, it is delightful. I always enjoy pieces for combinations of wind instruments, Mozart wrote some wonderful examples. Good to hear the great composers' lesser-known works, which probably rarely get performed in public.
Somewhat relatedly, I gather that Beethoven’s Septet, opus 20, was incredibly popular in its day. That, to the point that he occasionally regretted writing it, because too many people requested it in his concert venues. It’s worthwhile checking out, if you haven’t already!
I personally have always really enjoyed the heck out of small wind ensembles, this being one of the more formative works. Mozart also wrote a fantastic wind octet, along with his pivotal _Serenade for 13 Winds_ (actually 12winds and a string bass, although sometimes contrabassoon is substituted for the bass).
Another really good, but very-different wind (mostly) ensemble to check out is Dvorak’s Opus 44 Serenade in D.
Beethoven also composed a few trios for two oboes and English horn. Lots of fun to play.
This is ensemble music at its best. Just love this! Such great spirit by these players. Thank you for posting.
Grazie a chi ha postato questo ottetto con partitura. Grande Beethoven!
As far as I know (but I may be wrong) this is a transcription of one of the last works that Beethoven wrote before leaving Bonn. It is a very good job. That exmplains top level recommendations that he got to go and study in Vianna with Haydn. We all know the following of the story.
Reverse, actually. This is one of the last works he wrote before leaving Bonn and becoming established in Vienna, and was later transcribed and reworked into the String Quintet Op. 4 three years later.
en.wikipedia.org/wiki/Octet_(Beethoven)
immer wieder vor allen Dingen ein Bravo den Hornisten
Thank you very much for this upload! I will scrutinize this to learn how to write well for woodwinds.
Sounds so nice without a flute 🤤
Thanks for sharing!
17:47 sounds like the 4th mvmt. of the Eroica (just after the beginning).
Also check Creatures of Prometheus Op 43
Not to me.I don't see (or hear) any similarity between the two works.
@@fa-la-mi-mi-re Too bad.
@@thomasbirkhahn9616 Keep looking for a similarity!
Prometheus finale and Eroica finale shares same theme in the same key.
en.wikipedia.org/wiki/Eroica_Variations
Since I'm so enchanted by the woods I'm always in joy in stumbling across something like this piece Beethoven did compose there, I'm actually loaded with ideas for compositions on my own and I hope to get something done with a year or so in restored conditions to develop my skills in composition though I guess I'm not able never ever to reach ❤Katjuschas❤ brilliance there... ...especially I got a lot of melodies in mind with an oboe and a flute to express the silence the way I feel and perceive it... ...Michelangelo actually headed for new goals after one year of learning how to deal with fresco-paintings ( go get a look in the Sixtina to see what he was able to execute... ), so just get me two years with the possibility to get through the art of composing and we will see...
Le p'tit Daniel🐕🏒🍔🍟
and never ever forget though I highly appreciate the skills of Newton I do not eat less in order to get more concentrated it is the other way around... ...stuff me with fish-mäcs and I guess I can make my silence speak
Great performance !
Solid!
In fact I find this better than B's later more and more excentric pieces like jammerklavier, Diabelli etc. It is much more difficult to write a good coherent piece in 8 real parts than concocting sprawling keyboard ones.
Can someone please ask😇❤ Katjuscha❤😇 on her final judgement respecting 2:47 in the clip: I do hear an < a flat > in the clarinetts... ...but there is supposed to be played an < a >... ...right or wrong?
Le p'tit Daniel
Not super-important, but the score order strikes me as curious: horns, oboes, clarinets, then bassoons.
Little Bear!
Thanks for uploading and explaning this work!But there are no flutes in this work !!2 horns,2 clarinetts 2 oboes and 2 bassoons
Fixed, thank you! I had directly copied ensemble roster.
@@GwennySweety Great!
Bien plus convaincant que la version pour quintette opus 4. Du reste on peut faire la même remarque avec la sérénade de Mozart en ut mineur transformée en quintette à cordes.
Nice performance. Great second horn performance. Not a fan of the wobbly-sounding excess vibrato from the bassoon player.
btw, can i play with recorder?
Complements on the playing, it was very nicely done! The music, knowing it's such an early piece by Beethoven, obviously lacks much of his soon to be developing application and skill with development, scope, vitality and originality. The whole piece does show a sense of careful control and sustained attention, with some nice musical ideas, but it does, as a whole piece, rely on the strong influence and style of what came before him. That's to be expected. So it's a trade-off; not a typical Beethoven piece, almost undetectable as being by Beethoven, but worth at least one listen to see where he was coming from, which was the composers world in Germany's area, of the aristocratic circles paying their composers for a fairly limited scope of style in music, with names like Haydn and Mozart being commonly known in that system, and with obviously many others employed at the music mill too. I'd say the music is nice, but instantly forgettable, it would have been received well as par for the course, and good for instrumentalists to practice with, but wasn't anything to build a career on. All things considered, PERFORMANCE = 9/10. MUSICAL CONTENT: 5/10
Do I have to expect all of Beethoven's string music to be heard as Grand Fugue to be musically rich? Would the Hammerkalvier sonata be so special if all of his sonatas are sounding similar? As a personal opinion, sure--as a general argument, not really.
And yes, that is a wonderful rendition available with no copyright. It is linked in description.
If this piece was by Haydn or Mozart, you would give more than 5/10.
I actually agree so much with you. Some less known music can be good and dull at the same time - the octet presents no imperfections, as expected from Beethoven piece, but this doesn't mean that it's memorable. We have to let go and sometimes admit that some pieces from great composers are somewhat forgettable.
@@miguelfontesmeira agreed is not necesarily that every composition have to be a masterpiece. But even thouthg this is Beethoven and he had his bad days too, a cold a head pain and no asperine in those day.
So what since nowadays everybody is an expert critics in everything ( including how to fart) every asshole write anything. Pure banality and infinite stupidity.
Didn't think he ever wrote an octet
Heute Eva gewidmet LvB
2:46
I also find it lol But this performance is still perfect😁
so fast. how many tempo did it use?
Ok
Poor dynamic contrast
He was really young back then, his beethovish style was just starting to pop out
I just realized you were pointing out the performers, my mistake
@@juandiegofigari7010 We don´t know man, maybe beethoven was playing too xD
In fact I find this better than B's later more and more excentric pieces like hammerklavier, Diabelli etc. It is much more difficult to write a good coherent piece in 8 real parts than concocting sprawling keyboard ones.
The Hammerklavier and Diabelli are "spraling" on purpose, think about it like this, this occet was composered by a LESS mature composer than who composed op 109, 120
But there are many moments in both that are gorgeous
Diabelli: th-cam.com/video/Wp59KCg_DCY/w-d-xo.html
Hammerklavier: th-cam.com/video/erD1Yy-4F5M/w-d-xo.html
It is much more diffuclt to write 4 parts for 1 instrument (piano) than it is to write 8 part for 8 instruments. Take for example Mozart, he could write a 4 part fugue for Quarte just fine, but he needed 4 hands (2 pianos) for his Piano fugue in c
@@leonhardeuler6811 BTW 4 hands isn't required for the fugue. With decent partwriting knowledge one could easily rearrange it for one player, in fact I think this has been done. But I disagree when you say that it's easier to compose multitudinous parts for different instruments than it is to do the same but with only one. The blending of parts, making sure everything flows well, abides by invertible counterpoint, etc., is all easier with one piano, at least for me.
@@therealrealludwigvanbeethoven The implication of saying " With decent partwriting knowledge one could easily rearrange it for one player" is that Mozart doesn't have "decent partwriting knowledge". Some parts would need to be deleted from the fugue in order for it to be played with 2 hands which is why I find Beethoven fugues to be so impressive: they are just as "bombastic" without sacrificing solo part-writing.
Having multiple instruments doesn't entail invertibel counterpoint at all... op 103 doesn' have it, for example.
I still stand with my og comment; there is a reason students of counterpoint learn to write fugues on string trios/quartet and not solo piano, the latter is harder to do
@@leonhardeuler6811 "Some parts would need to be deleted from the fugue..."
Not really. I bet you I could make an arrangement of it without sacrificing playability nor the parts.
"Having multiple instruments doesn't entail invertibel counterpoint at all..."
Oh, I see. I'm talking about very CONTRAPUNTAL works, not just standard ensemble pieces like this. All I'm saying is that invertible counterpoint is easier on the piano, not necessarily that ensemble writing entails this.