Section I. - Schlacht / The Battle 00:00 Trommeln und Trompeten an der englishen Seite 00:41 Marcia: Rule Brittania 01:20 Trommeln und Trompeten an der französischen Seite 01:54 Marcia: Marlborough 02:44 Auforderung / Summons 02:56 Gegenruf / Countersummons 03:08 Schlacht: Allegro 05:02 Sturm-Marsch: Allegro assai 07:00 Andante Section II. - Siegessymphonie / The Victory Symphony 07:49 Intrada. Allegro ma non troppo 08:08 Allegro con brio 09:26 Andante grazioso 10:10 Tempo I - Allegro con brio 11:37 Tempo di Menuetto moderato 12:40 Allegro
Rule Britannia had already been around for years. Beethoven just used it to emphasise the British in this piece, in the same way Tchaikovsky used the French national anthem in the 1812 overture.
I don’t know why Beethoven considered this to be his worst composition. The melodies, the harmonics used, it’s all just gorgeous. I’m a composer myself and I wouldn’t even come close to perfecting chords and harmonies like that.
I think's it's more about the structure of the piece. The harmonies are all standard romantic era Beethoven, but by Beethoven standards it lacks any motivic unity or good thematic development. It always feels like we're either ending a section, or being introduced to one. I think he was also struggling with his counterpoint here, and hadn't really found his voice in it, you can really tell that in the fughetta near the finale- on my first listen I was expecting a fugal finale, but he just kinda ends the fugue right in the middle and goes straight to a tutti orchestra homophonic texture. That's what I got from listening to this piece like I listen to my own work.
If you listen carefully, you can hear that Beethoven putted "God Save the Queen" at 9:26 .... And all the music afterwards is actually variations on that
No. God Save the Queen is actually based on a french song written for Louis XIV when he was ill... so almost 100 years before Beethoven wrote this piece
@@ImpCaesarHadrianvs In this case it's used to symbolise the British victory, however. That said, it's not "God save the Queen" in that case, but "God save the King", as the reigning British monarch at the time was King George III.
Thanks for sharing! Obviously another battle between West and East performance: Berlin Philharmonic Orchestra and Karajan of 1969 and the Leipzig Gewandhaus Orchestra and Bongartz of 1970. I don't know which one to prefer, honestly.
This is a perfect work. Absolute genius. It seems to me that that which Beethoven "scheisse," using his own... florid language, provides yet another amazing insight into his infinite genius. To describe this work as "among his weakest" is I think a huge mistake. Of course, musically there is almost nothing here, but what makes it so brilliant is that he was acutely aware of that fact, actually USING the low quality of this work to demonstrate his superiority. I can't imagine any composer writing anything for the occasion (the Congress of Vienna!!! actually a huge deal!) with more humor, more arrogance, more sarcasm, and overall brilliance than Beethoven. He really was the only great composer between 1802 and 1815ish, and he knew it. Beethoven is my God.
Very well said!! Indeed it wasn't the last time Beethoven's music has been used for motivating and cheering up a by war disturbed population. Even as one of his so called "weaker" compositions it gives you goose skin. Better try to position oneself in contemporary circumstances and create a composition that's cheering up. Apart from that: read about the story of Hofmechaniker Mälzel, the manufacturer of Beethoven's well known hearing aid instruments, who has asked Beethoven to compose a piece of music on the occasion of the French army's defeat at Vittoria, which would be suitable to be played on his newly developed Panharmonicon instrument. It seemed to have it's limits, so Beethoven had to transcript it into a real orchestral piece. So double work, time was running out and in the end it became an apparently "weaker" composition they say. With you I can't agree less mr. Vazan!
The more I listen to Rossini's revived works on TH-cam the more I classify him in the same league as Beethoven in the north at this period. Rossini went on to write great sacred works long after Beethoven was dead.
mixmam1: NO. Rule Britannia is a British patriotic song, originating from the poem "Rule, Britannia" by James Thomson and set to music by Thomas Arne in 1740. Beethoven was born in 1770.
Years ago, I developed a list of "Musical Loves," music I'd heard on the radio at Interlaken Academy in Northern Michigan. Forgotten, I rediscovered it last week. This following of the score so closely will be a grand addition to my folder. Thank you!
Is this Beethoven’s only piece where he incorporates what is today known as progressive tonality? I mean this piece literally begins in E flat major and ends in D major - a bit like how Mahler 5 begins in C# minor and ends in D major, though Wellington’s Victory isn’t a proper symphony.
Congratulations-the performance is overwhelming ( much more balanced than the Dorati recording) and it sounds like the orchestra is sitting in your living room- thanks for posting!!!!
Ich finde das Werk so gut, dass ich es selbst als modernstes Werk der Klassik sehe. Es ist ein Meisterstück. Auch eine gute Idee war es, die Gewehre der Infanterie als Ratschen zu ersetzen. Man fühlt sich in diesen vollkommen mit drin, als wäre man wirklich dabei, von der Schlachtaufstellung bis zum Sieg der Engländer. Es ist eines meiner Lieblingswerke von Beethoven und eines meiner Lieblingswerke der Welt und habe schon einige Werke von verschieden Komponisten gehört. Es ist eine sehr große Leistung des Komponisten. Ich würde gerne wissen wie das Publikum auf dieses wunderbare Musikstück reagiert haben, als sie es das erste mal gehört. Ich hoffe er wird noch lange in der Welt behalten bleiben und die Welt weiter prägen. Lang Lebe die klassische Musik. Lang Lebe Ludwig van Beethoven.
Exactly. My sentiments also. Beethoven was an idealist and Napoleon carried away with his own agenda and not following the Revolutionary concepts, which Beethoven admired.
Noticed that in the middle of the printed score B wrote music for the triangle. Imagine what a sonata for piano and triangle by Beethoven would have sounded like? Probably something gigantic and memorable.
The "Rule Brittannia" is the direct hommage Beethoven gave to Arthur Wellesley, Duke of Wellingtonfor the victory at Vitoria; the "for he's a jolly.good fellow" is the direct hommage to General Álava y Esquivel, his Spanish Chief of Staff during the Peninsular War, one of the greatest and most brilliant Spanish statemen of the early 19th century and, as always in Spain, a forgotten one... And my direct ancestor! :D
The “Rule Britannia” represents Britain and the “Marlborough sa va t’en Guerre” represents the French. There is no mention of either the Spanish or Portugese allies.
Ein echtes Meisterstück von Beethoven. Finde es auch eine geniale Idee im Video die aktuelle Partiturseite einzublenden. Da kann man super mitlesen. Hab ich da am Anfang reingeschnittene Laser- und Maschinengewehre gehört? (Zu Beethovens Zeiten war das zwar noch nicht möglich. Das it aber gar nicht so weit hergeholt. Das Werk betrachte als Vorläufer der StarWars Filmmusik
If this is weak Beethoven, it is better than anyone else could have composed. The guy was amazing, one of the top three composers. Handel, Bach and Beethoven. I could never chose between them,
Nonostante tutto quello che si può dire contro, questo è uno dei capolavori più entusiasmanti e tragici di Beethoven. Poteva non scriverlo? Certo, ma l'avrebbe scritto qualcun altro e Mahler non sarebbe esistito. Non ci sentite Mahler e Sciostakovic? Grandissimo.
Beethoven fought on the left front of the brave English men of Marlborough. But as he was deaf, he didn't hear anything but he felt the whole fight....! And then he turned immediately home when seeing the Prussians come and wrote this composition using many frames from times long ago! Beethoven is the Kaiser of all componists! He even now makes goosbumps to all people by this work.
Jingoistic, populist nonsense of course, but there's much to enjoy here if you're not looking for all Beethoven to be profound, tragic and existential. And much to laugh at if you are, but this sort of wasn't the point. Had some debate with my sixth form students today about whether this "symphony" should have been given a number, think they concluded it wasn't "canon" but was definitely "cannon". A couple of other observations: 1) if you think this is rubbish then you should hear some of his folk song arrangements, and 2) it does exactly what it means to do and does it rather well. However I do find it slightly incongruous that even it its most trite moments, it still sounds like the absolute quintessence of Beethoven. Sometimes music works best when you don't over-think it but just enjoy the explosions...
The theme "Rule Britannia" is from an opera by Thomas Arne composed en 1740, while the "For he's a jolly good fellow" was sang by the French in the war of the Spanish Succession at the beginning of the 18th century to mock the English, specially general Marlborough; and the original lyrics go: "Marlbrough se va t'en guerre, mironton, mironton, mirontaine, etc". It has remained as both a French and Spanish nursery rime. Obviously the English change the lyrics so it wasn't offensive to them.
"Although it is possible to see Wellingtons Sieg as a 'monument of trivialities' or as representing Beethoven as a 'pioneer of kitsch,' that is only part of the story. By agreeing to devise the piece and then perform it at a major concert, Beethoven was obviously riding the euphoric wave that swept over Vienna after Napoleon's recent defeats and that seemed to promise a new era of political recovery after years of oppression and defeat...But to then go further and publish the work, moreover to give it an opus number and place it in the series of his important compositions, showed that his deep yearning for public recognition and financial security had gone beyond any earlier limits and that his need for public acclaim, not just in the world at large or in the future but then and there, in Vienna and in his lifetime, for once overrode his normal standards of self-criticism." ~ Lewis Lockwood, The Music and the Life, Beethoven
No Thomas Arne composed that. He also composed Rule Britannia, "A hunting we shall go" and the Christmas Carol "the 12 days of Christmas" with "a patrdige in a pear tree." Clever man was Thomas Arne.
The original "For he's a jolly good fellow" is a French traditional tune "Marlbrough s'en va-t-en guerre (Marlborough Has Left for the War). It was written after the Battle of Malplaquet in which the allies beat the French, but sustained much greater losses. It was even though the Duke had died in the battle. "The bear went over the mountain" is also a well known wording. Rule Britannia was written by Thomas Arne and was a real "pop song", being incorporated into many musical works.
@@andreasvandieaarde 8 years ago I gave my "opinion" about how this was a superior performance. I'd have to listen to the piece all over again. Don't get me wrong about von Karajan; he excelled with Beethoven. The recording he did with the Berlin Phil of the Wellington, one of a few I think, the one I heard was badly recorded, the acoustics sounded terrible. What the Bongartz performance does for me is sound clearer, more exciting and alive. It is just an opinion.
@@fredhoupt4078 Didn't think you'd respond :^) what I don't quite understand about your opinion of 8 years ago, as well as what you seemingly stay consistent with after so long (unless your mind changed a lot after listening to it again), is how you feel the need to compare two performances? It's one thing to compare the same orchestra and conductor of the exact same piece at two different points... But my direct question was that you said this performance embodies what Beethoven had in mind, which I honestly don't think anyone can possibly know, so unless your opinion has changed...how do you know this specific performance truly embodies what Beethoven had in mind?
@@andreasvandieaarde comparing one performer or performance with another is something that everyone does; there is nothing unique in my attitude. Surely you know this. What appeals to my aesthetic sensibilities will fall flat with another person and frankly, that's quite all right and expected. Musical interpretation is a personal experience for the performer and remains a personal impression to the listener. For example, Sir Georg Solti's famous recording of Beethoven's 9'th symphony with the Chicago Phil, remains for me the most electrifying and deeply satisfying performance that I've heard. Have I heard all performances for comparison? Of course not. For me the keyboard works of J. S. Bach are most satisfying when Glenn Gould is playing them with Andras Schiff in the upper realms of interpretation/performance. There are legions of Bach fans who find Gould's performance styles excessive, mannered, ridiculous, etc. Have you heard his Brahms Piano concerto with Bernstein? It is totally re-imagined, re-invented and most folks laugh when they hear the first movement. Now, your other point about how can I or anyone know what was in Beethoven's mind when he composed a piece of music? Good question. We can only guess. He gave many instructions regarding tempos, dynamics, words to describe the overall feeling in that section, etc. It is not as if we don't have anything to guide us as is the case with old Bach. Almost nothing.
@@fredhoupt4078 Oh, I know a lot of people compare performances, it's a very common thing to do - I'm just saying I don't see the point in it anymore. When you say musical interpretation is a personal experience for the performer, I totally agree with that - it is personal. And yes, of course, specific performances can make impressions on people. With that in mind, though, why compare? As in...what is the ultimate goal in doing this? The fact that it's so subjective to everyone what is their favorite performance - and of course, what performers' preferred way to perform are - is part of what makes music so beautiful, it's the fact that there isn't a truly right or wrong way to play. I know you didn't say that, but I've seen many people say how someone plays Piano music, say, from Chopin, is the "right way" to play or also the "wrong way" so yeah. No matter what Bach fans say when they think Gould's interpretations are shit, it's his way of playing. I haven't heard him play the Brahms Piano concerto with Bernstein but thank you for bringing that up, I'm interested in hearing it! Yeah Bach seemed to allow people to make of it what they pleased more so than composers later on, though I reckon anyone can do whatever they please regardless as a performer. What do you think? Say, if something fundamental was changed about a piece of music like the tempo or the time signature - I don't know if people have done that before much, but it's interesting to me.
Un agréable medley! Vous savez bien Messieurs les Anglais que vous triomphez maintes fois sur mer, cependant que nous, Français, sommes bien meilleurs sur terre.
@@williamwalker8984 Yep, Choral Fantasy takes the cake, I agree. But I also agree that the Triple Concerto and this BS piece are quite bad. I personally hate the first piano sonata, but everybody else seems fine with it, so...
passt äußerst gut wenn man grad Empire (oder noch treffender Napoleon) Total War spielt, die Schlachtszene in dem Stück passt perfekt wenn man da grad in ner Schlacht steckt^^
This is originally this old French song. I've sung it to my kids. Perhaps this melody was taken for other songs too, like the one you mention? th-cam.com/video/YqRpPMOaMIA/w-d-xo.html
first it is a battle between England and France not Germany and secondly i agree with Mr Vazan,, that Beethoven and only Him can write to most simple adn ridiculous and the result the most genius unsurpassed mastery of the GOD OF ARTS,,, Beethoven
Beethoven did not write all the famous themes in this piece they were already folks music, especially the theme jolly good fellow, it was of french origin and Beethoven being the smart ass he is wrote it as a satire in his music for the defeat of the french. gotta love Beethoven.
Andrew Nguyen "Although it is possible to see Wellingtons Sieg as a 'monument of trivialities' or as representing Beethoven as a 'pioneer of kitsch,' that is only part of the story. By agreeing to devise the piece and then perform it at a major concert, Beethoven was obviously riding the euphoric wave that swept over Vienna after Napoleon's recent defeats and that seemed to promise a new era of political recovery after years of oppression and defeat...But to then go further and publish the work, moreover to give it an opus number and place it in the series of his important compositions, showed that his deep yearning for public recognition and financial security had gone beyond any earlier limits and that his need for public acclaim, not just in the world at large or in the future but then and there, in Vienna and in his lifetime, for once overrode his normal standards of self-criticism." ~ Lewis Lockwood, The Music and the Life, Beethoven
The two sides are given a musical expression at the outset: "Rule Brittania" for the British, and "Marlborough s'en va t'en guerre" (sp?) for the French. An orchestral battle ensues followed by British victory with quotations from "God Save the King".
Herbert von Karajan hat dieses zugegeben martialische Werk Beethovens aber ungleich kreativer interpretiert. Dagegen wirkt diese Interpretation geradezu bescheiden.
Possibly. I tend to agree with you. I think the English got so much worse after that period though - the way they treated the Indians and Chinese in the latter part of the 19th century, and with Churchill and the dreadful things he did. We tend to judge them in light of today's impression of them, which is based mainly on their (English) deeds in the 20th Century.
![[Konwitschny] Beethoven: Choral Fantasia Op.80](http://i.ytimg.com/vi/mN1R6T7m6NE/mqdefault.jpg)
![[Konwitschny] Beethoven: Choral Fantasia Op.80](/img/tr.png)
![[LFCO] Mozart: A Musical Joke K522](http://i.ytimg.com/vi/wFPoRmsiFzc/mqdefault.jpg)
Section I. - Schlacht / The Battle
00:00 Trommeln und Trompeten an der englishen Seite
00:41 Marcia: Rule Brittania
01:20 Trommeln und Trompeten an der französischen Seite
01:54 Marcia: Marlborough
02:44 Auforderung / Summons
02:56 Gegenruf / Countersummons
03:08 Schlacht: Allegro
05:02 Sturm-Marsch: Allegro assai
07:00 Andante
Section II. - Siegessymphonie / The Victory Symphony
07:49 Intrada. Allegro ma non troppo
08:08 Allegro con brio
09:26 Andante grazioso
10:10 Tempo I - Allegro con brio
11:37 Tempo di Menuetto moderato
12:40 Allegro
Final allegro is actually at 12:40
Danke hast mir in der Arbeit geholfen 😐😳😅
Thank you for including this.
@@joshscores3360 Thanks a lot, I fixed it.
@@tnsnamesoralong oh hey, you're back! Any uploads planned?
"What I shit is better than anything you could think up."
-Ludwig van Beethoven
Wait, he actually said this?
@@hannahquintua yeah, that was his response to the critics
reading about weakest composition.... i think its amazing how he managed to let us feel the battle through the music. just incredible
Agreed. Van Beethoven didn't care here for classical perfection and nice counterpoint but manages to convey barbarism and horror.
But I loved, I loved the Cadenza Trumpet until The Battle Section Finish, and also all the Victory Symphony
Rule Britannia had already been around for years. Beethoven just used it to emphasise the British in this piece, in the same way Tchaikovsky used the French national anthem in the 1812 overture.
I don’t know why Beethoven considered this to be his worst composition. The melodies, the harmonics used, it’s all just gorgeous. I’m a composer myself and I wouldn’t even come close to perfecting chords and harmonies like that.
I think's it's more about the structure of the piece. The harmonies are all standard romantic era Beethoven, but by Beethoven standards it lacks any motivic unity or good thematic development. It always feels like we're either ending a section, or being introduced to one. I think he was also struggling with his counterpoint here, and hadn't really found his voice in it, you can really tell that in the fughetta near the finale- on my first listen I was expecting a fugal finale, but he just kinda ends the fugue right in the middle and goes straight to a tutti orchestra homophonic texture. That's what I got from listening to this piece like I listen to my own work.
i looked on ur channel to check for ur compositions but all i found were clocks(???) you must have all the time in the world
@@giocosovelasco I have an alternate channel called “Alex Brogan” where I post my compositions.
I always fund the tonal progression the most ingenious aspect of this piece
Beethoven’s worst is most people’s best
CAN BEETHOVEN MAKE ANYTHING NOT BEAUTIFUL? IMPOSSIBLE.
So Beethoven demonstrates that even classical composers utilized pump-up schemes and gear-shift modulations. :)
Vielen Dank für die Einblendung der Partitur!! Die Aufnahme ist sowieso die beste.
If you listen carefully, you can hear that Beethoven putted "God Save the Queen" at 9:26 ....
And all the music afterwards is actually variations on that
No. God Save the Queen is actually based on a french song written for Louis XIV when he was ill... so almost 100 years before Beethoven wrote this piece
@@ImpCaesarHadrianvs Beethoven just used that motif.
@@ImpCaesarHadrianvs In this case it's used to symbolise the British victory, however. That said, it's not "God save the Queen" in that case, but "God save the King", as the reigning British monarch at the time was King George III.
You can also hear “For He’s A Jolly Good Fellow” as well.
@@ImpCaesarHadrianvs no one asked
Thanks for sharing! Obviously another battle between West and East performance: Berlin Philharmonic Orchestra and Karajan of 1969 and the Leipzig Gewandhaus Orchestra and Bongartz of 1970. I don't know which one to prefer, honestly.
Say what you want about the first half, but the Victory Symphony is pretty awesome.
3:13 I like how you can hear them shooting
This is a perfect work. Absolute genius. It seems to me that that which Beethoven "scheisse," using his own... florid language, provides yet another amazing insight into his infinite genius. To describe this work as "among his weakest" is I think a huge mistake. Of course, musically there is almost nothing here, but what makes it so brilliant is that he was acutely aware of that fact, actually USING the low quality of this work to demonstrate his superiority. I can't imagine any composer writing anything for the occasion (the Congress of Vienna!!! actually a huge deal!) with more humor, more arrogance, more sarcasm, and overall brilliance than Beethoven. He really was the only great composer between 1802 and 1815ish, and he knew it. Beethoven is my God.
Very well said!! Indeed it wasn't the last time Beethoven's music has been used for motivating and cheering up a by war disturbed population. Even as one of his so called "weaker" compositions it gives you goose skin. Better try to position oneself in contemporary circumstances and create a composition that's cheering up.
Apart from that: read about the story of Hofmechaniker Mälzel, the manufacturer of Beethoven's well known hearing aid instruments, who has asked Beethoven to compose a piece of music on the occasion of the French army's defeat at Vittoria, which would be suitable to be played on his newly developed Panharmonicon instrument.
It seemed to have it's limits, so Beethoven had to transcript it into a real orchestral piece. So double work, time was running out and in the end it became an apparently "weaker" composition they say.
With you I can't agree less mr. Vazan!
i COMPLETELY agree with your sentiments on LVB, completely agree! Love 'im!
The more I listen to Rossini's revived works on TH-cam the more I classify him in the same league as Beethoven in the north at this period. Rossini went on to write great sacred works long after Beethoven was dead.
You are an idiot
Thanks for sharing. I wasn't aware of that back story. Make me think of Shostakovich's 9th symphony and how that came to pass...
The Strum-March really took me aback. It sounds like something straight from the Star Wars soundtrack.
mixmam1: NO. Rule Britannia is a British patriotic song, originating from the poem "Rule, Britannia" by James Thomson and set to music by Thomas Arne in 1740. Beethoven was born in 1770.
Years ago, I developed a list of "Musical Loves," music I'd heard on the radio at Interlaken Academy in Northern Michigan. Forgotten, I rediscovered it last week. This following of the score so closely will be a grand addition to my folder. Thank you!
Increible version de esta overtura, creo que es la mejor que he escuchado.
Escucha si todavia no lo has hecho; la overtura de egmont
Is this Beethoven’s only piece where he incorporates what is today known as progressive tonality? I mean this piece literally begins in E flat major and ends in D major - a bit like how Mahler 5 begins in C# minor and ends in D major, though Wellington’s Victory isn’t a proper symphony.
Hello from the city of Vitoria, and from an Afrancesado. Still, good song.
Hahaha this piece is so deliciously campy. I love it.
Congratulations-the performance is overwhelming ( much more balanced than the Dorati recording) and it sounds like the orchestra is sitting in your living room- thanks for posting!!!!
I think this composition is a masterpiece
Ich finde das Werk so gut, dass ich es selbst als modernstes Werk der Klassik sehe. Es ist ein Meisterstück. Auch eine gute Idee war es, die Gewehre der Infanterie als Ratschen zu ersetzen. Man fühlt sich in diesen vollkommen mit drin, als wäre man wirklich dabei, von der Schlachtaufstellung bis zum Sieg der Engländer. Es ist eines meiner Lieblingswerke von Beethoven und eines meiner Lieblingswerke der Welt und habe schon einige Werke von verschieden Komponisten gehört. Es ist eine sehr große Leistung des Komponisten. Ich würde gerne wissen wie das Publikum auf dieses wunderbare Musikstück reagiert haben, als sie es das erste mal gehört. Ich hoffe er wird noch lange in der Welt behalten bleiben und die Welt weiter prägen. Lang Lebe die klassische Musik. Lang Lebe Ludwig van Beethoven.
What's so bad? I liked it...
I didn't recognize this until @07:49. Thanks spotify! ♪♪♫
Exactly. My sentiments also. Beethoven was an idealist and Napoleon carried away with his own agenda and not following the Revolutionary concepts, which Beethoven admired.
Excellent... Beste Aufnahme die ich kenne. Da stimmt das Tempo.. Danke
Noticed that in the middle of the printed score B wrote music for the triangle. Imagine what a sonata for piano and triangle by Beethoven would have sounded like? Probably something gigantic and memorable.
The "Rule Brittannia" is the direct hommage Beethoven gave to Arthur Wellesley, Duke of Wellingtonfor the victory at Vitoria; the "for he's a jolly.good fellow" is the direct hommage to General Álava y Esquivel, his Spanish Chief of Staff during the Peninsular War, one of the greatest and most brilliant Spanish statemen of the early 19th century and, as always in Spain, a forgotten one... And my direct ancestor! :D
The “Rule Britannia” represents Britain and the “Marlborough sa va t’en Guerre” represents the French. There is no mention of either the Spanish or Portugese allies.
You are wrong, Alava. As usual in Spain… Sorry, ‘Pain.
Ein echtes Meisterstück von Beethoven. Finde es auch eine geniale Idee im Video die aktuelle Partiturseite einzublenden. Da kann man super mitlesen.
Hab ich da am Anfang reingeschnittene Laser- und Maschinengewehre gehört? (Zu Beethovens Zeiten war das zwar noch nicht möglich. Das it aber gar nicht so weit hergeholt. Das Werk betrachte als Vorläufer der StarWars Filmmusik
Kommt drauf an ob sich wagner von beethoven beeinflusst lassen hat haha xD :,D
Tatsächlich steht das so drin, das waren Ratschen. Stravinskys Sacre du Printemps ist übrigens deutlich näher an Star Wars dran (oder eher umgekehrt).
If this is weak Beethoven, it is better than anyone else could have composed. The guy was amazing, one of the top three composers. Handel, Bach and Beethoven. I could never chose between them,
Mozart is crying in the corner.
So What!
Noah Goulet - HA HA!
Noah Goulet luckily, vivaldi is in the same corner to give mozart a friendly hug.
Strange comment.
I see an ad for "Napoleon Grills" on the side!!
Thanks for posting!!! Which orchestra plays this? This is excellent.
Nonostante tutto quello che si può dire contro, questo è uno dei capolavori più entusiasmanti e tragici di Beethoven. Poteva non scriverlo? Certo, ma l'avrebbe scritto qualcun altro e Mahler non sarebbe esistito.
Non ci sentite Mahler e Sciostakovic?
Grandissimo.
6 people were Napoleon followers.
Unbelievable, I don't think I will be able to calm down. I am so wired from the music
Beethoven fought on the left front of the brave English men of Marlborough. But as he was deaf, he didn't hear anything but he felt the whole fight....! And then he turned immediately home when seeing the Prussians come and wrote this composition using many frames from times long ago! Beethoven is the Kaiser of all componists! He even now makes goosbumps to all people by this work.
What the hell did you just make up?
Am definitely playing this on December 16th on Saturday (2017).
Nice, on the occasion of what if I may ask?
Jingoistic, populist nonsense of course, but there's much to enjoy here if you're not looking for all Beethoven to be profound, tragic and existential. And much to laugh at if you are, but this sort of wasn't the point. Had some debate with my sixth form students today about whether this "symphony" should have been given a number, think they concluded it wasn't "canon" but was definitely "cannon". A couple of other observations: 1) if you think this is rubbish then you should hear some of his folk song arrangements, and 2) it does exactly what it means to do and does it rather well. However I do find it slightly incongruous that even it its most trite moments, it still sounds like the absolute quintessence of Beethoven. Sometimes music works best when you don't over-think it but just enjoy the explosions...
That is one of my favorate quotes
In response to criticism of Wellington's Victory, Beethoven once said, "What I shit is better than anything you could think up." No lie.
The theme "Rule Britannia" is from an opera by Thomas Arne composed en 1740, while the "For he's a jolly good fellow" was sang by the French in the war of the Spanish Succession at the beginning of the 18th century to mock the English, specially general Marlborough; and the original lyrics go: "Marlbrough se va t'en guerre, mironton, mironton, mirontaine, etc". It has remained as both a French and Spanish nursery rime. Obviously the English change the lyrics so it wasn't offensive to them.
What do the original lyrics mean?
@@hannahquintua en.wikipedia.org/wiki/Marlbrough_s%27en_va-t-en_guerre
I started with moviemaker too (four years ago) and than I upgraded to another software-environment. ;)
"Although it is possible to see Wellingtons Sieg as a 'monument of trivialities' or as representing Beethoven as a 'pioneer of kitsch,' that is only part of the story. By agreeing to devise the piece and then perform it at a major concert, Beethoven was obviously riding the euphoric wave that swept over Vienna after Napoleon's recent defeats and that seemed to promise a new era of political recovery after years of oppression and defeat...But to then go further and publish the work, moreover to give it an opus number and place it in the series of his important compositions, showed that his deep yearning for public recognition and financial security had gone beyond any earlier limits and that his need for public acclaim, not just in the world at large or in the future but then and there, in Vienna and in his lifetime, for once overrode his normal standards of self-criticism." ~ Lewis Lockwood, The Music and the Life, Beethoven
He could not stand being overlooked for symphonic music.
Beethoven überrascht einen immer wieder aufs Neue tiefgründig!
No Thomas Arne composed that. He also composed Rule Britannia, "A hunting we shall go" and the Christmas Carol "the 12 days of Christmas" with "a patrdige in a pear tree." Clever man was Thomas Arne.
Suspenseful
The original "For he's a jolly good fellow" is a French traditional tune "Marlbrough s'en va-t-en guerre (Marlborough Has Left for the War). It was written after the Battle of Malplaquet in which the allies beat the French, but sustained much greater losses. It was even though the Duke had died in the battle. "The bear went over the mountain" is also a well known wording.
Rule Britannia was written by Thomas Arne and was a real "pop song", being incorporated into many musical works.
SugarTomAppleRoger Sorry but the Duke did not die in battle. He died having suffered 2 strokes at the age of 72 in 1722.
did he also borrow the theme in which 'my country tis of thee' is made from, or did he compose that?
The Battle of Victoria or opus 111? Let me think...
Amazing.
Fantastic but one moan as two lots of Cr-- ads spoilt this . Could ads be put on the end at the start to get them out of the way please ?
8:07 used in: Baby Beethoven: Symphony of Fun (2002)
Quels sont les instruments qui imitent les canons ?
You have now! It is sometimes called the "Battle Symphony". It has its number, Op. 91.
This really is superior to the von Karajan. Superb. Really embodies what Beethoven had in mind.
...Might be a bit late to ask, but...how do you know?
@@andreasvandieaarde 8 years ago I gave my "opinion" about how this was a superior performance. I'd have to listen to the piece all over again. Don't get me wrong about von Karajan; he excelled with Beethoven. The recording he did with the Berlin Phil of the Wellington, one of a few I think, the one I heard was badly recorded, the acoustics sounded terrible. What the Bongartz performance does for me is sound clearer, more exciting and alive. It is just an opinion.
@@fredhoupt4078 Didn't think you'd respond :^) what I don't quite understand about your opinion of 8 years ago, as well as what you seemingly stay consistent with after so long (unless your mind changed a lot after listening to it again), is how you feel the need to compare two performances? It's one thing to compare the same orchestra and conductor of the exact same piece at two different points...
But my direct question was that you said this performance embodies what Beethoven had in mind, which I honestly don't think anyone can possibly know, so unless your opinion has changed...how do you know this specific performance truly embodies what Beethoven had in mind?
@@andreasvandieaarde comparing one performer or performance with another is something that everyone does; there is nothing unique in my attitude. Surely you know this. What appeals to my aesthetic sensibilities will fall flat with another person and frankly, that's quite all right and expected. Musical interpretation is a personal experience for the performer and remains a personal impression to the listener. For example, Sir Georg Solti's famous recording of Beethoven's 9'th symphony with the Chicago Phil, remains for me the most electrifying and deeply satisfying performance that I've heard. Have I heard all performances for comparison? Of course not. For me the keyboard works of J. S. Bach are most satisfying when Glenn Gould is playing them with Andras Schiff in the upper realms of interpretation/performance. There are legions of Bach fans who find Gould's performance styles excessive, mannered, ridiculous, etc. Have you heard his Brahms Piano concerto with Bernstein? It is totally re-imagined, re-invented and most folks laugh when they hear the first movement.
Now, your other point about how can I or anyone know what was in Beethoven's mind when he composed a piece of music? Good question. We can only guess. He gave many instructions regarding tempos, dynamics, words to describe the overall feeling in that section, etc. It is not as if we don't have anything to guide us as is the case with old Bach. Almost nothing.
@@fredhoupt4078 Oh, I know a lot of people compare performances, it's a very common thing to do - I'm just saying I don't see the point in it anymore. When you say musical interpretation is a personal experience for the performer, I totally agree with that - it is personal. And yes, of course, specific performances can make impressions on people. With that in mind, though, why compare? As in...what is the ultimate goal in doing this?
The fact that it's so subjective to everyone what is their favorite performance - and of course, what performers' preferred way to perform are - is part of what makes music so beautiful, it's the fact that there isn't a truly right or wrong way to play. I know you didn't say that, but I've seen many people say how someone plays Piano music, say, from Chopin, is the "right way" to play or also the "wrong way" so yeah. No matter what Bach fans say when they think Gould's interpretations are shit, it's his way of playing. I haven't heard him play the Brahms Piano concerto with Bernstein but thank you for bringing that up, I'm interested in hearing it!
Yeah Bach seemed to allow people to make of it what they pleased more so than composers later on, though I reckon anyone can do whatever they please regardless as a performer. What do you think? Say, if something fundamental was changed about a piece of music like the tempo or the time signature - I don't know if people have done that before much, but it's interesting to me.
Both Themes are only used by Beethoven, they are not composed by him.
woow good
Un agréable medley!
Vous savez bien Messieurs les Anglais que vous triomphez maintes fois sur mer, cependant que nous, Français, sommes bien meilleurs sur terre.
Ага
7:20
remarkable
1:20 Mahler 3 first movement ?😂
Anyone see some influence for the Storm from the sixth symphony from 3:08 onwards?
Not bad for what his meant to be his worst composition...
actually his worst composition is Triple Concerto
@@jackjack3320 and not choral fantasy op.80?
@@williamwalker8984 Yep, Choral Fantasy takes the cake, I agree. But I also agree that the Triple Concerto and this BS piece are quite bad. I personally hate the first piano sonata, but everybody else seems fine with it, so...
@@metodoinstinto No one cares about your personal tastes.
mixmam1 Shut up! That is so not true.
when someone criticized the battle symphony, beethoven said "what i shit is better than anything you could think up"
Wait, really?
passt äußerst gut wenn man grad Empire (oder noch treffender Napoleon) Total War spielt, die Schlachtszene in dem Stück passt perfekt wenn man da grad in ner Schlacht steckt^^
@gjyyngii
Sony Vegas, Goldwave, Adobe Photoshop, Adobe Acrobat, Hypersnap, Acdsee Photo Manager, Foobar
This may be he weakest piece, but that only means all his other music towers beyond description in genius. Genius is too small a word for Beethoven.
Stfu
@@kiren3168 Buddy
What software did you use?
wait beethoven wrote this!!!!!! how did i never hear of this!!?!?!?!
Do they sound machine guns?
Good evening. I've one question.
At 3:08 , the clarinet is not supposed to be in A ?
Clarinet in B is correct
Is there anyone else associated to "for he's jolly good fellow" tune like me?
This is originally this old French song. I've sung it to my kids. Perhaps this melody was taken for other songs too, like the one you mention?
th-cam.com/video/YqRpPMOaMIA/w-d-xo.html
Beethoven also set up concentration camps in South Africa and was responsible for the discrimination of blacks in the USA.
I wonder what would occur to Europe if French Empire stood up.
RIP Queen Elizabeth
Mabrouk s'en vat-en guerre ...
Medium rare kinda pink Beef Wellingtons Siege
We all have off days
Either that or there is one not so jolly good fellow.
Based
first it is a battle between England and France not Germany and secondly i agree with Mr Vazan,, that Beethoven and only Him can write to most simple adn ridiculous and the result the most genius unsurpassed mastery of the GOD OF ARTS,,, Beethoven
Una parte del final se parece a la música totem de la guerra de las galaxias
Suuuuupppiii
Beethoven did not write all the famous themes in this piece they were already folks music, especially the theme jolly good fellow, it was of french origin and Beethoven being the smart ass he is wrote it as a satire in his music for the defeat of the french. gotta love Beethoven.
Maestro Prodigy He would have used La Marseillaise, but that song was banned in Central Europe at the time
Alex Burger-Roy I did not know that
Napoleon dislikes this youtube post.
Are you Serious? I can do that with movie maker
How come people keep saying this is his weakest composition? I don't think it's that bad
Andrew Nguyen "Although it is possible to see Wellingtons Sieg as a 'monument of trivialities' or as representing Beethoven as a 'pioneer of kitsch,' that is only part of the story. By agreeing to devise the piece and then perform it at a major concert, Beethoven was obviously riding the euphoric wave that swept over Vienna after Napoleon's recent defeats and that seemed to promise a new era of political recovery after years of oppression and defeat...But to then go further and publish the work, moreover to give it an opus number and place it in the series of his important compositions, showed that his deep yearning for public recognition and financial security had gone beyond any earlier limits and that his need for public acclaim, not just in the world at large or in the future but then and there, in Vienna and in his lifetime, for once overrode his normal standards of self-criticism." ~ Lewis Lockwood, The Music and the Life, Beethoven
Andy Stewart Bah... what does Lockwood know about Beethoven? :P
Richardsen Nothing. He just an idiot like most critics.
Ad hominem attacks always prove the point
Andy Stewart
Just let us irrationally defend our idol :D
I'm not sure what to make of this.
The two sides are given a musical expression at the outset: "Rule Brittania" for the British, and "Marlborough s'en va t'en guerre" (sp?) for the French. An orchestral battle ensues followed by British victory with quotations from "God Save the King".
Is this where we get 'Rule Brittania' from??
No, he just used the theme in this.
:o))))
No he doesn't. He thought Wellington would put an end to that. Wellington was the lesser of two evils at the time, to be fair.
3:07 Moo 🐮
At 8:53 it sounds like a violinist played a high G. Oops.
British 1812 overture
Machine gun?
Alejandro Martinez Pedreño More like the thin red lines letting off volleys of ripple fire I should think
It really sounds like "God save the Queen"...
That's what it is, just as the beginning is "Rule, Britannia."
+Marcelino Cajero Martínez The Germans had God save the King tune long before it was adapted by the British.
0:40
Herbert von Karajan hat dieses zugegeben martialische Werk Beethovens aber ungleich kreativer interpretiert. Dagegen wirkt diese Interpretation geradezu bescheiden.
Possibly. I tend to agree with you.
I think the English got so much worse after that period though - the way they treated the Indians and Chinese in the latter part of the 19th century, and with Churchill and the dreadful things he did. We tend to judge them in light of today's impression of them, which is based mainly on their (English) deeds in the 20th Century.
Oh the French lost ,to freaking bad!!!