• Name: Ludwig van Beethoven
• Birthday: 12/16/1770
• Birth Place: Bonn, Germany
• Died: 03/26/1827
• Place of Death: Vienna, Austria
• Period: Romantic
• Genre: Classical

Title	Release
Beethoven: In Harmony With the Sea	2008
Symphony No. 3 "Eroica"/3 Overtures	1998
Beethoven: Symphonies Nos. 5 & 6	1997
Symphony No. 9	1990
Violin Concertos	1984
Der Unbekannte Beethoven, Vol. 1
Trio in D Major (After Symphony No. 2)
(886) Bagatelle for piano in A minor ("Für Elise"), WoO 59
(321) Coriolan Overture, Op. 62
(452) Fidelio, opera, Op. 72
(442) Piano Concerto No. 3 in C minor, Op. 37	1932
(457) Piano Concerto No. 4 in G major, Op. 58	1947
(731) Piano Concerto No. 5 in E flat major ("Emperor"), Op. 73
(1402) Piano Sonata No. 14 in C sharp minor ("Moonlight"), Op. 27/2
(501) Piano Sonata No. 23 in F minor ("Appassionata"), Op. 57
(299) Piano Sonata No. 32 in C minor, Op. 111
(854) Piano Sonata No. 8 in C minor ("Pathétique"), Op. 13
(119) Sonata for cello & piano No. 1 in F major, Op. 5/1	1966
(125) Sonata for cello & piano No. 2 in G minor, Op. 5/2
(133) Sonata for violin & piano No. 8 in G major, Op. 30/3	1956
(425) Symphony No. 1 in C major, Op. 21	1975
(399) Symphony No. 2 in D major, Op. 36
(721) Symphony No. 3 in E flat major ("Eroica"), Op. 55	1994
(379) Symphony No. 4 in B flat major, Op. 60	1985
(1093) Symphony No. 5 in C minor ("Fate"), Op. 67
(893) Symphony No. 6 in F major ("Pastoral"), Op. 68
(723) Symphony No. 7 in A major, Op. 92	1983
(473) Symphony No. 8 in F major, Op. 93	1975
(1036) Symphony No. 9 in D minor ("Choral"), Op. 125	1950
(579) Violin Concerto in D major, Op. 61
(3) String Quartet in F major, Hess 32	1997
(3) Vestas Feuer (Vesta's Fire), opera, Hess 115 (fragment)	1996
(2) Die Weihe des Hauses, incidental music, Hess 118	1993
(13) German Dances (6) for violin & piano, WoO 42 W	1996
(5) Germania (finale from Treitschke's Singspiel "Die gute Nachricht"), WoO 94	1996
(3) Introduction to Act 2 of Kuffner's "Tarpeja", WoO 2b	1996
(17) Bagatelle for piano in B flat major, WoO 60	1996
(8) British Folk Songs (7) for voice & piano trio, WoO 158b	1996
(12) Irish Songs (12) for voice & piano trio, WoO 154	1997
(13) Irish Songs (20) for voice & piano trio, WoO 153	1996
(3) Sonatas (2) for cello & piano, Op. 102 WA	1959
(13) Songs (12) of Various Nationality for voice & piano trio, WoO 157	1997
(8) Songs (6) of Various Nationality for voice & piano trio, WoO 158c	1997
(13) Welsh Songs (26) for voice(s) & piano trio WoO 155	1996
(19) Namensfeier (Name-Day Celebration) Overture for orchestra in C major, Op. 115	1990
(11) Ländler (6) for 2 violins & double bass, WoO 15	1990
(11) Allegretto for piano in B minor, WoO 61	1995
(10) Ländler (7) for piano (all in D major), WoO 11	1995
(9) Minuet for piano in E flat major, WoO 82	1995
(45) Piano Trio in B flat major ("Allegretto"), WoO 39	1990
(5) Prelude and Fugue for 2 violins & cello in E minor, Hess 29	1996
(10) Variations (12) on Haibel's "Menuett à la Viganò," for piano in C major, WoO 68	1995
(4) Songs (6) for voice & piano, Op. 75	1970
(10) String Quartets (6), Op. 18 WA	1994
(13) Irish Songs (25) for voice & piano trio, WoO 152	1990
(15) Sonata for flute & piano in B flat major, Kinsky-Halm Anh 4	1987
(16) Bagatelle for piano in E flat major, Op. 33/1	1995

The events of Beethoven's life are the stuff of romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. Born in the small German city of Bonn on or around December 16, 1770, he received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. Beethoven moved to Vienna in 1792 to study with Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. However, the Symphony No. 3, "Eroica," of 1803 began a sustained period of groundbreaking creative triumph. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew, Karl. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed once again over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. Beethoven died in Vienna on March 26, 1827.

Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. Beethoven profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works as the "Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle An die ferne Geliebte of 1816 set the pattern for similar cycles by all the romantic song composers, from Schubert to Wolf. The Romantic tradition of descriptive or "program" music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Brahms, who, like Beethoven, fundamentally stayed within the confines of classical form) and radicals (such as Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. ~ All Music Guide, All Music Guide