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Cover of How to Listen to Beethoven: The Great Composer and His Age
How to Listen to Beethoven: The Great Composer and His Age
Jiao's Classical Music: Beethoven Plus
Completed · 52 episodes
Buy for ¥98.00
Audio in Chinese
Extra | Summer Special: Cool Down with Music Why Should We Still Listen to Beethoven? 1. The Path of a Giant: Beethoven's Life, Personality, and Age 2. How to Appreciate Beethoven: His Style, Enlightenment Music, and Sonata Form 3. From Bonn to Vienna: Beethoven's Early Formation and Romain Rolland's Jean-Christophe 4. How Does an Outsider Make It in the Metropolis? Part I: Early Piano and String Trios, Op. 3 and Op. 5 Cello Sonatas 5. How Does an Outsider Make It in the Metropolis? Part II: Early Piano Sonatas, Variations, and Piano Concertos Nos. 1 and 2 6. Learning to Write for Orchestra: Symphonies Nos. 1 and 2, The Creatures of Prometheus, and the Op. 34 Variations 7. Deafness, the Heiligenstadt Testament, and Mozart: Piano Concerto No. 3 and the Wind Quintet 8. Why So Much Preparation to Write for Four Strings? Beethoven's First Six String Quartets 9. The Story behind a Classic: Is the Pathétique Really Tragic? Piano Sonatas Nos. 4–8 10. The Story behind a Classic: Is the Spring Sonata Really about Spring? Violin Sonatas Nos. 1–5 and Piano Sonatas Nos. 9–10 11. The Story behind a Classic: Is the Moonlight Sonata Really Moonlight? Piano Sonatas Nos. 11–15 12. Tremendous Energy and a New Direction: Violin Sonatas Nos. 6–8 and Piano Sonatas Nos. 16–18 13. Beethoven, Tolstoy, and Janáček: The Kreutzer Sonata and Its Afterlives 14. Beethoven and the New Age He Created: The “Heroic” Style and Middle-Period Works 15. Before the Dawn: Violin Romances, Piano Rondos, Eroica Variations, and the Waldstein Sonata 16. Forget Napoleon—Hear a Turning Point in Music History: Symphony No. 3, Eroica, Part I 17. What Came after Eroica? Symphony No. 3, Part II, and Symphony No. 4 18. Creation, Destruction, and Rebirth: Piano Sonatas Nos. 22 and 23, Appassionata, and the Coriolan Overture 19. Who Is This Supposed to Defeat? The Three Revolutionary Razumovsky Quartets 20. Who Can Escape It? Symphony No. 5 and E. M. Forster's Howards End 21. Program Music and Absolute Music in Dialogue: Symphony No. 6, Pastoral 22. Introspection, Sublimation, and Inspiration: Piano Concerto No. 4 23. An Unexpected Marvel: The Violin Concerto 24. The “Devil” Described by a “Priest”: Beethoven as Virtuoso Improviser 25. “Emperor” or “War”? Piano Concerto No. 5, Emperor 26. Musical Codes and Quotations: Piano Sonatas Nos. 24–26, including Les Adieux 27. Beethoven and the Cello: Cello Sonata No. 3 and the Triple Concerto 28. Reinventing the Piano Trio: From Trio No. 4 to Nos. 5 and 6 29. Great Figures Are Ordinary, and Ordinary People Are Great: Kafka on the Shore and the Archduke Trio 30. Beethoven's Many Faces: The Harp and Serioso Quartets, Piano Sonata No. 27, and Violin Sonata No. 10 31. The Myth of Rhythm and a Screen Favorite: Symphony No. 7 32. Humor and Mischief, Tenderness and Blessing: Symphony No. 8 and Piano Sonata No. 27 33. Beyond One Great Peak, Another: How Did the Mature Beethoven Transcend Himself? 34. Is It Wrong to Want to Make Money? Wellington's Victory 35. Beethoven's Theater Music: Egmont and Leonore 36. Noble Humanity and Universal Concern, Part I: Beethoven's Only Opera, Fidelio 37. Noble Humanity and Universal Concern, Part II: Beethoven's Only Opera, Fidelio 38. Songs Difficult to Sing—but What about the Music? Beethoven's Vocal Works and An die ferne Geliebte 39. And Then, like an Old Child: Beethoven's Late Style and Final Years 40. Steadfast as Rock, Fluid as Water: Piano Sonata No. 28 and Cello Sonatas Nos. 4 and 5 41. A Mountain, the Foolish Old Man, or Moving the Mountain? Piano Sonata No. 29, Hammerklavier 42. The Final Sonatas: Piano Sonatas Nos. 30–32 and Thomas Mann's Doctor Faustus 43. A Little Color for You: The Diabelli Variations and Late Miniatures 44. Sacred Inspiration That Can Sing You to Death: Missa Solemnis 45. A Deified Legend: Symphony No. 9, Choral, Part I 46. A Deified Legend: Symphony No. 9, Choral, Part II 47. Introspection and Gratitude: String Quartets Op. 127 and Op. 132 48. Is the Composer a Donkey? What Is He Trying to Say? String Quartet Op. 130 and the Große Fuge 49. Structure, Aphorism, and Final Words: String Quartets Op. 131 and Op. 135, with Milan Kundera 50. Beethoven Belongs to the World—and to You: What Has He Told Us?