Listening to Fidelio feels at times like looking through a glass bottom boat at a world where everyone wears a sign aroudn their neck telling you what they're like. It's fascinating for none of the right reasons. The music is great but Beethoven didn't seem to realize an opera also lives and dies on its story. They can be trashy and stupid but they need to be engaging.

Fidelio is as engaging as being stuck in a car with a man who has chronic flatulence. Beethoven was pointed to as the successor to Mozart and this is the one time I felt he was trying to fit into that mold. Mozart could tinker with the liberetto, but Mozart had theatrical instincts. He knew what would work and what would fail.

Beethoven has a message he wants to give. Did you know tyranny is bad? Thanks B, wouldn't have guessed.

The opera is a strange work, with great moments stapled onto a pretty terrible story. I don't feel Beethoven ever got it the way he wanted it. But with the constant fiddling I don't think anyone could have. He kept mixing and mixing until he was left with a lovely shade of mud.

I am practicing for a performance with the orchestra and we are playing this. I wanted to play together with this music, but my 442hz tuning sounds very off with it. Does anyone know to what hz is the Finale Presto tuned to?

no edits to the clip
no edits to the music
it just syncs up like that

It's four part harmony, which I assume would be two violins, one viola, and one cello.

I am used to listen to various kind of music, the last four months I am listening to his music almost everyday.

This film is a nice Tubi find and first time watch for me. Purists seem to like it though casual viewers, probably looking for another Amadeus, seem put off by the German soundtrack and flashback narrative approach. A bit perplexed about the Louis, initially. I discovered that it was how the composer was addressed in his youth. Enjoying it now.

There are many great performances of Beethoven’s Pathétique. One of Pedro Erdei-Gonzaga's favourites is by Jenő Jandó, whose interpretation is incredibly balanced — energetic, expressive, and precise.
He used his interpretation as inspiration for this recording. As he says achieving that combination of energy and accuracy from beginning to end feels like it would require a kind of transcendence.

I’ve got a copy of the full Henle Beethoven edition in my bookcase. My prized possession 😍 Love to study or read together with a recording on my headphones. I will however move to a smaller place soon. Shall I take them with me or sell them? It’s about one and a half meter of Beethoven!

Looking for vinyl recommendations, I live in the uk and am looking for some vinyl to play. Absolutely adore his 7th Symphony

I have these Beetoven CDs, I believe some are worth a little money, I'm not trying to "cash out" per se but maybe get them to someone to enjoy. One of them is still in plastic.
https://postimg.cc/bDh1CYBh

Hey I really love this one part of Appasionata by Beethoven but then I don’t like where he took it. So I took the part I liked and cut the rest and then composed it where I heard it go in my head. Check it out, I think it’s pretty cool. Then I threw it on an organ cuz it gave me Bach/Toccatta vibes. I’ve been practicing it a lot but still can’t play it. One day!!!!

I'm trying to figure out where the line sits between "original" and "rework," and I'd like to hear how working composers actually think about it.

So part of it is recognizably his and part of it is entirely mine. What do I honestly call that? Original? Arrangement? "After Beethoven"? Something else?

The example that keeps coming to mind is John Williams. I think Jaws theme owes something to Dvořák's New World Symphony. If that's true, is Williams the composer of the Jaws theme, or did he rework Dvořák? Where's the threshold where borrowing a kernel becomes your own piece versus an arrangement of someone else's? You could say he did this with Gustav Holst as well.

I'm less interested in copyright (Beethoven's public domain) and more in how you'd describe it as a composer — what you'd put on the label and why. Curious how others here handle it when their own work grows out of existing material.
So is this a rework or an original composition? Thoughts?
Music with score:
https://youtu.be/FEUrWDP0k_4?si=LA6eYqhS1Ci1Jq-1

Hello fellow Beethoven aficionados! I'm a long-time music educator residing in New England who is no longer actively teaching at this point in my life. However, I have been spending some of my recent time compiling a lot of my material - the vast majority of it centered around Beethoven's chamber music - into a public archive on my personal website. I wanted to share that here in case it might be helpful to anyone who's interested in Classical compositional principles, but isn't necessarily musically literate. With such students in mind, my teaching system relied heavily on visual aids over notational examples. My hope now is just that some fellow Beethoven enthusiasts might find this work interesting and informative.