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# Copyright (C) 1995 Ti Kan
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DISCID=750fcc0a
DTITLE=Ludwig van Beethoven / Masters of Classical Music - Vol 3
TTITLE0=Symphony No. 5: Allegro con brio
TTITLE1=Fur Elise
TTITLE2=Violin Romance No. 2
TTITLE3="Moonlight" Sonata: Adagio sostenuto
TTITLE4=Minuet
TTITLE5=Symphony No. 8 in F major: Allegretto scherzando
TTITLE6="Coriolan" Overture
TTITLE7=Piano Concerto No. 2: Adagio
TTITLE8=Symphony No. 5 in C minor: Allegro
TTITLE9="Egmont": Overture
EXTD=(P)1988 Delta Music Inc.  LaserLight 15 803\n\nLudwig van Beethove
EXTD=n (1770-1827), the\nsecond-oldest child of the court musician\nand
EXTD= tenor singer Johann van Beethoven,\nwas born in Bonn.  Ludwig's 
EXTD=father drilled\nhim thoroughly with the ambition of\nshowcasing hi
EXTD=m as a child prodigy.\nLudwig gave his first public performance\na
EXTD=s a pianist when he was eight years old.\nAt the age of eleven he
EXTD= received the\nnecessary systematic training in piano\nperformance
EXTD= and composition from\nChristian Gottlob Neefe, organist and\ncour
EXTD=t musician in Bonn.  Employed as a\nmusician in the Bonn court or
EXTD=chestra\nsince 1783, Beethoven was granted a\npaid leave of absenc
EXTD=e in the early part of\n1787 to study in Vienna under Mozart.  He
EXTD=\nwas soon compelled to return to Bonn,\nhowever, and after his mo
EXTD=ther's death\nhad to look after the family.  In 1792 he\nchose Vie
EXTD=nna as his new residence and\ntook lessons from Haydn, Albrechts-
EXTD=\nberger, Schenck and Salieri.  By 1795 he\nhad earned a name for 
EXTD=himself as a\npianist of great fantasy and verve,\nadmired in part
EXTD=icular for his brilliant\nimprovisations.  Before long he was\ntra
EXTD=veling in the circles of the nobility.\nThey offered Beethoven th
EXTD=eir patronage,\nand the composer dedicated his works to\nthem in r
EXTD=eturn.  By 1809 his patrons\nprovided him with an annuity which\ne
EXTD=nabled him to live as a freelance\ncomposer without financial wor
EXTD=ries.\nBeethoven was acutely interested in the\ndevelopment of the
EXTD= piano.  He kept in\nclose contact with the leading piano\nbuildin
EXTD=g firms in Vienna and London and\nthus helped pave the way for th
EXTD=e modern\nconcert grand piano.  Around the year\n1798 Beethoven no
EXTD=ticed that he was\nsuffering from a hearing disorder.  He\nwithdre
EXTD=w into increasing seclusion from\nthe public and from his few fri
EXTD=ends and\nwas eventually left completely deaf.  By\n1820 he was ab
EXTD=le to communicate with\nvisitors and trusted friends only in writ
EXTD=ing,\navailing himself of "conversation\nnotebooks".  The final ye
EXTD=ars in the life of\nthe restless bachelor (he changed living\nquar
EXTD=ters no fewer than fifty-two times)\nwere darkened by severe illn
EXTD=ess and by\nthe struggle over the guardianship of his\nnephew Karl
EXTD=, upon whom he poured his\nsolicitude, jealousy, expectations and
EXTD=\nthreats in an effort to shape the boy\naccording to his wishes. 
EXTD= When the most\nfamous composer of the age died, about\nthirty tho
EXTD=usand mourners and curious\nonlookers were present at the funeral
EXTD=\nprocession on March 29, 1827.
EXTT0=Dresden Philharmonic\nHerbert Kegel
EXTT1=Evelyne Dubourg, piano
EXTT2=Miklos Szenthelyi, violin
EXTT3=Evelyne Dubourg, piano
EXTT4=Budapest Strings
EXTT5=Dresden Philharmonic\nHerbert Kegel
EXTT6=Dresden Philharmonic\nHerbert Kegel
EXTT7=Anton Dikov, piano\nSofia Philharmonic Orchestra\nEmil Tabakov
EXTT8=Dresden Philharmonic\nHerbert Kegel
EXTT9=London Philharmonic Orchestra\nAlfred Scholz
PLAYORDER=
