Login
Rondo a capriccio G major, Op. 129
Catalog slip
| Title | Rondo a capriccio G major, Op. 129 |
| Title addition |
Rage Over a Lost Penny |
| Playing time | 00:02:53 |
| Authors |
Beethoven, Ludwig van [Komponist/in]
[GND]
|
| Contributors |
Badura-Skoda, Paul [Klavier]
[GND
]
Columbia [Label] Columbia Graphophone Co. Ltd. [Produzent] |
| Place |
Wien, Palais Montenuovo [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Instrumentalmusik - Rondo, Rondino ; Instrumente - Klavier ; Publizierte und vervielfältigte Aufnahme |
| Spatial classification |
Wien
|
|
18. Jahrhundert
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Numbers |
LV 14 [Bestellnummer] CHA 1230 [Katalognummer] CHA 1230-2 [Matrizennummer] |
| Language |
Englisch |
| Signature | Österreichische Mediathek, 2-31538_a_b01_k02 |
| Media type | Mp3-Audiodatei |
Palais Montenuovo. Bild: CC BY-SA 3.0 AT. Österreichische Mediathek 2020.
Information
Content
“Die Wut über den verlornen Groschen”, sometimes known in English as “Rage Over a Lost Penny” is one of Beethoven's most popular melodies. Beethoven seems to evoke its descriptive title brilliantly – despite that title having been invented after the composer’s death. Despite its high opus number, the “Rondo a capriccio”, as it was officially known, was actually composed at some point around 1795, when Beethoven was living in the “Ogilvisches Haus.” From a formal standpoint, the piece can be described as a rondo in which the familiar theme is repeated multiple times, but undergoes changes in key and form.
This interpretation is by the Viennese pianist Paul Badura-Skoda (1927–2019). Skoda began his international career in 1948/49 under Wilhelm Furtwängler and Herbert von Karajan, before returning to his hometown in 1981 to take up a teaching post at the University of Music and Performing Arts. He was particularly well-known for reviving historical fortepianos, and became the first performer on them in 1954. He is currently the only pianist to have recorded all the Mozart, Beethoven and Schubert sonatas on both modern and period instruments.
(Constanze Köhn)
This interpretation is by the Viennese pianist Paul Badura-Skoda (1927–2019). Skoda began his international career in 1948/49 under Wilhelm Furtwängler and Herbert von Karajan, before returning to his hometown in 1981 to take up a teaching post at the University of Music and Performing Arts. He was particularly well-known for reviving historical fortepianos, and became the first performer on them in 1954. He is currently the only pianist to have recorded all the Mozart, Beethoven and Schubert sonatas on both modern and period instruments.
(Constanze Köhn)
