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The Ruins of Athens (Die Ruinen von Athen), Op. 113, is a set of incidental music pieces written in 1811 by Ludwig van Beethoven.The music was written to accompany the play of the same name by August von Kotzebue, for the dedication of the new Deutsches Theater Pest [] in Pest, Hungary.
The work was first performed on 21 November 1796 in the theatre at the Ranstädter Tor in Leipzig, [5] [6] with soprano Josepha Duschek as the soloist. [7] The singer, a friend of Mozart in Prague, advertised it as "an Italian scena written by Beethoven for Mad. Duschek", possibly to raise interest rather than a statement about a dedication.
The work was begun in the summer of 1812, immediately after the completion of the Seventh Symphony. [3] At the time Beethoven was 41 years old. According to Antony Hopkins, the mood of the work betrays nothing of the events that were taking place in Beethoven's life at the time, which involved his interference in his brother Johann's romantic relationships. [3]
A movie that centres on people attending an artistic/sexual salon was a likely contender to feature unsimulated sex and Shortbus does, but director John Cameron Mitchell had a reason for including it.
It was originally intended to be the second of the three movements of Beethoven's Waldstein Piano Sonata, Op. 53. The following extract from Thayer's Beethoven biography [1] explains the change: Ries reports (Notizen, p. 101) that a friend of Beethoven's said to him that the sonata was too long, for which he was terribly taken to task by the ...
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Beethoven uses a characteristically Russian theme in the first two quartets in honour of the prince who gave him the commission: In Op. 59 No. 1, the "Thème russe" (as the score is marked) is the principal theme of the last movement. In Op. 59 No. 2, the Thème russe is in the B section of the third movement.
The Violin Concerto in D major, Op. 61, was written by Ludwig van Beethoven in 1806. Its first performance by Franz Clement was unsuccessful and for some decades the work languished in obscurity, until revived in 1844 by the then 12-year-old violinist Joseph Joachim with the orchestra of the London Philharmonic Society conducted by Felix Mendelssohn.