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|
Lists of classical music composers by era |
|
|---|---|
| Medieval | (476 – 1400) |
| Renaissance | (1400 – 1600) |
| Baroque | (1600 – 1760) |
| Classical era | (1730 – 1820) |
| Romantic era | (1815 – 1910) |
| 20th century | (1900 – 2000) |
| 21st century | (since 2000) |
Greatest Conductors Of
Classical Music
1. Herbert Von
Karajan
2. Leonard Bernstein
3. Wilhelm Furtwangler
4. Karl Bohm
5. George Szell
6. Otto Klemperer
7. Claudio Abbado
8. Eugene Ormandy
9. George Solti
10. Bruno Walter
11. Neville Marriner
12. John Eliot Gardner
13. Carlos Kleiber
14. Michael Tilson Thomas
15. Fritz Reiner
16. Leopold Stokowski
17. Colin Davis
18. Charles Dutoit
19. Adrian Boult
20. Bernard Haitink
21. Andre Previn
22. James Levine
23. Rafael Kubelick
24. Christoph Von Dohnanyi
25. Leonard Slatkin
Greatest Pianists Of Classical Music
1.
Vladimir Horowitz
2. Arthur Rubinstein
3. Sergei Rachmaninoff
4. Joseph Hoffman
5. Sviatoslav Richter
6. Van Cliburn
7. Arthur Schnabel
8. Claudio Arrau
9. Alfred Cortot
10. Vladimir Ashkenazy
11. Maurizio Pollini
12. Alfred Brendel
13. Martha Argerich
14. Glenn Gould
15. Emil Gilels
16. Georges Cziffra
17. Aldo Ciccolini
18. Leif Ove Andsnes
19. Krystian Zimerman
20. Jean-Yves Thibaudet
Greatest
Violinist Of Classical Music
1.
Jascha Heifetz
2. Yehudi Menuhin
3. Itzhak Perlman
4. Nathan Milstein
5. Joseph Szigeti
6. Isaac Stern
7. Salvatore Accardo
8. Maxim Vengerov
9. Joshua Bell
10. Anne-Sophie Mutter
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The events of Beethoven's life are the stuff of Romantic legend, evoking
images of the solitary creator shaking his fist at Fate and finally
overcoming it through a supreme effort of creative will. Born in the small
German city of Bonn on or around December 16, 1770, he received his early
training from his father and other local musicians. As a teenager, he
earned some money as an assistant to his teacher, Christian Gottlob Neefe,
then was granted half of his father's salary as court musician from the
Electorate of Cologne in order to care for his two younger brothers as his
father gave in to alcoholism. Beethoven played viola in various
orchestras, becoming friends with other players such as Antoine Reicha,
Nikolaus Simrock, and Franz Ries, and began taking on composition
commissions.
As a member of the court chapel orchestra, he was able to
travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. Beethoven moved
to Vienna in 1792 to study with Haydn; despite the prickliness of their
relationship, Haydn's concise humor helped form Beethoven's style. His
subsequent teachers in composition were Johann Georg Albrechtsberger and
Antonio Salieri. In 1794, he began his career in earnest as a pianist and
composer, taking advantage whenever he could of the patronage of others.
Around 1800, Beethoven began to notice his gradually encroaching deafness.
His growing despondency only intensified his antisocial tendencies.
However, the Symphony No. 3 ("Eroica") of 1803 began a sustained period of
groundbreaking creative triumph. In later years, Beethoven was plagued by
personal difficulties, including a series of failed romances and a nasty
custody battle over a nephew, Karl. Yet after a long period of comparative
compositional inactivity lasting from about 1811 to 1817, his creative
imagination triumphed once again over his troubles. Beethoven's late
works, especially the last five of his 16 string quartets and the last
four of his 32 piano sonatas, have an ecstatic quality in which many have
found a mystical significance. Beethoven died in Vienna on March 26, 1827.
Beethoven's epochal career is often divided into early, middle, and late
periods, represented, respectively, by works based on Classic-period
models, by revolutionary pieces that expanded the vocabulary of music, and
by compositions written in a unique, highly personal musical language
incorporating elements of contrapuntal and variation writing while
approaching large-scale forms with complete freedom. Though certainly
subject to debate, these divisions point to the immense depth and
multifariousness of Beethoven's creative personality. Beethoven profoundly
transformed every genre he touched, and the music of the nineteenth
century seems to grow from his compositions as if from a chrysalis. A
formidable pianist, he moved the piano sonata from the drawing room to the
concert hall with such ambitious and virtuosic middle-period works as the
"Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle
An die ferne Geliebte of 1816 set the pattern for similar cycles by all
the Romantic song composers, from Schubert to Wolf. The Romantic
tradition of descriptive or "program" music began with Beethoven's
"Pastoral" Symphony No. 6. Even in the second half of the nineteenth
century, Beethoven still directly inspired both conservatives (such as
Brahms, who, like Beethoven, fundamentally stayed within the confines of
Classical form) and radicals (such as Wagner, who viewed the Ninth
Symphony as a harbinger of his own vision of a total art work,
integrating vocal and instrumental music with the other arts). In many
ways revolutionary, Beethoven's music remains universally appealing
because of its characteristic
humanism and dramatic power.
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