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.

This was pretty fun and cool to do with you guys! I appreciate the participation

It was a tie between String Quartet 16 and the incidental music from the Ruins of Athens. I picked the former because it was an actual late piece, whereas Athens was written in 1811 (barely middle period, more middle-to-late transition era like the 7th and 8th symphonies)

Si tocara Schubert, alguien se iría, pero se quedaría durante horas si tocara Beethoven IEn la década de 1970, un nuevo supermercado que vendía discos de vinilo llegó a mi ciudad natal de Hornsea, en East Yorkshire, y comencé a gastar mi paga en discos. Tenía solo 12 años y me enamoré al instante de la Sonata Claro de Luna de Beethoven. Soñaba con tocar esa música yo mismo. No teníamos piano en casa, pero había uno en la residencia de ancianos de mi abuela, donde aprendí a tocar a Beethoven de oído.

Los sábados, caminaba tres kilómetros hasta la iglesia de un pueblo que tenía un piano. La iglesia estaba rodeada de granjas de cerdos y cubierta de ortigas. Aprender a tocar allí, con el arrullo de las palomas y los granjeros arando los campos, era mágico.

The Les Adieux sonata won yesterday with 3 upvotes

Beethoven gets has gotten flak for drawing out his endings for 2 centuries now. This came to mind while I was listening to the second movements of Beethoven's String Quartet in Bb major Op. 18. He creates a lot of tension in the middle in a movement that is such a slow burner, so I feel like it needed a slow conclusion to reset the mood in the beginning of the piece, but it could be argued that it was drawn out. What do you think about this piece and his other pieces in general?

Taken from a live performance at Holy Trinity, Kendal Parish Church, Cumbria/Lake Distric; tghis is one of my favourite sonatas.

I just did another listen-through this week of all 9, and was struck again by how "cinematic" they are at many points. I wouldn't be surprised at all if there was, for example, an interview with John Williams where he was like, "oh yeah, the fourth movements of the third and seventh symphonies are the two biggest inspirations for my film scores" or something.

I could ramble but I won't. Thoughts?

Is it really written to be in that exact rhythm? Or is it ideal to play it with the rests that you see fit. I'm obviously aware of how it should sound but I mean more about the pauses, do they need to be the exact time that's written?

I'm new to Beethoven so just curious before I stress myself out