Beethoven: Sonata No.19 in G minor, Op.49 No.1 | Boris Giltburg | Beethoven 32 project
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- Опубликовано: 24 дек 2020
- Part of the original idea for the project was to explore the sonata cycle in chronological order. I wanted to follow Beethoven on his path and treat every sonata as I believe Beethoven would have treated it: as the pinnacle of what he was able to achieve at that point in his creative life. But I must admit a mistake of ignorance; when I was planning the cycle, I did not know that the two sonatas Op. 49 were not, in fact, written at the time their numbers (19 and 20) would suggest - that is, between Sonata No. 18 (1802) and Sonata No. 21 (1804). Instead, they are much earlier works. Based on sketches in one of Beethoven’s notebooks, Sonata No. 20, Op. 49, No. 2 was probably composed immediately before Sonata No. 4, Op. 7, while Sonata No. 19, Op 49, No. 1 is likely to date from 1797 or early 1798, around the time of composition of the Sonatas, Op. 10, and before the Pathétique.
The manuscripts then lay unpublished for years until in 1802, Beethoven’s brother Kaspar Karl, serving as part-time secretary to Beethoven, included them in an offer to a publisher. They are mentioned almost as an afterthought: ‘two little easy sonatas of two movements each’, following a list of more major works available for publication: a symphony (No. 2), a ‘grand piano concerto’ (No. 3) and two ‘adagios for violin with complete instrumental accompaniment’ (the violin Romances Nos. 1 and 2). Considering the very long delay since their composition, it is probable that Beethoven never intended these ‘two little easy sonatas’ to be published at all. To quote Ferdinand Ries, Beethoven’s friend and pupil, ‘all trivial pieces and many things which he never wanted to publish, because he did not regard them as worthy of his name, secretly came into the world through his brothers… even small compositions which he had written down in notebooks were thus stolen and engraved.’
Whatever the case, both sonatas are certainly not unworthy of Beethoven’s name, the first in G minor perhaps being the stronger work of the pair. The narrative of its first movement is sincere and heartfelt, filled with an artless, touching beauty. The puckish second movement (in G major!) is a delightful companion, wonderfully catchy and very fun to play. It reminds me quite a bit of the finale of the G major Sonata, Op. 14, No. 2 - the same irreverent ease, the same drive and mischievous humour, and the same unexpectedly calm ending over a bass drone.
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Beethoven 32 - Over the course of 2020, I have learned and filmed all 32 Beethoven sonatas. Subscribe to this channel to follow the project, and visit beethoven32.com for blog posts and listening guides to each sonata.
Boris Giltburg, piano
Filmed by Stewart French © 2020 Fly On The Wall, London (fotw.london)
@FazioliPianos 
Видеоклипы
Отлично! 🎉
You can finally look closely at the hands of a pianist. Excellent, discovered today.
Wonderful Sonata perfectly played with Mastery for this special day. After a day of hard work, nothing better than listening to beautiful music on my favorite instrument. 🌷🌻🌷🌻🌷😴
❤❤❤❤❤
I. Andante - 0:06
II. Rondo: Allegro - 4:30
hi Boris - you should probably not admit to not knowing about this sonata and number 20 being early works...it will not help your burgeoning career. I would suggest you listen to Andras Schiff lecture recitals on the 32, also. ruclips.net/video/obFgnOUMBPo/видео.html
What’s wrong with admitting that? I don’t think anything so insignificant will hurt Boris’ career as he is probably already one of the greatest pianists of our time...
@@militaryandemergencyservic3286 How is it practically significant that you're the pupil-of-a-pupil etc. etc. of Beethoven? Besides, perhaps you should find something better to do with your life than writing the same comment over and over again to every Beethoven video on RUclips. Not trying to start a fight, just pointing out. Cheers.
@@militaryandemergencyservic3286 To be a pupil of Beethoven, I'd perhaps pay quite a lot. To be a 6th gen pupil-of-a-pupil, not that much. It's a fascinating thought to have a historical connection with Beethoven himself but with so many generations in between, the connection remains historical trivia and has little de facto meaning. Of course you're glad to have that honour, as anyone would be, and I'm glad for you too! But is that little fact worth building a personality around? I've received a personal compliment from my favourite composer (who is currently alive, although old) and while it does remain a happy memory (one of the happiest!) and a source of inspiration, I'd still rather be my own person than just an object to another one's deeds, no matter how much I admire the person in question. You're not Beethoven, you're someone else, someone surely filled with potential and skill too. Of course you're happy to have a connection with someone you clearly admire, but decreasing yourself to an extension of him only does you harm, and having that connection doesn't grant you some kind of divine superiority compared to other people, let alone Boris Giltburg.
@@L.Kujari sure - what you say seems totally correct. I had this idea today - the greatest concert would be this: 1st half - sonatas 1, 8, 21 and 23 (approx 1 hr), 2nd half: sonatas 29 and 32 (approx 1hr). I would work towards such a prigramme if I were 21 years old again. But I have a wife and three sons now and there's no time (or talent).
I'd completely forgotten about this series since you announced it earlier this year - How time flies by! It's fantastic to have this show up on my feed and now I will definitely have to go back and relisten to the ones I have missed. Merry Christmas, Mr. Giltburg, from Montreal, Quebec!
Thank you, and to you too! More sonatas coming today and tomorrow.
La interpretas muy hermosa Boris Giltburg gracias. Bravo! 👏👏👏👏👏👏👏👏♥️
Been studying this sonata myself - only three years in to studying piano - but been stuck on the first movement for quite some time, so probably going to have to lay it asside for a bit and come back to it later... I like that you play those upward arpegio's that end the first theme non-legato, it's a nice addiition, love the coda too, and well, that second movement is just so much fun indeed!
such a great performance! loved this!
Lindo... Interpretação especial, com alma.
Sensibilidade com grande expressão musical.
Grande expressividade. Parabéns.
I scrapped your original website. One of my impressive reading list regarding piano performance is 'piano pieces'. Maybe you can write yours someday. Thank you for the detailed guidance. Have a wonderful 2021☆