Alban Berg - Piano Sonata Op.1 (Hamelin, Gould)
HTML-код
- Опубликовано: 9 июл 2024
- Hamelin: [0:00]
Gould: [12:06]
I could take to time to describe how much I love this piece and explain how the extremely logical and cerebral climaxes are calculated to create a painfully visceral, tragic and emotional sound, but that'd be pointless, since Gould already did that in the perfect way (rather simply, but effectively):
"The expansive, pessimistic, and unquestionably ecstatic... Sonata, opus one."
This is sadly the only piece written by Berg in the genre. The sounds here are nostalgic, menacing, tormented, parossistic, intoxicating... Surely one of the greatest pieces of piano literature that came out in early 20th Century.
The Piano Sonata (German: Klaviersonate), Op. 1, was published in 1910, but the exact date of composition is unknown; sources suggest that it was written in 1909.
Berg first studied under Arnold Schoenberg in the autumn of 1904, taking lessons in harmony and counterpoint. Later, in autumn 1907, he returned to begin studies in composition, which ended with the study of sonata movements. Several draft sketches of sonata movements date from this period and it is thought that Op. 1 followed from these drafts. The exact date of composition is unknown; although the second reissue of the score bears the date 1908, sources suggest that the Sonata was not composed until the spring or summer of 1909. The premiere of the Piano Sonata, Op. 1 was given in Vienna on 24 April 1911 by Etta Werndorff.
The sonata is not in the typical classical form of three or four contrasting movements, but consists of a single movement centered in the key of B minor. Berg originally intended for the Sonata to be a more traditional multi-movement work, the opening movement followed by a slow movement and a finale. However, for a long period he lacked any ideas for these other movements. Berg turned to Schoenberg, who commented that the lack of inspiration meant that '[Berg] ... had said all there was to say'. Following Schoenberg's advice, Berg decided to publish the finished movement and let it stand by itself.
Although the piece has the nominal key of B minor, Berg makes frequent use of chromaticism, whole-tone scales, and wandering key centers, giving the tonality a very unstable feel, which only resolves in the final few bars. The structure of the piece is traditional sonata form, with an exposition, development and recapitulation; however, the composition also relies heavily on Arnold Schoenberg's idea of "developing variation", a method to ensure the unity of a piece of music by deriving all aspects of a composition from a single idea. In this case, much of the composition can be traced back to the two opening gestures. 
Видеоклипы
![Alban Berg - Lulu Suite [With score]](/img/1.gif)
One of the most paradoxically beautiful works I've ever heard.
lol
I agree it is indeed beautiful plus
My two favorite interpretations of this work!
It is regretful that the composer whom i admired most at the turn of the 20th century - the composers of the austro-german tradition, had gradually become an entirely orchestral tradition. And I think this is one of the great pities in piano repertoire that people such as Mahler and Wagner and strauss, never composed anything for the piano, yet I hear influences from the three composers in this work. i think the berg sonata fits in beautifully with this whole aesthetic, and it seems to be the closest representation in keyboard literature of this sort of overwhelming orchestral and colouristic sound.
FWIW, Strauss composed a piano sonata (op. 5) and two sets of short piano pieces (opp. 3 and 9). They’re early works but still very much worth a listen.
Wagner también escribió varias obras para piano. Sugiero escuchar "Elegie"
Check out Korngold piano sonata 2
Yeah
Awesome! Awesome! Awesome!
Yessir absolutely great
Great piece
Thanks.
Très belle musique, très sophistiquée, romantique et moderne à la fois.
Bitte auf deutsch!
Von wann ist diese Kompositionen?
Epic :D
YEAAAAAA
👏
Personally I prefer Peter Hill's interpretation, although Hamelin's is good. Gould seems rather leaden, draging between phrases. Interesting to hear other versions and how radically they alter the tone of the work (my favourite piece of music, incidentally). Thanks for posting.
Auf deutsch bitte
@@heidemariehegelein8750 Ich persönlich bevorzuge Peter Hills Interpretation, obwohl die von Hamelin gut ist. Gould wirkt ziemlich bleiern, schleppt sich zwischen den Phrasen. Es ist interessant, andere Versionen zu hören und wie radikal sie den Ton des Werks verändern (übrigens mein Lieblingsmusikstück). Danke fürs Posten.
What's the point of the key signature? There isn't a single F# or C# that isn't manually marked as such.
because it's just indication that it's (very loosely) in B minor, it's not really to do with ease of notation
You ought to check out some Max Reger scores. Same situations all the way.
My synesthesia won’t let me see this in any color other than black and white
Gould does a good job don't get me wrong, but Hamelin totally kicks his ass up & down the block on this one
Wunderbar gespielt, aber einfacher in Agogik und Dynamik gäbe den Gedanken mehr Zeit, sich entfalten. Es ist schon extreme genug Musik!
long life to berg!
Edoardo Lulu
He's dead
@@GUILLOM sadly he is
@@GUILLOM fr?
Gould's essay on the Sonata ("Piano Music of Berg, Schoenberg and Krenek" in "The Glenn Gould Reader") is ambivalent: " . . surely one of the most auspicious Opus 1 debuts in music history", while being a work which "[allows Berg] to cloak his most dissolute habits . . [it] indulges his greatest weaknesses: the jacked-up sequence, the melody supported by chromatically sliding sevenths, the plagiarism of the whole-tone scale." I like Gould when he's playing Bach, I appreciate his championing the Berg Sonata, and overall he's an engaging essayist, but his bias against Berg overall, as compared with his total adulation of Schoenberg and Webern, really colors those comments. The sequencing doesn't bother me, the sevenths are part-and-parcel of Berg's style, and I don't get how one plagiarizes a scale unless Liszt put a copyright on it. But I like this performance by Hamelin, he gets the structure and the flow.
I prefer Gould of the two,though I don,t like Gould as a rule.
rubbish
This comment will surely contribute a lot to society
@@GUILLOM there was no need to respond to it
@@romanmusic9629 there was no need to respond to my response