(Tl;dr - Listen to Jando’s third movement) Lortie: 00:00 - Mvt 1 07:17 - Mvt 2 09:35 - Mvt 3 Jando - 16:59 - Mvt 1 22:14 - Mvt 2 24:18 - Mvt 3 Lortie’s interpretation is sheer beauty: he takes the first movement at a tempo closer to Lento than Adagio, which gives it a character of intense stillness, almost a meditation rather than a lament. The second movement is languid and supple, and the third movement is full of dramatic sweep: Lortie’s large, unabashedly tragic sound is really enjoyable, and the contrasts have a lot of bite. Jando’s recording is one of the all-time Great Beethoven Recordings. The first movement, taken at something more like B.’s original tempo, has a march-like character, and the tight pacing means that the melody actually manages to build an inner momentum and becomes rather uplifting at some points. The second movement is jaunty and fleet-footed, with all its accents and staccatos carefully outlined. The third movement, however, is just flat-out *unbelievable*. I really don’t think any other recording comes even close to Jando’s in terms of how much textural detail is stuffed into a single movement. Some of the things to look out for: the incredibly precise trills; the fact that B.’s staccatos on the octaves are actually observed [24:57; 30:35] (everyone else ignores them, which makes the passages a bit less interesting); the way the first beat on the slurs in the second theme of Theme Group 2 is slightly prolonged to give the slurs a bit of “pull” [25:39, 29:47 and similar; it’s very subtle but definitely there]; the crazy-precise observance of B.’s every dynamic marking; the careful distinctions between slurred notes, slurred staccatos, and staccatos; and at 30:51, the fact that the different note values in the scale are actually observed(!)
In re "The second recording is jaunty and fleet-footed, with all its accents and staccatos carefully outlined": I believe you mean "the second movement."
This piece was playing when we went to the nursing home to see my dying grandmother. When we were going home from the nursing home, we got a call. She died. I was the last person to see and talk to her alive. Since, this piece has made me cry every time I hear it.
I know how difficult it is so I wish the best for you brother, take care and I hope you enjoy this sonata in a different way with time, maybe in a happier and more serene way
@@filipdingertz8390 because usually people don't listen to the entire sonata in 1 go. On itd own, the 2nd movement is underwhelming compared to the other movements. But when put into the middle of the sonata, it's the perfect palette cleanser
Joy at seeing this piece uploaded aside, I really enjoy that you delve into the style of each of the artists. I mean, I love the breakdown of the piece in the description, definitely, but I also feel like I learn a lot about pianist styles based off your analyses and listening to the tracks, and also hearing the pianists one after another. The direct comparison is especially helpful. I listened to Ashkenazy's version and it's one of my favorites, but it's fascinating how different people can interpret the same piece so differently. Thank you for uploading this! Edit: And now I've bought albums for both artists... Oops.
To think that a composer growing increasingly deaf could compose such a masterpiece so full of emotion and soul is just stunning! Every time I look at the score for this piece and try to play this on the piano, I always wonder how could such a person compose like this! The way every note of each and every movement flows through to the next is just…breathtaking! This truly lives up to its subtitle - “quasi una fantasia” (like a fantasy). I have always thought that the sonata as a whole represents the various emotions in our life. Thank you so much for sharing this breathtaking and heart stopping masterpiece with us!
Every person on Earth is growing increasingly deaf. Beethoven was not deaf in a way that significantly changed his composing at the time this sonata was written.
I personally really enjoyed Lortie's performance, it held so much emotion I couldn't skip through it at all I was just so invested in hearing Lortie's interpretation. But Jando's third movement was so compelling and unstoppable. I loved Jando's interpretation of the third movement because of the movement and exaggeration he gave it. But again overall, I felt Lortie's complete performance felt more fluid, and in unison. The swaying waves of emotions through the first movement were so precisely constructed. As well in the second movement, Lortie's dynamics kept you on toe as to see what would happen next. And the third movement just closed it all out with a bang. I really enjoyed this recording.
terracannon876 Indeed, Jando's third movement had something special I can't quite put my finger on. But its thrashing intensity was so invigorating I almost felt overwhelmed by the emotion that was piling on top of me (the listener). But I just couldn't help but feel Jando's first movement felt too distant and emotionless, maybe it's just me but I didn't get the same shivers as I did with Lortie's piece. I think it's the quicker tempo that left me feeling too rushed into the emotions Jando's was trying to convey. I'm used to the first movement evoking deep and dark emotions. I'm used to being felt ripped out of myself by the end of it. But Jando almost made me feel, hopeful throughout the piece. It just didn't sit with me too well.
Oh my gosh Jando does the third movement so amazinglyyyyy! I have never heard anyone do the phrasing so well and do all the jumps in time!!!! wow amazing
I am sitting here in tears listening to one of the greatest works ever written. Thank You so much for giving some relief to a failed, middle aged old man who is nothing. Thank You for allowing me to begin to know some of the greatest musicians and music ever to exist. I truly appreciate and admire your incredible musicality, fierce intelligence and hard work.
Failed middle aged woman!? My blessed love you are far more than some failed middle aged woman, you are a universe within itself, you are the portal between worlds! You are a creator. You bring life to this earth. If not from your womb from your tongue! Your words can mesmerize a man so he will never cause trouble again. Youre energy can make a man sit beneath you and wonder why he loves doing it. You are a powerful being my dear. You are not just a middle aged woman, You are love.
I did not even realize what I was missing out on until I heard Jando's octaves in the third movement. Brilliant! Also, this is my first time hearing Jando's name, but a quick search reveals that he has over sixty albums, including the complete Beethoven sonatas. I guess I better broaden my taste.
00:01 І ч. ОТ cis 07:18 ІІ ч. ОТ Des 08:12 ІІ ч. Тріо Des 09:34 ІІІ ч. ГП cis 10:02 ІІІ ч. ПП gis 10:38 ІІІ ч. ЗП gis Louis Lortie, OC, CQ (born 27 April 1959) is a Canadian (Québécois) pianist
The first movement: C sharp minor: easy The second movement: D flat major: the octaves in the Trio is a bit hard. The third movement: AHHHHHHHHHHHHHHHHHHHHHHHHHHH
First movement is bloody hard. I would say this is the order: 2, 3, 1 in increasing difficulty. Of course to just play the first movement precisely is easy, but to play it as well as it is here is another matter entirely.
@@summushieremiasclarkson4700 movement 3 is definitely harder than 1, even though the touch of movement 1 is harder to master, since movement 3 demands much better technique than movement 1
From 5:34 to 5:50 I've always considered this progression like one of the most beautiful and moving chords progression in all music history, imo. I can't express how this specific part make me feel everytime I play or listen to it.
Sadly, now the ads make it impossible to enjoy the music. I used to come here quite often. AXK thank you for posting this, and I wish you the very best.
Kissin has a terrific performance of this. His 2nd mov has that "lilting dance" quality. And his 3rd mov has very little pedals and yet it sounded tight and has a full sonority.
Ugh... I understand that so well. You have the *perfect* performance. You're excited to share it and explain the beauty of it to people and then when you're trying to upload, it got blocked by YT algorithm. That darn copyright issues. Happened to me with Gould's Goldberg 1981. Those representing the Gould's rights are berserkers on YT.
I find it interesting that out of all of Beethoven's sonatas, only 4 end violently (fast, loud, minor key): the Moonlight, the Appassionata, the Pathetique, and the op. 2/1, and only the Appassionata equals the violence of this ending.
Erez Solomon, Exactly! I'm sick of this sonata, especially the first part, whose over-popularity has made it a hackneyed pop. So are the frequent requests to play it (damn it, why exactly that?!). I played it myself in all three parts about 25 years ago. Today I really don't have the strength to listen to the whole, or at least a small fragment of the first part. It's really nauseating (I even turned off the sound while I was writing this comment). And in general I have long gone from the classics, which I ate up during my studies at music school, music college and conservatory, so that I still don't have the urge. Today I'm doing more refined and virtuosic jazz pieces. Check out Rupert Austin's channel.
@@Oleg__ It doesn't matter if it's overplayed. It doesn't make it any less wonderful and it deserves its popularity. Still, there are many other of Beethoven's works that are as good as this and should be more known.
Jando is very very accurate pianist. His interpretation can be regarded as uninteresting to someone. But he performs every single note as composers marked. It is great thing and very hard to find in other's rendition. In some aspects, He is a real jewel in the world of pianists.
I completely agree with this statement, I heard many different interpretations and this one is in the league of the best. But taste is personal and there is no right or wrong, only like or less like.
At age 10 in the late 80s, my uncle brought home the first CD I'd ever heard. It was a gray jewel box filled with Beethoven sonatas under the Naxos label, Jando at the keyboard. I wondered who this strange man was who played everything with absolute precision. As I listened to more of his playing, I started calling Jando "war surplus classical music." With the benefit of some age and sass, I might refer to him as a Communist Clavinova. But there's no denying that he was always note-perfect.
According to Mark Lewisohn in "The Beatles Recording Sessions" Yoko Ono was playing the first movement one day, and John "took the chords", reversed them and it became the basis of the song "Because" on Abbey Road. I've never sat down and done the harmonic analysis myself so I don't know if it's true but it's close enough that you can pretend... While this may be one of the most famous pieces of "classical music", I'm looking forward to the next sonata (Op 27 No 1) which is a personal favourite. I've only been able to pick at bits of the Beethoven series so far but am hoping to dedicate some serious time and go through all of them properly. Doing a full Beethoven set is a great idea and I appreciate all the effort that's gone into it.
If "Für Elise" is the "Freebird" of pieces to pianists, "Moonlight" is the "Stairway to Heaven" as it's still a pretty well-respected work, it's just a lot of beginners want to play part of it anyway, and they often muck it up. 😝
At 3:21 it sounds like one of the notes isn’t fully pressed but instead it creates this effect, almost like a reversed recording of a piano note.. idk I really like it
Jando's is way too fast for me. What is this, Formula 1? He plays it at around quarter note 55. Even Lortie's tempo (40ish) is a bit fast for me. If there's any piece where you should absolutely take as much time as you want, it's Moonlight 1st movement. Quarter note 30-32 is ideal for me.
The first movement (adagio sostenuto in C#minor) from piano sonata #14 of beethoven is based on Mozart's aria "Ah soccorso! Son tradito" of the Opera Don Giovanni, Beethoven copied or was influenced from this melody, Beethoven owned a copy of the first act of Don Giovanni where this melody appears. Check Out this links ruclips.net/video/uEw_feiV_co/видео.html Check out the minute 3:50 look the violín's, violas & winds in this score ruclips.net/video/6XfkvANfYb4/видео.html Moonligth sonata score ruclips.net/video/YmVCcF42f-0/видео.html Look for the book " Mozart's Opern " by musicologist Stefan Kunze where the similarity between the aria "Ah soccorso! Son tradito" and the first movement of the sonata no.14 by Beethoven. Edwin Fischer, the renowned pianist, describes in his book "Beethoven's pianoforte sonatas" a discovery he made when he was in the library of the archives of Wiener Musikverein, there he found a sketch, in Beethoven's handwriting, of the scene from Don Giovanni, the sketch transposes the original music into C#minor, which is the key of the sonata. In Fischer's opinion, it becomes clear where Beethoven drew inspiration for his piece and he certainly has a point, the death scene of the commendatore in Mozart's opera might have been the actual inspiration for the famous sonata. Sir Andras Schiff has looked at a still existing transcription by the hand of beethoven of the score of that part of Mozart's opera and proven that actually it directly stems from there. (This is based on Andras Schiff's lecture on Beethoven's sonata no.14 in C#m The lectures took place at Wigmore Hall, London UK, from 2004.) ruclips.net/video/H6u9Ocp039Y/видео.html Here other link 👇 www.roberto-poli.com/did-chopin-quote.html
As a student sitting in front of a piano that is black and white and trying to read music is hard for some and colorful music notes and keys to the piano makes it easier to teach kids to read music notes ❤️
Dear Mr Kumar, if I have asked this before please excuse: I did look below and did not see an entry by me there. My question: is the music scrolled above Shirmers? Sure looks like it. Back in my first semester of college in the latter half of 1981, I taught myself to play this, all three movements, from scratch. I hadn't touched a piano in years. I still have the sheet music I learned it on: Shirmers!
This piece is easier than it sounds however I absolutely cannot play the trill at 10:17 with the 4 and the 5. The level of this mouvement and the sonata is not homogeneous. The arpeggios of the peroraison are un expectately difficult too. (And my English is definitively terrible.)
May I mention the annoyance of "Moonlight Sonata" being colloquially referred to as the name of the first movement only. So many amateur pianists play the first movement, many of them not even aware of there being three movements. I guess just like the opening of Beethoven's 5th symphony, and the beginning of Beethoven's Bagatelle no. 25 ("Fur Elise"), it's (definitely well deserved) popularity alone often supersedes the understanding of it's genius.
Maybe the first movement is iconic and nostalgic. If you also payed attention, the 3rd movement is much more popular, and contains more emotion. Don’t be such a smart aleck.
Presto Agitato at 09:33; if you can't feel that angst are you even human? Beethoven really screaming at this point “Can You Hear Me?” Yes, Ludwig I hear you my friend. I hear you!
Finally! Thanks a lot for this. Btw, do you agree with the tempo of the first or the second interpretation (1st mvmt) ? This piece is the first classical piece I learned (completed it a couple of months ago, I'm still an amateur/beginner). Personally I prefer a pace that is intermediary between the two displayed here, but as a whole, I'd take the second interpretation.
Mahdi Anani I will play it more like the first one, but you can play it however you want. There is not à good maneer to play it, it depends how you feel it, and you perfectly can take a tempo between those two interpretations. Good playing !
TheKiJuliop Totally agree. I've actually listened to wide variety of interpretations of this piece. I like it easy flowing yet not in a rush. In the first one the slow tempo emphasizes on the single notes of the arpeggios (that's how I feel) whereas as the second it feels kind of in a rush. That's why I prefer something in between.
I'd honestly prefer it a tad faster than the second interpretation, if anything. The now cliché slow interpretation (such as Lortie's) is so boring to listen to and I doubt that the ever busy and often chaotic Beethoven would have ever intended such a slow tempo.
@@karlpoppins I agree with you. In fact I should edit that comment of mine, I wrote it back in the day when I still lacked any kind of musical education. I now know that it was probably intended to be a march after listening to Andras Schiff talk about this piece, in addition to the fact that Beethoven marked it in cut time. It should definitely be played faster than Lortie’s interpretation, probably even faster than Jando’s as well.
In the Description there's an error: you wrote "Presto agiato" that means the opposite of "Presto AgiTato" (I know because I'm italian and "agiato" means comfort and "agitato" means shaken)
I’ve been playing the piano for 6 years and a half now, I am 12, bout to turn 13, I started playing at the age of 5, this is my favorite Classico song, I’m gon surprise my dad by playing this song (3 movement) wish me luck guyssss, I’ll comment to tell you guys what was he’s reaction.... ‘he doesn’t know I’m gon be playing this song’ Soo, dad, if your reading this....... I hope you like it 🥺
Lia Fatima Callañaupa Ramos happy it went well😍 I’m a beginner so Im just halfway through the first movement my goal is to learn the 3rd movement but that’s not gonna be anytime soon
Can someone explain to me why 15:22 part is played so slowly? Notes are clearly the 1/32th ones so this should be played twice the normal speed. I'm not really an expert in notes reading so I need your help to understand this part.
I mean no, I'm wrong about this exact performer because he played this part exactly as written and as I expected it would be played (I posted my comment a bit too early). But I always wondered why many, MANY pionists drastically slow down in this part and play it like it's 1/8th or even 1/4th and not 1/32th
Copying here one of my favorite reddit comments: Speaking of Moonlight sonata revelations, my entire conception of it changed after hearing some romantic era pianists play it. Namely Emil von Sauer(ruclips.net/video/DJfnBY00JuM/видео.html) and Frederic Lamond(ruclips.net/video/daQFLCSc9Ok/видео.html&feature=plcp). They were both pupils of Franz Liszt, and Franz Liszt was the greatest Beethoven interpreter of his day. The reason why these interpretations were so cool to me is that *before* I heard them I knew of this great story recalled by Alexander Siloti (Rachmaninoff's cousin) who actually heard Franz Liszt play the Moonlight sonata. The story goes something like this... Siloti had been raving to Liszt about Anton Rubinstein's wonderful interpretation of the Moonlight sonata at a concert. Liszt was somewhat flustered because he thought of the moonlight sonata as his piece. He performed it a lot when he was younger. So after Siloti had finished raving, Liszt promptly goes over to the piano to show Siloti how it really should sound. Siloti said it was as if the floor disappeared from under him. The music just carried him away. He said that after Liszt finished playing, he realised then that Liszt as a pianist was as far removed from Rubinstien, as Rubinstein was from the rest of them. Siloti said that from that day on, whenever he heard someone playing the moonlight sonata he had to hurry away because he didn't want to tarnish his memory of Liszt's performance. So what does this story have to do with my revelation? Well listen to the speed at which Sauer and Lamond play the sonata. It's a faster than most anybody plays it these days. Liszt must have played it this fast too. My initial reaction was "yuck", but that was because I was used to hearing slower versions. After I recalled that story by Siloti it all made sense. This was the correct tempo. Not the slow moody, emotional, wishy washy, modernist tempo influenced by naive interpretations of the sonata's nickname. In fact, once I realised that this was the proper tempo, it suddenly sounded brilliant. It suddenly made more sense. The piece feels more like Beethoven to me now. Listening to interpretations like the one you linked makes me now feel like the recording has been slowed down. It's the slow interpretations that no longer feel right to me.
One other reason though to describe why they play so fast is to keep the entire performance under 5 minutes so that it could fit on the early recording, but I know to little about early recordings to affirm that this is true.
I have a question: why does my version of the third movement show SF for the first one and then mp dynamics on the echoed one right after on the emphatic notes at the end of the semiquaver arpeggios???? Is it just an editorial thing or does the original have this?
Hmm, my score has it written exactly like in the Video (Editio Musica Budapest 1959), it might be an Editorial Thing indeed. What Edition of the score do you have? Or is it downloaded from somewhere on the Internet? In the latter case deviations form common publishers' scores are not rare.
I don't agree B gradually shifted the emphasis from front to back - he always had the last mvmnt as the biggest - right from sonata number 1. but thanks for the scores we can look at...
Good spot. Jando is playing from a different (and more authentic) edition, where B. left out a bar and had the scale moving up directly over the syncopated Neapolitan chords.
hi im new to piano and i notice that the first note is a sharp but on the sheet music it doesnt say a sharp, if that makes any sense. I know this is correct but i just dont understand why this is
Good question! If you look at the left side of the score, you'll notice four sharps: F-sharp, C-sharp, G-sharp, and D-sharp. They mean that you need to play every F, C, G, and D as a sharp. The first note is a G, so you need to play it as a sharp.
(Tl;dr - Listen to Jando’s third movement)
Lortie:
00:00 - Mvt 1
07:17 - Mvt 2
09:35 - Mvt 3
Jando -
16:59 - Mvt 1
22:14 - Mvt 2
24:18 - Mvt 3
Lortie’s interpretation is sheer beauty: he takes the first movement at a tempo closer to Lento than Adagio, which gives it a character of intense stillness, almost a meditation rather than a lament. The second movement is languid and supple, and the third movement is full of dramatic sweep: Lortie’s large, unabashedly tragic sound is really enjoyable, and the contrasts have a lot of bite.
Jando’s recording is one of the all-time Great Beethoven Recordings. The first movement, taken at something more like B.’s original tempo, has a march-like character, and the tight pacing means that the melody actually manages to build an inner momentum and becomes rather uplifting at some points. The second movement is jaunty and fleet-footed, with all its accents and staccatos carefully outlined. The third movement, however, is just flat-out *unbelievable*. I really don’t think any other recording comes even close to Jando’s in terms of how much textural detail is stuffed into a single movement. Some of the things to look out for: the incredibly precise trills; the fact that B.’s staccatos on the octaves are actually observed [24:57; 30:35] (everyone else ignores them, which makes the passages a bit less interesting); the way the first beat on the slurs in the second theme of Theme Group 2 is slightly prolonged to give the slurs a bit of “pull” [25:39, 29:47 and similar; it’s very subtle but definitely there]; the crazy-precise observance of B.’s every dynamic marking; the careful distinctions between slurred notes, slurred staccatos, and staccatos; and at 30:51, the fact that the different note values in the scale are actually observed(!)
Ashish Xiangyi Kumar Masterpiece
In re "The second recording is jaunty and fleet-footed, with all its accents and staccatos carefully outlined": I believe you mean "the second movement."
Corrected!
Hey Ashish, thank you a lot for your videos! What about doing Mozart's sonatas next ?
Hey, I think you forgot Jando's analysis in the description
16:59 is the part when younghoon dance with siluet.
24:18 is the part when tbz does human piano (dance break).
the whole piece is so beautiful
Thank u so much, I've been trying so hard to find it to play
THANK YOU!!!
Thxx^^
it sounds like kapi from fnf
@@Starshlp yeah
This piece was playing when we went to the nursing home to see my dying grandmother. When we were going home from the nursing home, we got a call. She died. I was the last person to see and talk to her alive. Since, this piece has made me cry every time I hear it.
I know how difficult it is so I wish the best for you brother, take care and I hope you enjoy this sonata in a different way with time, maybe in a happier and more serene way
Il faut toujours qu'il y ait un débile qui raconte sa vie. Tout ça pour avoir des likes et satisfaire sa soif d'attention.
@@bakko20 Oh ta gueule, c'est quelque chose de triste pour lui, et toi tu vas lui dire que c'est pas important ?
7:52 best music sheet ever
without a doubt!
yes, exactly
I agree. Why do people not listen to the second movement?
@@filipdingertz8390 Cause they're lazy.
@@filipdingertz8390 because usually people don't listen to the entire sonata in 1 go. On itd own, the 2nd movement is underwhelming compared to the other movements. But when put into the middle of the sonata, it's the perfect palette cleanser
Third movement be like:
Hey George, you did practice arpeggios, right? Oh well, let's see.
1st movement: Homework.
3rd movement: Assignment.
That could apply to your comment: 1st and 3rd are full of arpeggios.
Joy at seeing this piece uploaded aside, I really enjoy that you delve into the style of each of the artists. I mean, I love the breakdown of the piece in the description, definitely, but I also feel like I learn a lot about pianist styles based off your analyses and listening to the tracks, and also hearing the pianists one after another. The direct comparison is especially helpful. I listened to Ashkenazy's version and it's one of my favorites, but it's fascinating how different people can interpret the same piece so differently. Thank you for uploading this!
Edit: And now I've bought albums for both artists... Oops.
7:52 that zoom in on that one measure of music tho
To think that a composer growing increasingly deaf could compose such a masterpiece so full of emotion and soul is just stunning! Every time I look at the score for this piece and try to play this on the piano, I always wonder how could such a person compose like this! The way every note of each and every movement flows through to the next is just…breathtaking! This truly lives up to its subtitle - “quasi una fantasia” (like a fantasy). I have always thought that the sonata as a whole represents the various emotions in our life. Thank you so much for sharing this breathtaking and heart stopping masterpiece with us!
_Quasi una fantasia_ means "almost a fantasy".
@@JCMH I know.
His 23rd and 8th Sonata are also incredible!
Definitly worth checking those Out.
Every person on Earth is growing increasingly deaf. Beethoven was not deaf in a way that significantly changed his composing at the time this sonata was written.
He composed the 29th sonata and the 9th symphony when he was completly deaf
I personally really enjoyed Lortie's performance, it held so much emotion I couldn't skip through it at all I was just so invested in hearing Lortie's interpretation.
But Jando's third movement was so compelling and unstoppable. I loved Jando's interpretation of the third movement because of the movement and exaggeration he gave it.
But again overall, I felt Lortie's complete performance felt more fluid, and in unison. The swaying waves of emotions through the first movement were so precisely constructed. As well in the second movement, Lortie's dynamics kept you on toe as to see what would happen next. And the third movement just closed it all out with a bang. I really enjoyed this recording.
Agreed. I prefer Lortie's interpretation overall, but Jando's third movement is a force to be reckoned with.
terracannon876 Indeed, Jando's third movement had something special I can't quite put my finger on. But its thrashing intensity was so invigorating I almost felt overwhelmed by the emotion that was piling on top of me (the listener).
But I just couldn't help but feel Jando's first movement felt too distant and emotionless, maybe it's just me but I didn't get the same shivers as I did with Lortie's piece. I think it's the quicker tempo that left me feeling too rushed into the emotions Jando's was trying to convey.
I'm used to the first movement evoking deep and dark emotions. I'm used to being felt ripped out of myself by the end of it. But Jando almost made me feel, hopeful throughout the piece. It just didn't sit with me too well.
Oh my gosh Jando does the third movement so amazinglyyyyy! I have never heard anyone do the phrasing so well and do all the jumps in time!!!! wow amazing
I am sitting here in tears listening to one of the greatest works ever written. Thank You so much for giving some relief to a failed, middle aged old man who is nothing. Thank You for allowing me to begin to know some of the greatest musicians and music ever to exist. I truly appreciate and admire your incredible musicality, fierce intelligence and hard work.
willie2639 After all, music is but medicine for the soul.
Failed middle aged woman!? My blessed love you are far more than some failed middle aged woman, you are a universe within itself, you are the portal between worlds! You are a creator. You bring life to this earth. If not from your womb from your tongue! Your words can mesmerize a man so he will never cause trouble again. Youre energy can make a man sit beneath you and wonder why he loves doing it. You are a powerful being my dear. You are not just a middle aged woman, You are love.
@@jamesturk3738 He said man... not woman.. lol
@@jamesturk3738 bruh
@@jamesturk3738 LMFAOOOOOOOOO
ha! Lortie's tempo in the 1st movement is stunning! Transformed!
I did not even realize what I was missing out on until I heard Jando's octaves in the third movement. Brilliant!
Also, this is my first time hearing Jando's name, but a quick search reveals that he has over sixty albums, including the complete Beethoven sonatas. I guess I better broaden my taste.
Brian Paick You should listen to his Liszt! Truly great
Lortie’s first movement is wonderful
Third too but it is veryyy hard. First movement is just wonderful🤗🤗🤗🤗🤗
00:01 І ч. ОТ cis
07:18 ІІ ч. ОТ Des
08:12 ІІ ч. Тріо Des
09:34 ІІІ ч. ГП cis
10:02 ІІІ ч. ПП gis
10:38 ІІІ ч. ЗП gis
Louis Lortie, OC, CQ (born 27 April 1959) is a Canadian (Québécois) pianist
The first movement: C sharp minor: easy
The second movement: D flat major: the octaves in the Trio is a bit hard.
The third movement: AHHHHHHHHHHHHHHHHHHHHHHHHHHH
The first movement is hard a hate slow
First movement is bloody hard. I would say this is the order: 2, 3, 1 in increasing difficulty. Of course to just play the first movement precisely is easy, but to play it as well as it is here is another matter entirely.
@@summushieremiasclarkson4700 movement 3 is definitely harder than 1, even though the touch of movement 1 is harder to master, since movement 3 demands much better technique than movement 1
i like how its c sharp minor and then d flat major as if d flat and c sharp were not the same
@@leo17921 C sharp major and D flat major are the same. You get my point?
Finally someone not rushing through the Adagio.
Stephen Dedalus yes exactly
Finally, a performance of the first movement that phrases the diminished chords properly in triplets.
9:35 the part you are looking for
At 9:53 you can hear Sangyeon's voice
Thank you
From 5:34 to 5:50 I've always considered this progression like one of the most beautiful and moving chords progression in all music history, imo. I can't express how this specific part make me feel everytime I play or listen to it.
Thank you for highlighting this. I feel the same way about this section.
Un verdadero deleite para los oidos
Un viaje para la imaginación sin duda una verdadera joya musical
Jando 3rd movement is miraculous! Nothing like it indeed... So precise and clean it blows my mind!
Sadly, now the ads make it impossible to enjoy the music. I used to come here quite often. AXK thank you for posting this, and I wish you the very best.
I think this is a terrific study aid, with the follow-along sheet music. Thanks! (How I wish I'd had 50 years ago!)
Kissin has a terrific performance of this. His 2nd mov has that "lilting dance" quality. And his 3rd mov has very little pedals and yet it sounded tight and has a full sonority.
I would have uploaded Kissin's performance, if not for copyright issues. Oh well.
Ugh... I understand that so well. You have the *perfect* performance. You're excited to share it and explain the beauty of it to people and then when you're trying to upload, it got blocked by YT algorithm. That darn copyright issues. Happened to me with Gould's Goldberg 1981. Those representing the Gould's rights are berserkers on YT.
The 1st movement of Beethoven's Moonlight Sonata is a masterpiece. I love it so much I have written many arrangements of it over the years.
The Neapolitan chord makes this piece more powerful.
I never thought that a piece of paper would blow my mind right off.
I like the sound of Jando's 3rd movement of the sonata, Bravo!!!!!
He died 😮
I find it interesting that out of all of Beethoven's sonatas, only 4 end violently (fast, loud, minor key): the Moonlight, the Appassionata, the Pathetique, and the op. 2/1, and only the Appassionata equals the violence of this ending.
Interesting indeed
I don't understand, any three people would not like it! It's sublime!
Probably tired of hearing this sonata. Still, no reason to dislike
Erez Solomon, Exactly! I'm sick of this sonata, especially the first part, whose over-popularity has made it a hackneyed pop. So are the frequent requests to play it (damn it, why exactly that?!). I played it myself in all three parts about 25 years ago. Today I really don't have the strength to listen to the whole, or at least a small fragment of the first part. It's really nauseating (I even turned off the sound while I was writing this comment). And in general I have long gone from the classics, which I ate up during my studies at music school, music college and conservatory, so that I still don't have the urge. Today I'm doing more refined and virtuosic jazz pieces. Check out Rupert Austin's channel.
@@Oleg__ It doesn't matter if it's overplayed. It doesn't make it any less wonderful and it deserves its popularity. Still, there are many other of Beethoven's works that are as good as this and should be more known.
This IS the perfect version of Moonlight Sonata. This person plays it the PERFECT way! Breath taking!
I feel like entering haven when the 2nd mvt starts playing. It's just a preparation for the 3rd's hell...
Jando or Lortie's?
@@riverdelta7052probably lortie
No se llama asi
I'm on the edge of my seat here wondering which performance is PERFECT.
"Oh, you play the piano? Play Moonlight!"
*plays third movement*
"..."
Jando is very very accurate pianist. His interpretation can be regarded as uninteresting to someone. But he performs every single note as composers marked. It is great thing and very hard to find in other's rendition. In some aspects, He is a real jewel in the world of pianists.
I completely agree with this statement, I heard many different interpretations and this one is in the league of the best. But taste is personal and there is no right or wrong, only like or less like.
At age 10 in the late 80s, my uncle brought home the first CD I'd ever heard. It was a gray jewel box filled with Beethoven sonatas under the Naxos label, Jando at the keyboard. I wondered who this strange man was who played everything with absolute precision.
As I listened to more of his playing, I started calling Jando "war surplus classical music." With the benefit of some age and sass, I might refer to him as a Communist Clavinova. But there's no denying that he was always note-perfect.
If you're reading this it means you have to stan the boyz ♥
Yeah. Road to kingdom
Yeah. I'm Deobi
who tf are the boyz
No
@@kijete A band that made a song called "quasi una fantasia", that was an homage to this song
A good entraînement 👍🏻
I practice this every day!
16:08 Did Chopin lift this for his Fanatasie Impromptu?!?!
Zed O'Haughy Yes, and much else besides.
It's said that chopin hates fantasie impromptu because of this
Probably. That's why he never published it.
Zed O'Haughy yes
Apart from that, Chopin wrote his FI modelled after an impromptu by Moscheles. And indeed, he didn't put much worth to it for that reason.
LISTEN, FEEL THIS PIECE IN YOUR HEART. LET IT IN YOUR SOUL. SO MUCH BEAUTY.
Beautiful piece 😍
The second movement provides a nice break and a breather between the intense and overwhelming 1st and 3rd movements.
Liszt called the second movement "a flower between two chasms".
According to Mark Lewisohn in "The Beatles Recording Sessions" Yoko Ono was playing the first movement one day, and John "took the chords", reversed them and it became the basis of the song "Because" on Abbey Road. I've never sat down and done the harmonic analysis myself so I don't know if it's true but it's close enough that you can pretend...
While this may be one of the most famous pieces of "classical music", I'm looking forward to the next sonata (Op 27 No 1) which is a personal favourite. I've only been able to pick at bits of the Beethoven series so far but am hoping to dedicate some serious time and go through all of them properly. Doing a full Beethoven set is a great idea and I appreciate all the effort that's gone into it.
If "Für Elise" is the "Freebird" of pieces to pianists, "Moonlight" is the "Stairway to Heaven" as it's still a pretty well-respected work, it's just a lot of beginners want to play part of it anyway, and they often muck it up. 😝
Ashish!!! Greatest Music!!!
Great Pianist too! Thank you so much!
Best Nico
At 3:21 it sounds like one of the notes isn’t fully pressed but instead it creates this effect, almost like a reversed recording of a piano note.. idk I really like it
sounds like theyre holding the top note and bass and clear pedal there
Jando's interpretation of the 1st movement is the best I've heard so far.
Too fast for my taste. I prefere Lortie's tempo
Jando's is way too fast for me. What is this, Formula 1? He plays it at around quarter note 55. Even Lortie's tempo (40ish) is a bit fast for me. If there's any piece where you should absolutely take as much time as you want, it's Moonlight 1st movement. Quarter note 30-32 is ideal for me.
The first movement (adagio sostenuto in C#minor) from piano sonata #14 of beethoven is based on Mozart's aria "Ah soccorso! Son tradito" of the Opera Don Giovanni, Beethoven copied or was influenced from this melody, Beethoven owned a copy of the first act of Don Giovanni where this melody appears. Check Out this links ruclips.net/video/uEw_feiV_co/видео.html
Check out the minute 3:50 look the violín's, violas & winds in this score ruclips.net/video/6XfkvANfYb4/видео.html
Moonligth sonata score ruclips.net/video/YmVCcF42f-0/видео.html
Look for the book " Mozart's Opern " by musicologist Stefan Kunze where the similarity between the aria "Ah soccorso! Son tradito" and the first movement of the sonata no.14 by Beethoven.
Edwin Fischer, the renowned pianist, describes in his book "Beethoven's pianoforte sonatas" a discovery he made when he was in the library of the archives of Wiener Musikverein, there he found a sketch, in Beethoven's handwriting, of the scene from Don Giovanni, the sketch transposes the original music into C#minor, which is the key of the sonata.
In Fischer's opinion, it becomes clear where Beethoven drew inspiration for his piece and he certainly has a point, the death scene of the commendatore in Mozart's opera might have been the actual inspiration for the famous sonata.
Sir Andras Schiff has looked at a still existing transcription by the hand of beethoven of the score of that part of Mozart's opera and proven that actually it directly stems from there. (This is based on Andras Schiff's lecture on Beethoven's sonata no.14 in C#m The lectures took place at Wigmore Hall, London UK, from 2004.) ruclips.net/video/H6u9Ocp039Y/видео.html
Here other link 👇
www.roberto-poli.com/did-chopin-quote.html
I got too much streaming the boyz till this pop up in my recommendation
STAN BEETHOVEN & THE BOYZ
HAHAHAHAHA PLS
LOL- yeah... STAN BEETHOVEN
I'm a simple man. I see Moonlight Sonata, I like.
I learned a lot about musical composition for pianoforte by studying the last movements of several of B's sonatas. This one still has a hold over me.
I like how Jando exxagerates everything in the last movement
It does add a lot of more emotions and "in the moment" to the piece
Blast you, advertisement!
I HATE advertisement!
It is trolling me when I want to listen to divine performance!
Ahh finally a recording of the third movement not drowned in pedal
What a masterpiece!
Best version ever. You can feel the voice of God.
Gives me chills and teary eyes... this is absolutely a haunting version. Bravo 👏🏼
Woah thanks for the free sheet music!
작곡하는사람으로써 베토벤님진짜 대단하심 귀도 안들린상태에서 저런걸 작곡 해내다니 난 두귀 잘 들려도 작곡 하는데 엉망진창인데..
I believe the sheet music is wrong on 14:41 and 29:31 and the image used is from the first appearance of this motif.
As a student sitting in front of a piano that is black and white and trying to read music is hard for some and colorful music notes and keys to the piano makes it easier to teach kids to read music notes ❤️
Came here after the boyz's Shangri-la performance
YESSSS
@@carimanola I literally listened the whole piece... Lol
kyuwook_jongtae Wow I could never 😆 I would fall asleep 😂😂 I only listened to the Key parts
@@carimanola I listened to it while reading love revolution lol
OWJZOZBSOWBWI STREAM OHGOD
Dear Mr Kumar, if I have asked this before please excuse: I did look below and did not see an entry by me there. My question: is the music scrolled above Shirmers? Sure looks like it. Back in my first semester of college in the latter half of 1981, I taught myself to play this, all three movements, from scratch. I hadn't touched a piano in years. I still have the sheet music I learned it on: Shirmers!
This piece is easier than it sounds however I absolutely cannot play the trill at 10:17 with the 4 and the 5. The level of this mouvement and the sonata is not homogeneous. The arpeggios of the peroraison are un expectately difficult too. (And my English is definitively terrible.)
00:00 1 ч -осн тема
07:17 2 ч - осн тема
08:11 2 ч - trio
09:34 3 ч - гп
10:02 3 ч - пп
10:35 3 ч - зп
Jando was one of the very best pianists of the 1990s.
I recall hearing this, on Wings of the Luftwaffe. A series that used to air, on the Discovery Channel.
The first movement is one of my favorite performaces of the work.
May I mention the annoyance of "Moonlight Sonata" being colloquially referred to as the name of the first movement only. So many amateur pianists play the first movement, many of them not even aware of there being three movements. I guess just like the opening of Beethoven's 5th symphony, and the beginning of Beethoven's Bagatelle no. 25 ("Fur Elise"), it's (definitely well deserved) popularity alone often supersedes the understanding of it's genius.
Maybe the first movement is iconic and nostalgic. If you also payed attention, the 3rd movement is much more popular, and contains more emotion. Don’t be such a smart aleck.
Smartass alert!
Even though Beethoven never intended to call it "Moonlight", it was given to the piece by the poet Ludwig Rellstab, according to Wikipedia.
Thank you for your great video description!
Magnífico!!!
ETERNA gratidão!!!!
thanks for the detail analysis
MVT3 reminds me a lot of MVT1 of his first sonata in some passages.
Presto Agitato at 09:33; if you can't feel that angst are you even human?
Beethoven really screaming at this point “Can You Hear Me?”
Yes, Ludwig I hear you my friend. I hear you!
Finally! Thanks a lot for this. Btw, do you agree with the tempo of the first or the second interpretation (1st mvmt) ? This piece is the first classical piece I learned (completed it a couple of months ago, I'm still an amateur/beginner). Personally I prefer a pace that is intermediary between the two displayed here, but as a whole, I'd take the second interpretation.
Mahdi Anani I will play it more like the first one, but you can play it however you want. There is not à good maneer to play it, it depends how you feel it, and you perfectly can take a tempo between those two interpretations.
Good playing !
TheKiJuliop Totally agree. I've actually listened to wide variety of interpretations of this piece. I like it easy flowing yet not in a rush. In the first one the slow tempo emphasizes on the single notes of the arpeggios (that's how I feel) whereas as the second it feels kind of in a rush. That's why I prefer something in between.
I've always assumed that the first movement was 4/4 not cut common time. You learn something new, even with such a familiar piece.
I'd honestly prefer it a tad faster than the second interpretation, if anything. The now cliché slow interpretation (such as Lortie's) is so boring to listen to and I doubt that the ever busy and often chaotic Beethoven would have ever intended such a slow tempo.
@@karlpoppins I agree with you. In fact I should edit that comment of mine, I wrote it back in the day when I still lacked any kind of musical education. I now know that it was probably intended to be a march after listening to Andras Schiff talk about this piece, in addition to the fact that Beethoven marked it in cut time. It should definitely be played faster than Lortie’s interpretation, probably even faster than Jando’s as well.
In the Description there's an error: you wrote "Presto agiato" that means the opposite of "Presto AgiTato" (I know because I'm italian and "agiato" means comfort and "agitato" means shaken)
That fact made me go from agiato to agitato real quick...
Thank you very much.
I’ve been playing the piano for 6 years and a half now, I am 12, bout to turn 13, I started playing at the age of 5, this is my favorite Classico song, I’m gon surprise my dad by playing this song (3 movement) wish me luck guyssss, I’ll comment to tell you guys what was he’s reaction.... ‘he doesn’t know I’m gon be playing this song’ Soo, dad, if your reading this....... I hope you like it 🥺
Lia Fatima Callañaupa Ramos Good luck😍
Reem Thxs so much🥰
Lia Fatima Callañaupa Ramos how did it go?
Reem It went good, I almost press the wrong key but Thank God I did good! Thxs for your support 💕
Lia Fatima Callañaupa Ramos happy it went well😍 I’m a beginner so Im just halfway through the first movement my goal is to learn the 3rd movement but that’s not gonna be anytime soon
Can someone explain to me why 15:22 part is played so slowly? Notes are clearly the 1/32th ones so this should be played twice the normal speed. I'm not really an expert in notes reading so I need your help to understand this part.
I mean no, I'm wrong about this exact performer because he played this part exactly as written and as I expected it would be played (I posted my comment a bit too early). But I always wondered why many, MANY pionists drastically slow down in this part and play it like it's 1/8th or even 1/4th and not 1/32th
Wunderbar performanze.
Thanks for uploading!
I like more the true title: Sonata quasi una fantasia op. 27 no. 2
первая часть - это похоронный марш, если кто не понимает...
и - никак не "moon light"(лунная)...
Yet another example of why Jando is, for me, the BEST interpreter of Beethoven. Period.
That part at 16:31 - 16:37 is pure silence?
Yes
Ashish Xiangyi Kumar is partly Indian and partly Chinese?
Singaporean
Jando easily takes the cake!!
호텔델루나 나오던 음악이에요 이거 알고 있었는데 델루나에 나와서 쳐보려고 왔어열
숭 숭 한국인 반갑습니다 ㅎㅎ
전 입시곡이라 들으러왔네요 ㅎㅎ
Copying here one of my favorite reddit comments:
Speaking of Moonlight sonata revelations, my entire conception of it changed after hearing some romantic era pianists play it. Namely Emil von Sauer(ruclips.net/video/DJfnBY00JuM/видео.html) and Frederic Lamond(ruclips.net/video/daQFLCSc9Ok/видео.html&feature=plcp). They were both pupils of Franz Liszt, and Franz Liszt was the greatest Beethoven interpreter of his day. The reason why these interpretations were so cool to me is that *before* I heard them I knew of this great story recalled by Alexander Siloti (Rachmaninoff's cousin) who actually heard Franz Liszt play the Moonlight sonata. The story goes something like this...
Siloti had been raving to Liszt about Anton Rubinstein's wonderful interpretation of the Moonlight sonata at a concert. Liszt was somewhat flustered because he thought of the moonlight sonata as his piece. He performed it a lot when he was younger. So after Siloti had finished raving, Liszt promptly goes over to the piano to show Siloti how it really should sound. Siloti said it was as if the floor disappeared from under him. The music just carried him away. He said that after Liszt finished playing, he realised then that Liszt as a pianist was as far removed from Rubinstien, as Rubinstein was from the rest of them. Siloti said that from that day on, whenever he heard someone playing the moonlight sonata he had to hurry away because he didn't want to tarnish his memory of Liszt's performance.
So what does this story have to do with my revelation? Well listen to the speed at which Sauer and Lamond play the sonata. It's a faster than most anybody plays it these days. Liszt must have played it this fast too. My initial reaction was "yuck", but that was because I was used to hearing slower versions. After I recalled that story by Siloti it all made sense. This was the correct tempo. Not the slow moody, emotional, wishy washy, modernist tempo influenced by naive interpretations of the sonata's nickname. In fact, once I realised that this was the proper tempo, it suddenly sounded brilliant. It suddenly made more sense. The piece feels more like Beethoven to me now. Listening to interpretations like the one you linked makes me now feel like the recording has been slowed down. It's the slow interpretations that no longer feel right to me.
One other reason though to describe why they play so fast is to keep the entire performance under 5 minutes so that it could fit on the early recording, but I know to little about early recordings to affirm that this is true.
7:52 that intense zoom-in on one measure
00:01 16:59 1악장
7:17 22:14 2악장
9:35 24:18 3악장
친절도 하셔라~
I have a question: why does my version of the third movement show SF for the first one and then mp dynamics on the echoed one right after on the emphatic notes at the end of the semiquaver arpeggios???? Is it just an editorial thing or does the original have this?
Hmm, my score has it written exactly like in the Video (Editio Musica Budapest 1959), it might be an Editorial Thing indeed. What Edition of the score do you have? Or is it downloaded from somewhere on the Internet? In the latter case deviations form common publishers' scores are not rare.
Neapolitan chord:
0:16
10:22
10:56
I don't agree B gradually shifted the emphasis from front to back - he always had the last mvmnt as the biggest - right from sonata number 1. but thanks for the scores we can look at...
"Moonlight" is peculiar in that its first movement is slow.
The Boyz
Beautiful sonata.
Pubblicità a due terzi del primo, sacro, movimento! Inqualificabile
what does it mean "Moonlight" (Lortie, Jando)? Part of it is played by Lortie and part of this is played by Jando?
Yes
@@user-eo6yi6xr5t I got it. Louis Lortie and Jenő Jandó
Lortie and Jando are the pianists playing the piece
Is it my bad ears or does the LH not match what's being played, 29:28-30? Something doesn't sound right.
Good spot. Jando is playing from a different (and more authentic) edition, where B. left out a bar and had the scale moving up directly over the syncopated Neapolitan chords.
It’s just a bunch of dissonant passing notes. Ignore them.
9:35
hi im new to piano and i notice that the first note is a sharp but on the sheet music it doesnt say a sharp, if that makes any sense. I know this is correct but i just dont understand why this is
Good question! If you look at the left side of the score, you'll notice four sharps: F-sharp, C-sharp, G-sharp, and D-sharp. They mean that you need to play every F, C, G, and D as a sharp. The first note is a G, so you need to play it as a sharp.