The crazy thing is that you could have 5 more lectures of this length, all presenting completely new information about this sonata. There’s always more to analyze, more hidden wonders and connections to find.
LECTURE NOTES: --------------1st movt: sonata-allegro--------------- 1. There's only one Beethoven piano sonata that starts fortissimo, the "Hammerklavier". Many starts forte. But the majority start pianissimo and mysterioso 2. @6:18 starts in unison with 2 octaves in between for a feeling of danger 3. @6:44 dry leaves being blown by the wind🍃 4. @8:49 bar 14. The fate motif 6. @9:17 the Neapolitan harmony: semi-tone up, the Neapolitan 6th chord which is characteristic in this sonata 7. @11:19 a syncopated way of writing 12/8 8. @13:07 the second subject is closely related to the first, almost an inversion in the relative major 9. @14:18 not a free cadenza, must always feel the pulse. Goosepimple passage~🥺 10. @16:04 start of development, inharmonic modulation: A flat becomes G sharp 11. @19:08 from D flat major we start to climb. Important to follow the baseline. 12. @20:21 we hear the second subject, but the base climbs 2 whole octaves 13. @21:59 the fate motif we heard in pianissimo reappears as an apocalypse 14. @26:48 @27:09 Beethoven plays all the F notes at his disposal. --------------2nd movt: theme & variations--------------- 15. @28:26 in the first 8 bars for the melody, Beethoven only uses 2 notes 16. @29:36 dark sonorities, lower registers of the keyboard, so we hear celli, double basses or trombones 17. a theme & 3 variations + coda. Two tendencies: one from going from darkness into light. Start with larger note values, which decreases by each variation. theme: crochets 1st variation: quavers 2nd variation: semiquavers 3rd variation: hemi demisemiquavers 18. @33:11 after the apotheosis comes an epilogue where he is just using fragments of the theme, putting them in different registers. With Beethoven the piano almost never sounds like a piano. We must always imagine other sonorities. 19. @34:15 end of the movement: brass, woodwinds, celli, woodwinds, 20. @35:14 last note, arpeggio with a fermata. Back to danger. --------------3rd movt: sonata-allegro--------------- 21. @38:42 the Neapolitan transposition in the 1st movement appears again 22. @39:04 we have a seemingly continuous semiquaver motion, but under that we have a sighing sospirando 23. @39:38 as in the 1st movement, the lack of repeats is important. The exposition is not repeated, which is almost unheard of before. 1st movement has no repeat, in this movement the exposition is not repeated. 24. @41:46 a new motif, exactly the same part of the first movement also introduces a new theme. Like a 2-part invention of Bach. Then Beethoven has had enough of this imitation and breaks out in a unison. 25. @42:34 this mirrors the goosepimple passage in the 1st movement. 26. @44:09 he writes 3 sforzando on the Neapolitan
Throughout the first movement, it is very apparent that Schiff was nervous during the lecture (voice seemed rushed and breathless at times, and many uncharacteristic mistakes were made)... He also admitted that his heart was pounding beforehand. Never seen this before from him. This just shows the the tremendous respect he has for this piece. What a legend.
One thing I really love in the general concept of his Sonatas is that there's for nearly each tonality one 'little' Sonata and one large and magnificent Sonata. Es: no. 1 and no. 23; no. 2 and no. 28; no. 9 and no. 30 etc...
I live my life according to Beethoven's music. It's a constant wrestling match between Jacob and God. Should we ever come into contact with an alien intelligent species with the aural sense, I'd argue that it may be necessary and perhaps sufficient to pick a few of Beethoven's pieces to tell them what our human experience is like. My guess is that these pieces transcend time, and they should transcend space as well.
@@SpontaneityJDHe has little things he likes to say in his verbal expositions, masterclasses, and so on. The Schiff Drinking Game is a game where you take a sip of your drink every time he says one of them. 'It's not a Czerny Etude' is a classic example.
@@jwetzel3141 ell as you may or not know there is a certain group of people who are convinced by the whole beat theory (see Wim Winters' myriad videos on the subject). I happen to think it is not right. See John M Gingerich's new book 'Schubert's Beethoven Project' for example where a 2or 3 piece concert is cited (by Czerny or someone) as starting at such and such a time and ending about 1 and a half hours later.
@@militaryandemergencyservic3286 Beethoven's music was "for the people". You cant make it for the people if only the best pianoists can play it. And this is coming from me who can play relatively fast and precise. I believe bach and all classical composer of that era should be played slower, so its intune with 60-110...the tempo of the heart
I think Appassionata is nice, not Beethoven's pinnacle but still pretty good. I can see Gould's point of view, he was a counterpoint man by nature and this sonata doesn't do a whole lot of that in the first movement. I honestly think Waldstein is a far more interesting and rewarding "middle Beethoven" sonata, and I've always wondered why Gould never even mentioned it in his interviews or writings. It's the big elephant in the room when he dismisses much of middle Beethoven.
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The crazy thing is that you could have 5 more lectures of this length, all presenting completely new information about this sonata. There’s always more to analyze, more hidden wonders and connections to find.
LECTURE NOTES:
--------------1st movt: sonata-allegro---------------
1. There's only one Beethoven piano sonata that starts fortissimo, the "Hammerklavier".
Many starts forte.
But the majority start pianissimo and mysterioso
2. @6:18 starts in unison with 2 octaves in between for a feeling of danger
3. @6:44 dry leaves being blown by the wind🍃
4. @8:49 bar 14. The fate motif
6. @9:17 the Neapolitan harmony: semi-tone up, the Neapolitan 6th chord which is characteristic in this sonata
7. @11:19 a syncopated way of writing 12/8
8. @13:07 the second subject is closely related to the first, almost an inversion in the relative major
9. @14:18 not a free cadenza, must always feel the pulse. Goosepimple passage~🥺
10. @16:04 start of development, inharmonic modulation: A flat becomes G sharp
11. @19:08 from D flat major we start to climb. Important to follow the baseline.
12. @20:21 we hear the second subject, but the base climbs 2 whole octaves
13. @21:59 the fate motif we heard in pianissimo reappears as an apocalypse
14. @26:48 @27:09 Beethoven plays all the F notes at his disposal.
--------------2nd movt: theme & variations---------------
15. @28:26 in the first 8 bars for the melody, Beethoven only uses 2 notes
16. @29:36 dark sonorities, lower registers of the keyboard, so we hear celli, double basses or trombones
17. a theme & 3 variations + coda. Two tendencies: one from going from darkness into light.
Start with larger note values, which decreases by each variation.
theme: crochets
1st variation: quavers
2nd variation: semiquavers
3rd variation: hemi demisemiquavers
18. @33:11 after the apotheosis comes an epilogue where he is just using fragments of the theme, putting them in different registers. With Beethoven the piano almost never sounds like a piano. We must always imagine other sonorities.
19. @34:15 end of the movement: brass, woodwinds, celli, woodwinds,
20. @35:14 last note, arpeggio with a fermata. Back to danger.
--------------3rd movt: sonata-allegro---------------
21. @38:42 the Neapolitan transposition in the 1st movement appears again
22. @39:04 we have a seemingly continuous semiquaver motion, but under that we have a sighing sospirando
23. @39:38 as in the 1st movement, the lack of repeats is important. The exposition is not repeated, which is almost unheard of before. 1st movement has no repeat, in this movement the exposition is not repeated.
24. @41:46 a new motif, exactly the same part of the first movement also introduces a new theme. Like a 2-part invention of Bach. Then Beethoven has had enough of this imitation and breaks out in a unison.
25. @42:34 this mirrors the goosepimple passage in the 1st movement.
26. @44:09 he writes 3 sforzando on the Neapolitan
Throughout the first movement, it is very apparent that Schiff was nervous during the lecture (voice seemed rushed and breathless at times, and many uncharacteristic mistakes were made)... He also admitted that his heart was pounding beforehand. Never seen this before from him. This just shows the the tremendous respect he has for this piece. What a legend.
Brilliant, as always. He’s a great teacher as well as pianist, and both come out of one another.
Couldn’t agree more with his opening comments about this sonata
@Jerome Neita Che?!
어떤 분이 베토벤소나타는 '음악의 신약성서이다' 라고 하였다. 오늘 이 강의를 통하여 그것을 깨달을수 있었다. 너무 감사드린다.
thanks for uploading this fantastic lecture, and Schiff plays it so well it's divine
Thanks! They are all back!!!!
Schiff is a genius!
Thank you for uploading!
Please upload all of them! They great!
I have 🙂 see description for the full playlist + downloads
Thank you so much for your enormous engagement, it is really magnificent!
Thank you so much! This is priceless: Schiff lecturing about all of Beethoven ‘ s piano sonata. Muito obrigado!
One thing I really love in the general concept of his Sonatas is that there's for nearly each tonality one 'little' Sonata and one large and magnificent Sonata.
Es: no. 1 and no. 23; no. 2 and no. 28; no. 9 and no. 30 etc...
What is little about no.1 mvt 4 😮
@@lucifervalentine5406I mean, as great as Op. 2 no 1 is, it's definitely "little", compared to the Apassionata at least.
Excellent explanation!
Great talk. The Appassionata could well have been a concerto !
Grazie Maestro.
I live my life according to Beethoven's music. It's a constant wrestling match between Jacob and God. Should we ever come into contact with an alien intelligent species with the aural sense, I'd argue that it may be necessary and perhaps sufficient to pick a few of Beethoven's pieces to tell them what our human experience is like. My guess is that these pieces transcend time, and they should transcend space as well.
Mvmt III 35:15
It's not a Czerny étude 36:00
A classic in the Schiff Drinking Game.
@@edmoore drinking game ?
@@edmooreque? lmao
@@SpontaneityJDHe has little things he likes to say in his verbal expositions, masterclasses, and so on. The Schiff Drinking Game is a game where you take a sip of your drink every time he says one of them. 'It's not a Czerny Etude' is a classic example.
5:13
Glen Gould cannot fathom why this sonata is so popular. The great pianist doesn't like it. This one does.
Glenn didn’t know how to play it. Comments disabled for Gould’s recording of it for good reason. :-)
@@jwetzel3141 ell as you may or not know there is a certain group of people who are convinced by the whole beat theory (see Wim Winters' myriad videos on the subject). I happen to think it is not right. See John M Gingerich's new book 'Schubert's Beethoven Project' for example where a 2or 3 piece concert is cited (by Czerny or someone) as starting at such and such a time and ending about 1 and a half hours later.
@@militaryandemergencyservic3286 Beethoven's music was "for the people". You cant make it for the people if only the best pianoists can play it. And this is coming from me who can play relatively fast and precise. I believe bach and all classical composer of that era should be played slower, so its intune with 60-110...the tempo of the heart
I think Appassionata is nice, not Beethoven's pinnacle but still pretty good. I can see Gould's point of view, he was a counterpoint man by nature and this sonata doesn't do a whole lot of that in the first movement.
I honestly think Waldstein is a far more interesting and rewarding "middle Beethoven" sonata, and I've always wondered why Gould never even mentioned it in his interviews or writings. It's the big elephant in the room when he dismisses much of middle Beethoven.
@@stapler942 “ Nice” is definitely not the right adjective to describe Appassionata.
Aa