Beethoven: Sonata No.4 in Eb Major, Op.7 (Korstick, Lewis)
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- Опубликовано: 23 июл 2024
- If you had to name 2 sonatas to demonstrate B.’s mastery of the classical large-scale sonata, they would be this one and the Op.22 - both sonatas which are overlooked because, while original, they don’t have the sort of brazen, goggle-inducing originality we have come to associate with B. In fact, there are some ways in which the Op.7 is less tuneful and pianistic than its three brilliant predecessors, or even the Op.22 - but only because the Op.7 demonstrates B. for first time running right up against the limits of the classical sonata and feeling a bit unfulfilled or restless, imagining possibilities beyond what the instrument and form could achieve at the time.
For a start, Mvt 1 isn’t really written for the piano - it has become almost an archetype of orchestral writing for piano, with elements like an repeated Eb in the brass and themes (so, so many of them!) composed mostly of scales and arpeggios rather than melody over accompaniment. Mvt 2, with all its long pregnant pauses and high woodwinds (and an impossible crescendo written over a single held chord), has an orchestral feel but also a rather late-B. solemnity to it, and counts as one of the most moving things B. ever wrote. Mvt 3 is neither a proper scherzo nor minuet (it’s tuneful like the latter, but also playful and abruptly dramatic in the manner of the former), and B. coyly writes only “Allegro” at its beginning and “Minore” at the middle section. Mvt 4 is where the orchestral manner dies away fully, but neither is it a conventional rondo: there is a surprising amount of continuous motivic development and internal logic here, a wonderful “floating” passage at the end where a Bb ascends to a B, signalling a shift from Eb to E(!), and a coda whose feeling of warmth and generousness disguises the fact that it’s a modification of the stormy second episode.
MVT I, Allegro molto e con brio
EXPOSITION
00:00 - Theme Group 1, Theme 1. The opening figure in the RH (G-Eb) is M1
00:15 - TG1, T2 (imitative scales)
00:22 - Transition, using M1
00:30 - Dominant preparation
00:37 - TG2, T1
00:53 - TG2, T2. The opening legato figure is developed vigorously, eventually broken into descending quavers that lead into a diminished 7th that resolves abruptly into C
01:14 - TG2, T3
01:41 - TG2, T4, over tonic pedal coloured by minor 9th
01:57 - TG2, T5 (cadential theme)
DEVELOPMENT
04:12 - M1 on V of (ii)
04:16 - TG1, T2, moving into F min
04:27 - TG2, T5, eventually reduced to just its rhythm
04:42 - M1 in A min, with a new ominous figure following. Moves into D min. M1 then announces the aug 6th chord, which also happens to be the dominant of Eb.
RECAPITULATION
05:02 - TG1. T1 is now diverted into subdominant at 5:16, and a modified version of T2 follows
05:32 - TG2
CODA
06:58 - TG1, T1
07:08 - TG2, T2, eventually descending in bass
07:23 - TG2, T5
07:35 - Final cadence, using M1, but now the accent, where it was “wrongly” placed on M1’s first chord, has been shifted to the second.
MVT II, Lento con gran espressione
07:49 - Theme. Note the extensive use of dramatic pauses
10:41 - Middle Episode
13:37 - Theme
16:20 - Coda (with elements of recapitulation), using theme from Middle Episode which diverges quickly into a sequence. At 16:50, tonic-dominant swing, developing dotted figure from 2nd bar of the theme. At 17:20, new cadential theme is introduced, after which bass descends chromatically while the Theme above closes.
MVT III, Allegro
18:10 - Scherzo, which continuously recycles motifs from its first 4 bars’ RH. (See 18:23, the middle strain, 19:29). The return of the first strain moves into B maj, surprising harmonic territory.
20:46 - Trio. At 21:31, codetta, ending with a rare ppp mark
21:41 - Scherzo
MVT IV, Poco allegretto e grazioso
23:00 - Theme, containing M2 at 23:17 (demisemiquaver arpeggio, then Eb-D tail)
23:33 - Transition, using M1. The tail of M2 is developed and isolated, turning eventually into another figure in the bass at 23:48, and dominating the texture that follows.
24:09 - Episode 1
24:35 - Theme
25:03 - Episode 2. The LH accompaniment (which eventually reaches the RH) and the initial RH chordal theme constitute M3 and M4 respectively.
26:41 - Theme
27:14 - Transition into (ii) instead of the earlier (vi)
27:52 - Episode 1
28:16 - Theme
28:44 - Coda. Home dominant raises a semitone (beautifully and misleadingly mimicking the transition into Episode 2 at 24:59) and then the main theme enters in E. The 3rd bar of the theme is repeated, ushering in a remarkable modulation back into Eb. At 29:06 Episode 2 is recalled, with M3 in the LH softened into arpeggios, while M4 in the RH develops into a gorgeous closing melody. The final bars contain an allusion to the tail of M2. 
Видеоклипы
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Korstick:
00:00 - Mvt 1
07:49 - Mvt 2
18:10 - Mvt 3
23:00 - Mvt 4
Lewis:
29:45 - Mvt 1
38:15 - Mvt 2
46:25 - Mvt 3
51:55 - Mvt 4
Korstick revels in the opportunities for creating orchestral soundscapes that this sonata offers: the chords at 1:12 are driven so hard they become masses of pure noise, 1:41 has a hair-raising quality to it, like a tight violin tremolo over a crushing & syncopated single brass note, and the accents are sharp & stinging. Mvt 2’s tempo gives it a glacial-lake stillness, Mvt 3's outer sections are pleasantly naïve, occasionally rising into orchestral richness (20:38), while the trio throbs with menace. The catharsis of the final pages of the last movement is so intense it’s almost physical. Lewis milks the sonata for its grace and lyricism, and happily using generous rubato in the first movement to tease apart its diverse themes. Mvt 2 has a childlike expressive ease, and Mvt 3 is almost lullaby-like. The final movement is all warmth and sunshine (except for the second episode, of course), the coda’s shift into E major is played at a hair-raising pianissimo, and the dynamic of the final passage dies down movingly, with perfect control.
Ashish Xiangyi Kumar this sonata is sort of a "little Hammerclavier", moreso than opus 22. That opening movement, like that of opus 106 is an explosion of energy; its tarantella rhythm and drive are compelling. And the gorgeous slow movement foreshadows the epic slow movement in op. 106, with its rhetorical, Romantic sweep.
This sonata is one of the master's most difficult, but it's still been almost criminally neglected.
1
@@timothythorne9464 Yes. In fact, compare the opening bars with the opening of the Hamnerklavier. Different rhythm, similar idea, with the descending thirds...
The first movement is a lot of fun, very exciting, and very tendonitis.
very tendonitis? why? it is easy. huh?
Lol😂
Spent a couple months trying to learn it. Can confirm.
It's difficult, but I actually think it fits with the hands pretty well, and it's a lot of fun to play.
I actually got tendinitis now in both forearms. How do you prevent it?
This channel is unique and special. As a professional musician I applaud the expert and sensitive curating. The synchronized scores have given me a new appreciation of these works. The sound quality is excellent. Thanks
I agree
Agreed! 👍🏻👍🏻👍🏻👍🏻👍🏻
Fully agree, many thanks for the excellent description!
*Thumb of approval*
if this piece is 1 hour, then the editing should be more than 1 hour just to make the scores synchronized.... wow.... deserves a lot more of likes and subs
This is one of my favorite sonatas from him. That first movement has so many things going on in harmony it is so wonderfully written (and wittifully if you play it or studied the score ) and hits you like a wave every single time you listen to it.
I keep coming back to this. I'm always amazed at how Beethoven can be so imaginative with so much variety -such smooth transitions between the different themes all within the context of four measure phrases. I guess the four measure phrases gives the listener a sense of structural planning, symmetry and architecture.
STOP BEING SO GOOD BEETHOVEN!
In my opinion, the great Ludwig Van Beethoven surpass perfection.
And Lewis! I can't stop listening. And I should do accounting ... :(
For me the greatest composer and pianist, maybe bach or chopin were better but for my taste he is the most artistic, ingenious and virtuoso both as a composer and pianist, in the end, the most complete of them all
@@davidpardo7878 chopin sucks
@@GUILLOM I think as an artist maybe he does
Lewis' 2nd movement was so touching. It actually made me feel lonesome and a weird sense of longing. I almost teared up.
The 4th movement was also very melancholic.
I absolutely love Korstick's recording (first one). I listen to it like every day. The first movement is so energetic and has that Beethoven power "UMMPH" that I think so many people miss! 5:15 to 5:26
Malcolm Alejandro Thompson it's pretty impressive. The whole first movement is a thrilling carnival ride, a rollercoaster of ups and downs
The trio of the scherzo movement of this sonata and the 3rd sonata bring such a breathtaking feeling, it's incredible.
20:46 I can't stop listening to this incredible Trio!
T. Alexander E. It's almost ghostly in its evocations. It's a perfect foil to the naïve, somewhat Mozartean menuetto.
Yeah! It sounds like a thunderstorm.
Could be Schubert
@@jamjam9253 Klavierstück D. 946 No. 1 :)
Плохое место. Если ты дурак то слушай. Если умный переходи на Моцарта
Holy sheeet the coda in the last movement is surprisingly beautiful
It's so heavenly beautiful in my opinion
The only thing I know is where it gives me goosebumps and where it makes me cry. E.g., 58:55 from Lewis’ dives me to tears and I cannot stop coming back to it.
Anyone here because they're trying to get to know all 32? I've listened through them all multiple times but I always forget the less known ones. Now I'm trying to get a feel for each one of the 32
well I read through the first 11 at the piano less than a week ago (took me about 6 hours), so maybe I'll eventually do it with all 32 haha
Me too. I'm listening to the early ones for the first time (that I remember). I love the first 3. This one is taking longer to become familiar.
James Hakai there's no reason whatever this sonata remains obscure. It's brilliant and totally accessible, from the energetic tarantella first movement, to the haunting Largo, to the Menuetto with its roguish Trio, to the heavenly finale. The whole sonata is a musical tour de force and should be performed more often.
@@timothythorne9464 I wholeheartedly agree, which is why I've began to study this sonata just today. Just learned the first page and so far it's incredibly fun to play. Wish me luck
James Hakai I'm happy you find it incredibly fun to play. I practice this sonata almost every day because I love the music, but I find it incredibly difficult to play, especially at the tempo indications of the composer (132 b/m, per dotted quarter). The chromatic runs are to be executed at glissando-like speed, and the descending harmonic minor scales in the development are extremely difficult to perform at tempo.
4:42 this always gives me the chills idk why
Потому что ты лох и не разбераешься в музыке. Слушай Моцарта
20:45 the best trio ever written in Beethoven's *early* sonatas
Говно. Для школьников. Слушай Моцарта
Could almost be by Schubert - the middle section of 'Der Lindenbaum'.
I really appreciate you for re-uploading all those sonatas. It seems that Bavouzet didn't like to hear himself in your videos. Actually I think you help him and others to become more central in today's piano world. I never heard about many of the wonderful musicians who are explored here until I got across your channel. I think many people are stuck in their mind with old-generation classical undoubtedly great pianists, but you show that there is a whole new generation of outstanding pianists that are not less capable and sometimes give new fresh interpretations to the well-known pieces. Next time I buy a CD or any other format I will be aware of Bavouzet, Jumppanen, Yokoyama and Korstick not less than Brendel, Gilleles, Richter and Arrau. And this is thanks to you!
That's wonderful to hear! Bavouzet's set really is excellent: he's the only pianist I know who takes such a clean, natural approach to the 32, and it pays off incredibly well.
I know this is almost a year old, but I just found this series and am so happy to have learned about Korstick. I've purchased several of his recordings
Wowoowowowowowow!!!!!!!!!!!it is power of computer!!😆😆😆😆
After hearing Jumppanen sonata no. 3 i'll never overlook him--although I prefer the biret overall, jumppanen has some incredible moments in that sonata which biret does not match.
20:46 and 25:03 Absolutely stunning moments where the piano just errupts into these intense passages. Also, the fourth movement has one of my favourite themes.
Thanks for introducing me to Korstick, he does a superb job here. By far the best recording for me...
Second movement has so much going on in terms of chord changes, rhythms, different ways of presenting the theme, dynamic variation. I agree, it is more effective and understandable with Lewis. It is possible to keep a count either 3 beats or 6 beats. It is impossible to do that with Korstick. It is such an interesting movement and it can get boring if slowed down too much.
been waiting for this one! I love the op. 7, and it's seriously underrated. One of the most beautiful slow movements LvB ever wrote. I also think the first movement is the most difficult movement in a Beethoven sonata until the Waldstein (although the first and last movements of op. 2 no. 3 are pretty close). Those leaps, octaves, scales and tremolos make for a daunting challenge. Korstick, in particular, really brings his top game to this sonata.
Tim Ward I really don't get your thesis why the first movement should be that hard. For me, it actually is technically easy.
really? You're probably a better pianist than I. I have trouble with the fast 16th-note runs, the tremolos, the descending octave passage in the RH at the end of the development, and the sudden changes in dynamic volume which can be hard to bring off.
I'm looking to learn this Sonata. Is the first movement really that much harder than the fourth? How so? The section in c minor of movement 4 seems a little daunting to me
I've never heard of Korstick, but his interpretation of this magnificent sonata is one of the best I've ever heard.
Tim Ward the final movement is another warm, beautiful cantabile style that Beethoven excelled at (also the finales of op. 2/2, op. 22 and opus 90). Again Beethoven uses the Neapolitan mode to perfection in the restatement of the theme in the coda of this movement.
Lewis's fourth movement is pure magic.
Daniel Endean Beethoven funded this movement with a wealth of imagination. This rondo movement alone is sort of a representation of Beethoven's whole piano style, in miniature: the wonderful dolce, cantabile passages throughout the outer sections, the turbulent, angry, almost violent middle section, the most beautiful coda in all Beethoven before opus 106, with the Neapolitan shift of the main theme to E major, and the final synthesis of themes at the end, in a cantabile style that Schubert could only envy.
After sightreading through it a couple times, this Sonata has become one of my favourite things by Beethoven.
Same, and it is really fun to play!
28:56 "... in the finale of Op. 7, bar 161 is a [seemingly] violent way out of the consequences of a most beautiful and legitimate adventure." Donald Francis Tovey, A Companion to Beethoven's Pianoforte Sonatas, Revised edition 1998, The Associated Board of the Royal Schools of Music, P. 282.
A great piece for sight reading practice!
Are you a concert pianist or just dont understand the difficulty of this?
you took the bait 😂💯💯💯💯💯 @@yougraj
Sounds fantastic
Thanks Beethoven for all your marvelous compositions
The second movement is gorgeous!!!
Esta sonata es pura magia, deleita los oídos. Que viva la música de este gran artista
Love being able to read along with the playing. It adds more meaning as you observe all the accents breaks and staccato etc. No wonder it has over half a million views.
Of this sonata Beethoven was especially proud, despite somewhat lacking in "dazzling" and "brilliant" moments.. I think that's because of the mastery of more classical forms and its sheer scale and grandness.
If you are here from Hermann Freisinger's suggestion in COD Vanguard you are a legend. I can clearly see he has a good taste in music. It is exquisite and deserves his full attention .
So grateful ❤️
Korstick's interpretation is just epic!
Oh wow! Thank you for all the Beethovens! Now I have catching up to do cold winter mornings with coffee!
Great outline and analysis. Thanks for the hard work.
This Sonata remains in the front line with those of the 'third period' for its challenging grandiosity!🤗🎼
Ah I love this Sonata so much!
Love this!
Lewis is my new favorite for Beethoven sonatas.
Amazing piece!!!🎉❤
This pianist is brilliant. The movement 2 is so slow though- like 20bpm. Largo is usually like 50...
thanks for all the info and the time stamps
Ellice Amendolare i think he played it in 50 bpm
25:03 this part omg 😶 beautiful
How come when I played it....it was a lot slower?
This is my favorite Beethoven piano sonata after #21, the Waldstein. For here as in the Waldstein Beethoven has his best balence of melody, harmony & form in music. For he csn often be rough & crude unlike Joseph Haydn whom Beezhoven outlived only for about 11 years.
Beethoven outlived haydn for 18 years
This sonata is splendid from capo to finale. the second Movement is full of emotion the third movement Then ? look at this bro 20:45
Actually the exposition of the 1st movement is the structure of basically the whole sonata. 1st part (00:00) in e flat major is the first movement, the part in c major (01:14) the second, and the e flat minor part (01:41) the trio of the third movement
Also the first notes in each unit of 6 notes in tg2 theme 4 ( b flat c flat b flat a flat at 01:42) is the inversion of that in the trio of the 3rd movement (g flat f g flat a flat at 20:46)
25:03 prettttty coooll
THE VIDEO IS BACK YAY
19:49 Extreme closeup!
The Theme of the rondo was definitly an inspiration for Schumann's 4. symphony. Very interesting, hope somebody can confirm that.
0:22 - 0:36 --> Parte de progresiones militares
1:25 - 1:41 --> Parte heroica
1:41 - 1:56 --> Parte cromática
This masterpiece is so incredible, Kortsick does it really well especially on the final movement, you can really feel a furious roar through the final movement, I do not know why but it was once upon a time blocked for me and it was incredibly frustrating, I am so glad it came back! I really like each of Beethoven's piano compositions, and I am really grateful to you for uploading such marvelous pieces, I have a question if you do not mind though, do you plan to eventually upload the three kürfurst sonatas woo 47 and two sonatas woo 50 and woo 51? Because they are still part of Beethoven's masterpieces like any one his works in my opinion, I also wonder, since you have uploaded the 32 variations woo 80 and 33 variations op 120, will you upload more sets of variations such as the 15 variations op 35, I do not think you will upload bagatelles though I would like, especially the bagatelle op 77, neither any rondos, not that I mind since I have found good records of each of his piano compositions, but if ever you do I will forever be extremely grateful to you although I am already, since you find really brilliant pianists and give very great analysis, I could not ever describe these any better, by uploading such brilliant works you motivated me to listen to every compositions of Beethoven and to become a pianist myself and I compose every single day now though and it feels really great, thank you very kindly dear sir for making my life full of wonders :).
Happy birthday Beethoven!
Beautifully underrated
Downloading this kind of stuff is cultural charity. I did not remenber how good this was. I currently listen operas of Rossini and the spirit of especially first part is similar to him.
Lewis is a Beethoven interpreter by all means!
good good very good!
Something I just noticed: the rushing trio in the 3rd movement ends on an open fifth, instead of an e-flat minor triad; I wonder if LvB did that to set up the return to the major key in the A section while leaving it tonally ambiguous.
This is a good beginner piece recommended for tendenitis.
Tendenitis patient here, can confirm i played this as a beginner
Hey Ashish I would be interested in your thoughts on the Liszt etudes vid I just made. They are played by Bertrand Chamayou and in my opinion, it's a gem...
No se cual Sonata me gusta mas ,este primer movimiento esta bello .Gracias ,buendia
It’s a little jazzy I love it 👋
Thank you for the analysis. It made me a better musician,I guess. :))
This is a "southpaw" sonata, a work for left handers. Beethoven was left handed and probably did this out of humour/hubris towards all the right handed thinking/playing then, and since. (And at 26 years of age.)
Paul Lewis performance does it for me
Paul Lewis is such a good player!
This is how Beethoven rocked it out back in the day!! When people play this they need to make sure they really pound those chords like Korstick!!! 1:09 to 1:15
Malcolm Alejandro Thompson even in the Largo, near the end, the quiet, placid music unexpectedly explodes in a fortissimo blast. Beethoven...was the first rockstar.
@@timothythorne9464 Beethoven was definitely one of the first rockstars, but not the very first rockstar.
In the heroic keynote.
Finyally this video is aviable again 😃
20:50 sounds like the Moonlight Sonata if you play it slowly.
This sonata was mentioned in call of duty vanguards campaign. Which is why I'm here
I love Lewis 4th movement, that is how it works best for me ❤ (for you too?)
Fun fact: A czerny Etude was based off of Theme Group 2 Theme 4 (The Etude is op 740 no 15 extension with great strength)
Only Op 5 but so roller coaster
Where can I buy this recording? :D
20:46 this part vaguely reminds me of Alkan...
20:46 Trio in e-flat minor
9:29 10:41 11:07 11:34 16:45
The other early grand sonata is Op. 10 no. 3
This was my London College of a music Diploma piece final exam atblue coat chambers liverpool in 1984. I only played half and the examiners stopped me. I was gutted but the adjudicator told me later they do that when they know you can play it. I passed.
Which is your favorite early Beethoven's sonata and why?
Op. 10/3. Because of the energetic opening movement and above all the tragic and powerful Largo. Close behind is op. 26 and this one.
Definetely op. 2 no. 3
So beautiful, yet dragic in some points. I love the Energy
First 8 bars of second movement ♥
The trio sounds like Schubert.
i am currently working on this piece
Good luck!
K
movements 1-3 just make so much more sense at 1.25x speed.
Muito subestimada... ;-;
Anybody else hear Ave Maria in the opening theme of the 2nd mvt? I think Bach was not the only composer Schubert was inspired by when he wrote that.
En el minuto 25:39 de esta Sonata (en el tercer movimiento) hay un motivo que es casi idéntico a uno que hay en el desarrollo del primer movimiento de la Sonata op 14 no 2 que se encuentra aquí, en ese video (minuto 4:20):
m.ruclips.net/video/fQqNsTUvqCY/видео.html
Que curioso...
7:48 for remind
You mentioned Op. 7 and Op. 22 as evincing Beethoven's mastery of the large sonata form, but I would include Op. 10, No. 3 as well - very much so - and also one of Beethoven's very own favorites, which he loved to play and needed no persuasion to do so - Op. 28, a very underrated work, by the way. Along with those, I might actually on further reflection include Op. 2, No. 3.
What are your thoughts?
op 2 no 3 is definitely one of my favorites 😃😃😃
Mine too! However, there are (inevitably) some sonatas that I do not consider all that fine; for example: Op. 27, No. 1; Op. 31, No. 1; Op. 54; Op. 79 (despite a lovely middle movement). But as a matter of fact, I feel that some of the movements in Bach's WTC are not quite up to his best standard either.
@@alger3041 When someone writes 48/32 consecutive pieces in sets, you don't actually expect you'd enjoy each and every one, do you? xD
Of course not. But when I hear people proclaiming that each and every one of these is a towering masterpiece, equating the two collections to the Old Testament and the New Testament, I do raise my eyebrows.
It is those who make such comments that I question. As you rightly say, no one can realistically expect each and every one of those to be landmarks, although one can say that a good many of them can be so described but by no means all.
Even Mozart cannot and should not be described as impeccable perfect all the time.
Composers being only human will nod on occasion. However, it should be pointed out that all of this has nothing whatever to do with the subjective reception of such works.
@@alger3041 Define "towering masterpiece". Let us take the 9 symphonies for example. It is fairly obvious they are not in the same league. You cannot compare the 1st symphony with the 6th for example. The 6th is a much more well thought out, much more impactful and melodic, overall beethovenian symphony. But isolate the 1st symphony and imagine it's the only one. Is it not a masterpiece (unless you dislike classicism and prefer romanticism or baroque)? On its own it's a masterful symphony. That is why I generally avoid comparing pieces
0:30 is mysterious and fuzzy. 1:56 is so rhysmical.
gut
💗💗💗💗💗💗
56:03
fwoo!! big ass sonata wow
21:00
Which key is minore in third movement ? 😣
@@teacoffee42 ....that is the parallel equivalent to e flat major!😉🎼
The breathing is funny in Lewis' recording
I played this one about 40 years ago. I was 14. My teacher wouldn't give me the popular ones. I always thought Beethoven's earlier sonatas were very similar to Hayden.
Maybe your teacher was sick of hearing the overplayed ones 😂
@katttttt probably, plus it probably assured her, I'd have to read it to play it. I guess for teachers it gets like the poor sales guy working in guitar center hearing everyone butcher Little Wing lol
What difficulty is the third movement?
2nd movement