Beethoven: Sonata No.15 in D Major, "Pastoral" (Lewis, Biss)
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- Опубликовано: 29 июл 2024
- The 15th Sonata is B. at his most beautiful: a thing of touching and generous serenity that's nonetheless put together with a lot of skill and subtlety. Mvt 1 is notable for its timpani-like bass drone (which first pretends to be the dominant of G), murmuring like a heartbeat, and for the development, which builds into fury by radically compressing the sonata’s first theme and features 38 bars of unchanging harmony that does not(!) lead to the recapitulation. Mvt 2 begins in stately, profound sadness, and only grows in intricacy as it progresses: honestly, it’s just one of the loveliest things B. wrote. Mvt 3 trades on contrast between long and short notes, and its trio is just the same melody 8 times, though you wouldn’t even notice it, so cunningly (and subtly is it transformed) each time. Mvt 4 is a gently rolling rondo, warmly whimsical in a naïve sort of way. It’s also the first time B. writes ‘ma non troppo’ in any work.
MVT I
EXPOSITION
00:00 - Theme 1. Melody over tonic pedal, with A-D-E-F#-G-F# motif (Motif A) at m.7.
00:41 - Transition Theme. Motif B at mm.41-42.
01:04 - Theme Group 2 (TG2), Theme 1
01:20 - TG2, Theme 2. Long cantabile melody, moving from dominant of (iii) to (V). Bass hovers first around C#, then B, which becomes the dominant of (V).
01:43 - TG2, Theme 3
01:50 - TG2, Theme 2 reappears, still in (V)
02:06 - TG2, Theme 3, extended
02:16 - TG2, Theme 4 (cadential theme). Note rhythmic anticipation of the Scherzo.
DEVELOPMENT
05:27 - Movement into G maj
05:32 - Theme 1 in G
05:42 - Theme 1 in G min, with ornamentation
05:49 - Motif A in RH, with bass counterpoint that partially draws on TG2 Theme 3’s rapid descending scales. Switches into D mi, with Motif A moving into bass. Motif A is broken up, and its tail is increasingly integrated into 2-part invertible counterpoint in 2-bar groups that moves through A min till:
06:11 - Motif A in RH now reduced to a single bar, while counterpoint in bass continues. Treble rises through E min to B min, closing eventually onto
06:22 - 38(!) bars on the dominant of B min, extensively using reduced Motif A in contrary motion
07:00 - After pregnant pause that must lead back to the recapitulation, we instead get TG2 Theme 4, now with new rhythmic angle, and Motif B from the transition smuggled in at 07:03. B maj to B min, then pause on Motif B as question on home dominant.
RECAPITULATION
07:25 - Theme 1. At the melody’s repeat, the ornamentation from the development section is included. Another lovely touch is how TG2 Theme 3’s descending scale is incorporated into Theme 1 at 8:03.
08:07 - Transition Theme, answered in tonic instead of enhanced dominant (8:11)
08:32 - Theme Group 2. The cadential theme is extended by 2 bars.
CODA
10:13 - Theme 1, its last 2 bars insisted on 4 times, with an interspersed note rising up the tonic chord till it reaches the D. The bass drones on till it too reaches a solitary D, and then final cadence.
MVT II
A SECTION
10:45 - Melody 1, closing on A minor
11:35 - Melody 2
12:01 - Melody 3 (variant of Melody 1)
12:19 - Melody 2 & 3 repeated
B SECTION (TRIO)
13:03 - 16-bar melody in 4 groups of 4. First section ending in dominant, second passing through subdominant to end in tonic
A SECTION
14:31 - Melody 1, repeated at 14:55 with demisemiquaver accompaniment, and legato emerging in bass for first time
15:17 - Melody 2 & 3, unaltered, then repeated at 16:02 with demisemiquaver variation
CODA
16:42 - First bars w/o accompaniment, with harmonic modifications
17:06 - Allusion to Trio. Triplet descent lengthened into descent down dominant 9th, then a stark 4-bar close.
MVT III
SCHERZO
17:59 - Idea 1: 4+4 in tonic, 4+4 in dominant
18:22 - Idea 2: Rising sequence, reaching dominant, before Idea 1 returns
TRIO [incredibly elegant, almost minimalist construction - same melody heard 8 times!]
19:19 - Idea 3 repeated twice in B min, second time modulating to D maj
19:29 - Idea 3 reharmonised in D maj, then returning to B min
19:34 - Idea 3 yet against reharmonised, with rising contrapuntal bass
SCHERZO
19:38 - Repeat, with initial F# sounding as dominant of B min
MVT IV
20:32 - A: MAIN THEME, D maj
20:57 - Transition
21:15 - B: EPISODE 1, A maj, with imitative entry
21:38 - Cadence Theme
21:51 - A: Main Theme, with new counterpoint in mm.5-6
22:17 - C: EPISODE 2, G maj
22:35 - New theme in double counterpoint, with added theme in lower thirds. Builds in intensity, moves into G min, and bass voice enters in D min
23:08 - Prolonged dominant, reminiscent of EP 1’s Cadence Theme
23:30 - A: MAIN THEME
23:55 - Transition, diverted at 6th bar into home dominant
24:18 - B: EPISODE 1, D maj
24:43 - Cadence Theme
24:56 - A: CODA. Bass of Main Theme with syncopated chords, eventually rising chromatically at 25:11 over dominant pedal, then descending and ending in a flourish based on Transition (with dramatic pauses).
25:38 - Bass of main theme, with brilliant figuration in RH, then 4-bar flourish to close 
Видеоклипы
Lewis:
00:00 - Mvt 1
10:45 - Mvt 2
17:58 - Mvt 3
20:32 - Mvt 4
Biss:
26:05 - Mvt 1
35:59 - Mvt 2
42:26 - Mvt 3
44:53 - Mvt 4
Lewis takes a warm, richly lyrical approach to this sonata, smoothing away some of its sharper edges and adopting generally broad tempi: the result is a compellingly rhapsodic, tranquil interpretation, the sort of thing you can close your eyes and let yourself sink into (though in the development of the first movement and portions of the last there is real dramatic sweep). Biss has a more jaunty approach: the sfzs in the first movement assert themselves a bit more, the melodies are less expansive and more vocal; the second movement seems almost like a march; and while some pianists (like Lewis) ignore the microscopic slurs at 42:30, and some articulate them as actual slurs (Bavouzet and Barenboim, Goode very subtly), Biss instead shortens the first beat of each bar to wonderful humorous effect (note also the surprising changes of timbre in the Trio). And in the last movement he brings a wonderful translucency to contrapuntal passages, such as at 46:43, and pays scrupulous attention to B.'s instructions re articulation and dynamics.
One other thing about the sonata I didn't have the space to mention in the description: there's some motivic cleverness going on in here, centered around two archetypal "Pastoral" devices: the repeated note, and the 5th.
Repeated notes: The first movement has the repeated Ds in the bass, the second has repeated Ds in the RH at 11:16, the third opens with four repeated notes, and the last movement has that drone alternating between a D and a rising dominant-tonic movement.
5ths: The first movement's first theme features a falling 5th (A to D), as does the second movement's (after an initial D). The Trio of the third movement repeats a melody that basically outlines a F# to B fall, and the RH in the last movement enters with an embellished A to D descent in its upper voice (not to mention the falling A to D in the LH which opens the movement.)
caramelos de calabaza.
The differences in tempo chosen by different pianists are amazing, especially in the first two movements. In the first movmente Lewis and Lortie are very slow (10:45) but Gilels is even slower (12:11). For me this doesn't sound cheerful/lively (i.e. Allegro) anymore. Pollini is too fast making the fast notes blurred (as is more often the case with Pollini). Biss offers the best "compromise". However Biss is too fast in the 2nd movement (6:25): it's like B is in a hurry and wants to end the "promenade" asap. Again Lewis and Lortie are slower (7:10), Pollini a little bit slower (7:22) but Gilels is again very slow (8:38). This starts sounding not like loving nature but being bored by nature. With Lortie B seems to hesitate constantly where to go. So my favs are Lewis and Pollini. This shows how difficult it is to find one pianist whose interpretations are your favorites for all or most sonatas.
Weird how after Beethoven 2 best known works there are this masterpieces with the same name
If any composer had written only this one sonata and nothing else, he would have justified his right to lasting fame and celebration. Yet this was the standard of mind-blowing excellence oft repeated by the amazing Beethoven in many of his other sonatas.
I'm listening to this sonata for the first time in my life on the day Russia has stepped into the Ukraine.
Beethoven's genius in this beautifully benign, simple and gentle music has calmed my worries and anxious heart.
I thank God for the miracle of this great music which gives us strength, hope and light.
This sonata is truly magical. So beautiful. It is almost like my soul is transcended into a fairy tail.
I love how the final chord of this sonata use the mediant as the highest note, instead of the tonic. It brings such a different feeling, like he doesn't want to end this sonata
The whole sonata to me suggests a transcendence of physical and natural life (G major) in spiritual, metaphysical immortality (D Major). The open sound in the final chord heightens this.
One of my favorite Beethoven moments comes at 14:33 when the right hand takes off on a lovely melody that floats above the soft staccato octaves in the left. Absolutely thrilling.
Yes, it is ecstatic and lifts one up to a delightful place. it is what the greatest composers do. For example the unexpected introduction of the double fugue in Bach's Tocatta in C minor.
14:55 is one of my favourite bits here - a sudden infusion of wintry, whimsical mystery - almost like something magical is about to happen imminently.
First Sonata I ever played and still my favorite. A never-ending source of joy, inspiration, and astonishment.
@GOODSPEED LI may I ask what was the first?
The chord at 9:36 is the most glorious, open, clean chord I have ever heard. It took my breath away. I cannot stop listening to it over and over again. Lewis takes a slight pause before he plays this chord and that moment gives it clarity and brilliance. Beethoven was a genius.
You should listen to Scriabin's Le Poème de l'Extase if you haven't already. The final C major chord is probably the most clean/cleansing chord I have personally ever heard.
wtf lol (?)
NFS topsnuf will do! Thank you for the suggestion
@@Populous3Tutorials I know - it's D 6/4
Which bar (measure) are you discussing?
The 2nd movement sounds like raindrops falling in the wood on a grey day. Love it!
14:55 and 16:22 That's one of the coolest things beethoven ever wrote
49:17 is my favorite part of all of the pastoral movements. Goes from complete calmness into a completely bonkers graceful ending. Freaking love it!
It’s as if Beethoven says f you to the pianist that got through the whole piece only to be surprised by a nightmarishly difficult last half page 😂
That first movement is a tour de force and surpassingly beautiful. It's leisurely and so smooth...reminds me of a bike ride on a summer afternoon amidst shaded, tree-lined streets. And the exposition of this movement alone, like that of the "Archduke" trio opus 98 is one of the longest such sections during the Classical period.
I discovered this before the internet in a book of Beethoven Sonatas. It was a joy to learn and bring to life on our Mason Hamlin. It was so fun discovering this treasure! To me it’s very symphonic in is use of piano. Truly a gem.
The first movement makes me cry in satisfaction
Lewis's interpretation is one of the most warmly lyrical performances of Beethoven I've heard. Huge thanks for uploading this. Never heard this sonata before, and it's a real treat.
This is by far my favourite among Beethoven's piano sonatas. Thanks for the upload, I awaited this moment!
This is my fave of all the Beethoven sonatas, and I really wish more people listened to it more. It's so gorgeous and wholly satisfying as a complete work. I'm having a good time playing the first movement. Thanks for the video; these are great performances! And of course, your commentary and analysis is great.
I'm a beginner pianist and this is one that I'm looking at next to Sonata 14 as "possibles" for my infantile mind to play around with. So, trust me, I'll be listening to it quite a lot. :P I've always liked the sound.
Yes, a gorgeous work. Somewhat underrated.
@GOODSPEED LI yes.
But I do not recommend this, for beginners, the Musicality level in this sonata is high, sure enough notes are easy, but to play this beautifully, in my opinion, this is one of the hardest Beethoven sonata in terms of musicality.
@@jethroolivier868 well, there is plenty of time to practice musicality if you start early😀
Andras Schiff has done a great masterclass on all the Beethoven piano sonatas which I would suggest everyone listen to!
Thank you for the information, I'll be listening to them!
if you're interested, I have an entire playlist of lecutures and docomentaries, playlist?list=PLKMaTwEXLotUkRVNjwhNPgZU8c7baQ435
There is a pair of free Coursera courses by Jonathan Biss on Beethoven's sonatas... I can't remember on which course was this particular sonata was covered, but am sure it was. So far, without question the best courses I've had the pleasure to experience, worth considering.
I just signed up for that, thanks for the heads up, thought I knew all these sonatas, but keep re-discovering them. Sign of a great composer is that we are always re-discovering!
Nestor of Leconia. Yes, this is first class stuff. Top notch. The dog's doobries, the bee's knees, right up there with the best.
A crown jewel! How when he repeats the principle theme mvmt1 for the 3rd time he alters it with a neighboring note which becomes the entire fuel for the subordinate second theme group (which also happens to be 124 measures compared to 39). The entire art of musical composition is unfolded within Beethoven's sonatas. The ultimate master!!
I love Lewis' entire handling of the piece- highly attentive and nuanced yet rhapsodic. As you say one can close one's eyes.... It leads and coaxes.
I can't help smiling.
I must listen to this more!
Pure creative joy!
10:45 - 17:58 This is the first time I have ever heard this sonata and I can honestly say that that is my absolute favourite 2nd movement by Beethoven.
Same tbh
It's really something else, isn't it??
It's great
Hammerklaviersonata's 2nd Movement is also very beautiful. And Pathetique's 2nd Movement and 32th Sonata's 2nd Movement (Arietta)
The same could be said about 2, 23 and 27th's 2nd mvmt
What a wonderful sonata, one of my favorite! And this is a superb rendition.
That coda at the end of the rondo is so perfect
Wow! Still discovering new wonderful Beethoven sonatas! Thanks for the in depth descriptions, they add a huge amount to the appreciationmof the music!
"not(!)" is a highlight
what a treasure this channel is.
Thank You
I adore this piece, and Lewis's interpretation is spectacular.
Noah Johnson d
@@bummel456 e
I just realized on listening to this marvelous piece that both of the D major sonatas (this one and op. 10/3) have minor-key slow movements; Beethoven does not often use minor-key slow movements in major-key sonatas, but he does that here.
so beautiful! its the most beautiful piece of music I ever heard in my life! nice job! 👍
I’m so glad I found your channel....Following along with these scores has really helped me. 🙏
I am learning this sonata now finally. Thank you for uploading these two fine performances with your explanation.
Again - and again - we all thank you for the remarkable job you do in downloading the videos and the scores. I do not agree with everything that you say - BUT - you always say something of value and often of rare insight. I have played many of the Beethoven sonatas, but have always considered this one to be one of the more light-weight, so have never been tempted to perform it . Not any more! I love these performances, both of which were unknown to me - and I have about a dozen complete sets! Lewis uses a bit too much pedal for my liking - or is it the fault of my computer's audio(?) - but he brings out so many truly wonderful moments that I had overlooked in my cursorily playing through the piece. For me, this is the true value of your site - re-educating me regarding works that I had under-estimated for half a century!! You have my infinite gratitude for that.
the second movement just haunts me ..it is beyond genius ..cant stop listening to it...ahhh im going insane
Why does this incredible sonata sound so modern. The second movement sounds jazz like . Amazing,
I'm just starting to play this. Somehow missed this one! Thanks for introducing me to it. The second movement sold me and the other movements followed suit. How I love Beethoven!
If you're starting there is no better place to begin. Then you will need to spend time with Schubert. These are the foundations from which to spring forward ... to the many challenges ahead.
@@michaelletellier218 I agree. I've played Schubert and most of the more difficult Beethoven sonatas. This one eluded me though. Challenges indeed. One needs time for those challenges! Thanks for your reply.
Thank you for introducing me to this fortuitous sonata! My new favorite work to play
Happy 250th birthday Beethoven!
Qué BELLEZA y hermosura, como un agradable y fresco paseo por el campo contemplando la hermosa naturaleza
The beginning of the Andante movement - fabulous.
one of my favorite sonates. Thank you
I am speechless. Incredible
Your analysis is very helpful. Thank you so much!
One of Ludwig's best. The development section is quite passionate. It's amazing how he takes the joyous pastoral musical material and changes the mood within a few measures. Thank you.
Through Biss, it is more "pastorale"; through Lewis, it is more noteworthy.
Thank you for all your work.
thank you so much for the notes, I had to answer some questions on this piece for music theory homework and it helped so much!
One of my favorite sonata to play and listen to.
Great work, thanks a lot for those! Can't wait for the Moonlight now.
I particularly love this sonata. I love how it use one single theme throughout the whole sonata. Of course, you'll see similarities between movement 1 and movement 4 (that simple fact, that symetry is wonderful detail on its own), but you can hear the same theme in the Trio of the Scherzo (19:18). And THAT Andante, DAMN. I don't really know what it evokes for me .. maybe the slow and aristocratic walk of a great landowner around his mansion back in the countryside.. Pastorale sonata, also, might be one of the MOST balanced sonata.
I like how Lewis plays the melody in bar 3 and similar places almost as a duplet.
Do you? I find it irritating. The only thing I dislike about the performance, though.
I was born in 1500 BC and I remember playing this perfectly when I was 2 months old.
What the hell are you, a fruitcake?
Indeed, this one of Beethoven's most beautiful and moving sonatas. The coda, from about 25:38 to the end, is always incredibly thrilling. Thank you.
Il 4 Movimento è sensazionale😍
I can't thank you enough for your videos. Anyhow, thank you!
2nd mve mhhh touched me when I was playing it yesterday 👌
2악장 정말 듣기 좋네요.. 피아니스트가 너무 잘 살린 듯..
One of my favorite Beethoven sonatas. First encounter with this one was Rosen version.
22:35 I remembered the fuga of his 31th Sonata
Nice performance, thank you very much!
What a gorgeous piece! I’ve never heard it before now. Makes me wonder if he had a book of D. Scarlatti sonatas on a bookshelf somewhere. Thank you for posting this video with your notes.
What a beautiful piano.
I appreciate the ridiculously detailed timeline
This is a road trip through the great plains music.
Love Biss’s interpretation
This is my favorite beethoven sonata. The fourth movement always i think about my life w my wife. Or maybe a turtle and butterfly friends strolling through an enchanted forest. :cry:
My favorite sonata to listen to. My favorite to play. It is glorious, and warm, and clean, and moody.
The beginning of the first movement (until about measure 35) feels so longingly nostalgic. That mi fa la sol tidbit of melody seems to be what's doing it.
Calm down sir; no need for such hostility. I know the difference between a bar and a measure, and I was indeed referring to measure 35, not bar 35. Now if you are quite done with insulting me, you can sod off.
Patrick Noel Fitzpatrick I Have Lined this Tune in the Late 1970 When I was A children Just pick it up two Hour ago And Played It Again It Was So Picefull With Joy And Stillenes
The first bars reminds a beautiful morning in a countryside.
So good!
Beautiful Pieces ~~~
I aprecciate how you've marked on the timeline the description of the segmention. Thanks!
Very valuable video to listen and watch notes. Highly rewarding and educational. I’m learning this sonata at the moment. It’s a joy - but I’m having some issues with fingering. I use the Henle edition. Mostly fine fingering but there’s a need to change them quite frequently.
Sheer bliss!
Beethoven at his most light and carefree and free from too much sturm und drang. Even Mvmt 2 is "bouncy" and playful...not overly or heavily "minor key". Which is saying a lot about how different this is from most of his other sonatas. More concise too. Very enjoyable!
At point 16.25 minutes, the music is almost orgasmic:) How did he create such magic? Love you, Mijn Heer Ludwig!
love lewis' beethoven
I'm in love with 1:20 guys. I mean I can't imagine my life without it anymore.
But I must confess that I've cheated on it with 16:25 sometimes.
@@hancove4714haha yes feel it 😂
I love mvt 4
I really love Paul Lewis.
The cadential theme has a deep "feeling" that i liked
cadential?
@@pipster1891 sorry, corrected
21:37 wow !!
Es la sonata mas hermosa de beethoven.
This is the one of the fews Beethoven's sonatas (and i don't want to be mean) in which i like every movement equally or i don't dislike one movement in particular.
7:13 How does he manage to make the d2 ring in such a peculiar way? I've never heard a piano produce such a sound.
ilovemypiano open the sustain, play the harmonic series, (overtones of fundamental)
piano and recording equipment
Currently i am studying this sonata since last year as the melody is so infectious to me! Beethoven is the best composer of all times next to Bach. No one can ever equal them!!
No
Beethoven is the king of music
@@GUILLOM then who?
@@lighting7508 no one, the term "best composer of all time" is stupid
@@GUILLOM fair
Actually, Beethoven tempo marking for his sonata, Op. 49, No. 2 is Allegro ma non Troppo. This was of course written before the Op. 28, although published after. Maybe you are referring to Beethoven's first published use of "ma non troppo"
My favorite Beethoven sonata, and the 32nd-note variation at 14:55 might be my favorite melody in any of his sonatas. It reminds me of a theme from Zelda Ocarina of Time, "Kotake and Koume" theme (look up a piano version). Similar left-hand accompaniment, similar melodic movement.
I listened to this sonata for the first time a few weeks back and immediately fell in love with the passage of 14:55. And somehow it really reminded me of a Zelda dungeon music feel, but I could not refer it to a certain song. In fact, I have only played OoT once, and I did not even remember this bossfight, let alone the music. But yeah you're right: they totally got a very similar vibe and melody! Thank you for pointing out!
The beginning remids me a lot of Schubert's Sonata in B-flat major, second movement!
Oh yes, the lovely middle part!
Le mouvement 2 est utilisé pour l instauration de l atmosphère génialement hypnotique du film " thé Barber ".
Ainsi que les mouvements lents des sonates 8 , 23, 25 et 30 et du trio 7.
❤️❤️ a Joël et Ethan Cohen !
I would love to be able to play this! I need to get hold of Beethoven’s sonatas at some point! It doesn’t seem that challenging but most of the time I underestimate the difficulty, when should a pianist typically try and attempt this piece?
sowohl Lewis als auch Biss - Bravo
This is my favorite Beethoven Sonata.
The second one is my favourite
This sonata sounds like a love letter...
Movement 1
Feels like I'm dreaming
Perhaps the only thing about myself I truly like. I love and appreciate classical music entirely as equally as I enjoy Aphex Twin, Berlin Techno, Hardhouse or classic Rock. I suppose, I just love music. I even made some - not good music - but inarguably, _my_ music.
I'd rather lose my eyes than my ears. :)
If you get the chance to reach out to the publishers of the score, you might want to tell them that the measure numbers in the first movement should be incremented by not just one, but two. The first measure comes before the repeat, but it is in a metrically strong position and is not a pickup measure. Correctly, then, measure 5 is measure 7. The theme’s repetition in measures 9ff. confirms that it in fact begins on the downbeat, and that the measure harmonized as G major is the third measure.
Bravo
18:12
3악장 미뉴에트가 아닌 스케르초 , 겹세도막 형식
ABA' - trio(CC') - ABA'