Beethoven: Sonata No.16 in G Major, Op.31 No.1 (Kovacevich, Goode)
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- Опубликовано: 24 июл 2024
- The first Op.31 sonata is by far and away the funniest of all Beethoven’s 32 sonatas, and it’s kind of hard to explain why it isn’t one of the most famous of them all: all the movements feature attractive melodies, and it brims with good humour from the subtle to the ironically crass. You’ve got the first movement, where the hands can’t play together and the development is built almost entirely around an apparently inconsequential motif, the second, which is a joyfully overlong and increasingly absurd parody of (bad) Italian opera, and the third, full of wily chromatic movement and wry counterpoint.
MVT I, Allegro vivace
EXPOSITION
00:00 - Initial statement of Theme 1, containing two main motifs: a descending scale (Motif A), and a group of 3 syncopated chords (Motif B). At 00:09 mm.1-11 are repeated a tone lower
00:25 - Extension of Motif A, leading into counterstatement of theme at 00:39 which wanders into B min
00:56 - Theme 2, B maj. Syncopated melody introduced
01:02 - Counterstatement of melody in B min, in bass. After 5 bars it starts to modulate using the closing figure of the melody (1:07)
01:14 - The modulating section is treated like a new theme
01:23 - Cadential theme. Tonic-dominant swings alternating between major and minor
DEVELOPMENT
03:12 - Motif B used to transition into C min, then F, then Bb
03:29 - Motif A, initially in Bb, given highly dramatic extended treatment, with cadential trills in RH. C min, D min, then G (dominant at 3:51)
03:58 - Prolongation of the dominant using Motif B, with flattened 9th harmony introduced
RECAPITULATION
04:17 - Theme 1, with repetition of initial bars in F omitted. Modulation into E min
04:38 - Theme 2, in E, modulating rapidly into G and staying there. Note the 2-note transition (Tr) at 5:30 which was also used earlier to move from B min into G
CODA
05:31 - Theme 1, with Motif A extended
05:44 - Mimicking the opening, and using Tr. After a while Tr disappears, and Motif B dominates, alternating between tonic and dominant, before the movement flickers out
MVT II, Adagio grazioso
06:17 - A SECTION, Theme 1. Cantabile & richly ornamented melody over operatic pizzicato accompaniment, repeated twice. Second time in bass, with absurd if elegant cadenzas in RH
07:26 - A SECTION, Theme 2. Darker, harmonically complex, and not at all parodic
07:56 - Arrival at tonic, followed by a cadenza
08:20 - A SECTION, Theme 1 repeats itself again, with more ornamentation (it becomes clear that this melody is besotted with itself)
08:52 - B SECTION, Theme 1. Eerily beautiful and still, new melody moving from i to VI
09:20 - B SECTION, Theme 2, reaching the dominant via Neapolitan harmony
10:00 - Extended dominant preparation, featuring surprising amounts of chromaticism and dissonance. Self-consciously + self-indulgently overlong
10:52 - A SECTION repeats itself, with yet even lashings of ornamentation. A deliberately clumsy statement of Theme 1 appears at 14:12, with silly emphases on A-flats that come out of nowhere (14:25 and similar)
MVT III, Rondo: allegretto (ABACABA + Sonata form)
15:15 - A: MAIN THEME, containing two main ideas: a symmetrical melody (at 15:15 - Idea 1), and a chromatic descent (15:26 - Idea 2), itself implied in the bass of Idea 1 (at 15:21).
15:38 - Both ideas repeated in inner voices
15:58 - Transition, developing the tail of Idea 2
16:11 - B: EPISODE 1 / QUASI THEME 2. Note triplet octave tremolo, which will recur later.
16:41 - A: MAIN THEME, now with triplet counterpoint in LH
17:02 - C: MIDDLE EPISODE / QUASI DEVELOPMENT. Idea 1 in bass, then developed in 2-part canon (17:07). At 17:22 a new theme enters, and alternates with Idea 1, modulating constantly.
18:01 - Music pauses on the dominant, with a droning tremolo in the LH taken from Episode 1
18:05 - A: MAIN THEME / RECAPITULATION. Idea 1 enters over drone, Idea 2 elaborated in triplets. At 18:36 Idea 2 also gets its own triplet drone.
18:47 - B: RECAPITULATION OF TRANSITION + EPISODE 1. Latter now in G.
CODA
19:31 - The ending section of Episode 1 is extended
19:41 - Cadenza-like development of Idea 1 over dominant pedal. Finally 8 bars of dominant 7th, with the C rising unexpectedly to a C#
20:06 - Idea 1 stated, now more wistfully, and with extravagant pauses. Each phrase alternates between the original tempo and agadio.
20:43 - Cadential trill for 3 bars, over which the opening figure of Idea 1 suddenly enters. A playful dialogue around this tiny figure ensues, after which loud repeated chords enter and slink away with something like insouciance. 
Видеоклипы
Kovacevich:
00:00 - Mvt 1
06:17 - Mvt 2
15:15 - Mvt 3
Goode:
21:11 - Mvt 1
28:13 - Mvt 2
37:55 - Mvt 3
Kovacevich’s playing is wonderful: the contrasts in the first movement are shocking (as you’ll have come to expect by now), the second theme lively and rustic, the flourishes of the second movement played with silkily ironic smoothness, and the third movement is lithe and perky. Goode’s interpretation is as close to perfect as I can imagine: it’s one of those things you can’t listen to without becoming a bit overawed. In the first movement, for instance, it’s not just that the hands can’t play together: the pianist apparently can’t keep track of the basic rhythm as well, for chords keep entering too late. In the third movement Goode also nails the aural overhang at 38:05, the dynamic tiering at 38:27, and the lightness in the RH at 38:50.
Ashish Xiangyi Kumar love how goode accents the two notes in bar 25
Also 41 - 45 reminds me of something from another beethoven piano sonata. Pathetique maybe?
.
*This piece (AKA masterpiece) is VVVVVVVVVVVVVVVVVVVVVVVEEEEERRRRRYYYYYYYY good!*
Why would this in any universe be the most famous Beethoven's sonata?
Don't get me wrong this is very good, but it doesn't has the ingredients to be as mainstream popular like the 14th one
Could you explain me how would have this been popular in another universe
The trouble with Beethoven is when you play the slow movement of a sonata, you think "ahh, this is easy", then, all of a sudden, you have a load of wemibemihemidemisemiquavers to put up with
“Ohhhh.... this is soooo easy! I got this!”
2 seconds later: “Never mind! Forget what I said...”
This is such a good comment.
>:D
yeah like..
the tempos like 10 bpm
and there’s a chromatic scale with 128th notes
yeah you know what sonata im referencing
@@korkorkorkorkor Pathetique
For mobile users:
MVT I, Allegro vivace
EXPOSITION
00:00 - Initial statement of Theme 1, containing two main motifs: a descending scale (Motif A), and a group of 3 syncopated chords (Motif B). At 00:09 mm.1-11 are repeated a tone lower
00:25 - Extension of Motif A, leading into counterstatement of theme at 00:39 which wanders into B min
00:56 - Theme 2, B maj. Syncopated melody introduced
01:02 - Counterstatement of melody in B min, in bass. After 5 bars it starts to modulate using the closing figure of the melody (1:07)
01:14 - The modulating section is treated like a new theme
01:23 - Cadential theme. Tonic-dominant swings alternating between major and minor
DEVELOPMENT
03:12 - Motif B used to transition into C min, then F, then Bb
03:29 - Motif A, initially in Bb, given highly dramatic extended treatment, with cadential trills in RH. C min, D min, then G (dominant at 3:51)
03:58 - Prolongation of the dominant using Motif B, with flattened 9th harmony introduced
RECAPITULATION
04:17 - Theme 1, with repetition of initial bars in F omitted. Modulation into E min
04:38 - Theme 2, in E, modulating rapidly into G and staying there. Note the 2-note transition (Tr) at 5:30 which was also used earlier to move from B min into G
CODA
05:31 - Theme 1, with Motif A extended
05:44 - Mimicking the opening, and using Tr. After a while Tr disappears, and Motif B dominates, alternating between tonic and dominant, before the movement flickers out
MVT II, Adagio grazioso
06:17 - A SECTION, Theme 1. Cantabile & richly ornamented melody over operatic pizzicato accompaniment, repeated twice. Second time in bass, with absurd if elegant cadenzas in RH
07:26 - A SECTION, Theme 2. Darker, harmonically complex, and not at all parodic
07:56 - Arrival at tonic, followed by a cadenza
08:20 - A SECTION, Theme 1 repeats itself again, with more ornamentation (it becomes clear that this melody is besotted with itself)
08:52 - B SECTION, Theme 1. Eerily beautiful and still, new melody moving from i to VI
09:20 - B SECTION, Theme 2, reaching the dominant via Neapolitan harmony
10:00 - Extended dominant preparation, featuring surprising amounts of chromaticism and dissonance. Self-consciously + self-indulgently overlong
10:52 - A SECTION repeats itself, with yet even lashings of ornamentation. A deliberately clumsy statement of Theme 1 appears at 14:12, with silly emphases on A-flats that come out of nowhere (14:25 and similar)
MVT III, Rondo: allegretto (ABACABA + Sonata form)
15:15 - A: MAIN THEME, containing two main ideas: a symmetrical melody (at 15:15 - Idea 1), and a chromatic descent (15:26 - Idea 2), itself implied in the bass of Idea 1 (at 15:21).
15:38 - Both ideas repeated in inner voices
15:58 - Transition, developing the tail of Idea 2
16:11 - B: EPISODE 1 / QUASI THEME 2. Note triplet octave tremolo, which will recur later.
16:41 - A: MAIN THEME, now with triplet counterpoint in LH
17:02 - C: MIDDLE EPISODE / QUASI DEVELOPMENT. Idea 1 in bass, then developed in 2-part canon (17:07). At 17:22 a new theme enters, and alternates with Idea 1, modulating constantly.
18:01 - Music pauses on the dominant, with a droning tremolo in the LH taken from Episode 1
18:05 - A: MAIN THEME / RECAPITULATION. Idea 1 enters over drone, Idea 2 elaborated in triplets. At 18:36 Idea 2 also gets its own triplet drone.
18:47 - B: RECAPITULATION OF TRANSITION + EPISODE 1. Latter now in G.
CODA
19:31 - The ending section of Episode 1 is extended
19:41 - Cadenza-like development of Idea 1 over dominant pedal. Finally 8 bars of dominant 7th, with the C rising unexpectedly to a C#
20:06 - Idea 1 stated, now more wistfully, and with extravagant pauses. Each phrase alternates between the original tempo and agadio.
20:43 - Cadential trill for 3 bars, over which the opening figure of Idea 1 suddenly enters. A playful dialogue around this tiny figure ensues, after which loud repeated chords enter and slink away with something like insouciance.
The work behind this comment is unbelievable. Thanks a lot!
Wow this helps so much! Thank you
The theme of the last movement is just so cheeky and yet so serene... I can't describe it, it just makes me so calm and happy. When listening to this sonata, one finds it hard to imagine Beethoven as a serious brooding man, the cliche image of him. I see a kind man when I close my eyes while listening, kind and with a gentle heart. I wish he had a happier life, he gave me so much happiness.
Burak Unsal.
Yes I totally agree with all your comments here 🙂
But yes how ironic I've just been saying those very words with reference to Beethoven
of course Beethoven has elements of this Grumpiness but my oh my
listen closely often his works are so full of charm ,mischief ,surprise humour and wit 💞
I love it ..but it has been written he was also quite a practical joker ...bless 💞
The theme is very Schubertian and extremely elegant. I never complain but I wish B. didn't over-embellish music that can easily stand alone.
@@howardchasnoff208 the whole point was "over embellishment." How I wish LVB had spent more time composing ridiculousness. It truly stands out.
Well...maybe he intended this sense of humor when he composed Die Grosse Fugue?
PLEASE THE BEGINNING OF THE THIRD MOVEMENT REMINDS ME SO MUCH OF SOMETHING ELSE PLEASE SOMEONE TELL ME WHAT IT IS
@@anthonyc6017maybe the theme of Boccherini's minuet from his string quintet? that's what it always reminded me of :^)
my teacher played this today in class and I loved it so much. I could listen to it all day!
I'm on an art school and he always plays piano while we paint
What an awesome teacher!!!
@@qrstwhe really is! Listening to him playing piano makes painting even more enjoyable
I do adore this sonata, perhaps the most whimsical of his sonatas, somewhat similar in character to Op. 31-3. It is terribly under-appreciated for the reasons I don't know. It is definitely one of the most technically difficult sonatas, too "pianistic", shall we say, for amateurs to learn, and maybe it isn't serious (in character) enough for the professionals to present more often. It is definitely a great piece to judge a pianist's basic techniques and musicianships by.
Then I'm right at the stage to learn it!
I'm playing 31/3 right now, and you're right, 31/1 is quite a bit more difficult--which is not to say 31/3 is a walk in the park either, but this is definitely the hardest of the op. 31 set, and up there with op. 2/3 and op. 7 as most difficult overall until the Waldstein.
"The first Op.31 sonata is by far and away the funniest of all Beethoven’s 32 sonatas, and it’s kind of hard to explain why it isn’t one of the most famous of them all: all the movements feature attractive melodies, and it brims with good humour from the subtle to the ironically crass" That may be exactly why it is not the most famous. Too many people are way too serious about Beethoven. And whatever you do, do not mention Wellington's Victory.
Omg haha the very thought of that godawful Wellington's Victory makes me laugh
Harry Andruschak Why do so many people hate it?
Wellingstons victory
@@dylanmorgan6438 I don't think it quite deserves the hate it receives. It's just objectively artistically inferior to anything else LVB wrote, so superficial and over-the-top, that in comparison it looks really bad and snobs therefore love to denigrate it. You're just 'supposed' to hate it, so most people do. However, it's of course well-orchestrated and has its merits as fun work and a very well-executed medley. It doesn't need to and shouldn't be compared to genius works of art like the symphonies. Beethoven understood it wasn't great - but famously said in its defense "What I sh*t is better than anything {they} could think up"
Wellington's victory
One day I’ll be able to play all 32 of these confidently, gonna add that to my bucket list
better add them to tour chopping liszt
*your
@@tylermckay616 *go away
How close are you to learning them all?
@@tylermckay616 far from it, no one is able to learn all 32 sonatas in 2 months.
Thank you for the two pianists’ rendition of this magnificent no. 16. I never listened to Kovacevich before, but his interpretation and execution is now my favorite! What exaggerated staccatos and clearly stated rhythmic theme throughout the first movement! It’s so satisfying in a way, because it leads into the beautifully melodic movements (with a sprinkling of cadenzas) afterwards. I know some staccatos aren’t necessarily written by the composer, but it’s very effective.
One of my favorite sonatas it’s criminally underrated
Not a favorite of mine but I like it a lot, at least the first movement, and definitely underrated!
By whom???
@@southfloridaarcheryguy114By stupid people.
I'm currently learning it. It's a lot harder than it looks (to me at least, the first mvt in particular) too.
The 3rd mvt is also a beast of a piece, can't wait to tackle it
@@jordidewaard2937 you’re right! I’m learning it too haha, the rondo actually is t THAT bad once you get the hang of it (but that can take a while. I just found the constant shifting between 4 over 6 and 6 over 4 polyrhythms very confusing first (to play, not to understand). The middle section has some really awkward left hand stretches too. Other than that, not too bad to be honest. That second movement though… very difficult to get it to sound nice and interesting
I think this is the only Beethoven sonata of the 32 I had not heard before - exactly half way through the series. It's quite remarkable how varied each one is - and this (for me) latest and last is as brilliant and weird as any of the 31 others. Shakespearean fecundity.
Fred Smith
Yes I agree 💞. Beethoven's Sonatas the earlier ones ( not the later ones as they're more intense ) are full of little surprises,quirky bits ,pockets of wit ,humour and joy ..
Often Beethoven's seen as some Grumpy being ,but early Beethoven is anything but In his Sonata and Early
Symphony's..even the 7 th and 8 th Symphony s have this often this lively element of surprise and wit
Beethoven of course used to love surprising his audience ..he was noted often as a practical joker too 😊
Beethoven certainly is not boring 💞
'Shakespearean fecundity.' Nicely put.
That's a brilliant analysis of this work and really gets what it's about, Ashish - thanks very much for posting.
By now should have more views. Underrated.
Thank you for this wonderful series on the Beethoven sonatas. I normally only listen to Waldstein onwards but your commentary on the earlier ones has made me realise the genius in those works, too.
You’re missing a lot of good ones if you stick with #21+
Какая же прелесть эта соната! Сколько фантазии, света, радости в ней!
Странно что она не так популярна среди исполнителей. 2 часть вообще прелесть! И она не так проста как может показаться. Сам убедился.
Tomorrow I'm having a masterclass with this piece, so nervous
how'd it go?
Didn't have enough time, just checked first movement exposition, but it was great, getting a new vision is always awesome, thanks for asking :)
@@fabrizioherrera1047 you had a masterclass with whom?
I hope it went well! *This piece (AKA masterpiece) is VVVVVVVVVVVVVVVVVVVVVVVEEEEERRRRRYYYYYYYY good!*
@@justaharmlesspotato69 Indeed
What a nostalgia! This sonata comes with the software GVOX Encore 5, I remember when I was a child and spent hours and hours listen it...
Anderson Salas bro, same here, and quasi una fantasia aswell
Yes! Another one remembers Encore ;) A great software for the time when it appeared ...
Same feeling right now!
Yes the same feelings I share with you all with reference to this awesome Sonata 💞
Thank you Beethoven 💞
@@martinianotanoni Yes me too spectacularly witty Sonata 💞
B's tongue is firmly in his cheek all through this sonata which. at times, borders on "utterly ridiculous". Lots of Czerny exercises in the first movement and "bad playing" and "bad improvising!" as well: endless repetition of staccato cadences going absolutely nowhere. Classic Beethoven development suddenly lurching the piece into "serious" mode. I remember Maria Donska, who was my piano teacher at college, getting me to play this. She loved to steer her pupils away from all the warhorses. I had never heard it before and couldn't understand what it was I was trying to play. When she described that silly second subject as an "urchin whistling a tune" I suddenly understood that. although this was real slapstick stuff, B was still welding a serious structure with lots of odds and ends. Like one of those sculptures made out of junk. Bloomin hard to play all the same.
Speaking of "the funniest of all Beethoven’s 32 sonatas," the opening notes of the Rondo reminds us of Boccherini's celebrated Minuet. :) About the first movement, D. F. Tovey writes that "it states mockingly as provocative paradoxes, the propositions in tonality which are the Olympian harmonic rules of the Waldstein Sonata." A Companion to Beethoven's Pianoforte Sonatas, Revised edition 1998, The Associated Board of the Royal Schools of Music, P. 282.
Thanks for uploading!
The third movement is as good as music gets - it has so much from levity to beauty to jazz
How is it jazzy?
timelev37 Yes I agree well said 🎻🎺🎶🎵
The third movement of this sonata is so underrated in music
Nah, everyone knows - Beethoven saved the Jazz for the last movement of his last sonata.
Thanks for this video! It’s so helpful to me. I am preparing for my grade 8 exam and this is really helpful!
Happy 250th birthday Beethoven!
Love Beethoven 😌🎶
This sonata!! So goddamn cheeky, creative and hilarious!!! Beethoven's creativity and musical humor was out of this universe!! The sheer audacity to even write something so cheeky is freaking hilarious lol
Ths sonata is wonderful. Clever and funny and full of the amazing Beethoven sense of perfect timing. Why isn't this more prominent in performance practice?" Perhaps, that when Nationalism as a movement arose in the mid to late 19th century the idea that having a great sense of fun and humor would be taken as a symbol of national greatness was not a given. For sure. Self-importance was the byword of the day and continues to be so.
And not just in Germany but almost everywhere. Beethoven's contemporaries noted that his conversations were full of quips and he was a great humorous storyteller. And did I say, the sound engineer who did the recording did an amazing job? Bravo. Also. a touch of the tarantella in the third movement--what a delight and so complex!
Listening to multiple performances of the same sonata after one another you discover the strangest things. In this sonata the cheecky ending is well-known. But it can even be bettered by attaching the beginning of the first movement to it! Stop after the single g in bar 4. Just listen to 20:44 till 21:14. Makes for an even cheeckier ending, and gives it a cyclic finishing touch.
Kovacevich's playing is quite unbelievable, strong and witty and light, whatever one thinks of Goode.
Nicely done!
The polyrhythms in the third movement are just insane.
Tiger Zhang fuck
The third movement starts funny, and kind of evolves onto something more dramatic and big
Le dije a mi profe que quería aprender esta sonata sin haberla oído antes ni saber si era difícil, solo por cómo se veían los primeros compases (sincopas).
amazing!
Haha, very funny point about the second movement. Indeed it does sound like an over-abuse of the belcanto vibe.
Der Pianist Ronald Brautigam muss ans Belcanto denken, an "Casta Diva" aus der Oper Norma, berühmt geworden durch Maria Callas.
www.br-klassik.de/themen/klassik-entdecken/starke-stuecke-beethoven-klaviersonate-100.html
Amazing
Goode went full crazy with this sonata
The first movement is beautiful!
I really want to learn the piano, I'm kind of learning it myself and I'd say it is going 'quite' alright. But I really should get into the theory of it all, and techniques etc. But what I really want as addition is being able to read notations and distinguish what's on paper to the keys., like I just play by memory and ear and it is a very slow process, but it's okay for like vgm covers or pretty much easy ones like fur Elise (which I can't even okay fully, flawlessly yet) but things like moonlight and this one I'll never be able to pull off in the way I'm learning it
Making fun of pianists that can't play the two hands together, syncronized. The man was a joker. >>> 95% os more of all music that I hear is from him. Love his music. A perfect balance of humanity, structure, emotion, with clear, simple ans strong musical intentions. "today I'm gonna write about THIS..."
Very Well🎼👏🏻👏🏻👏🏻😊
Why we don't make this kind of music this days? It's beautiful
So classical! Great piece!
*This piece (AKA masterpiece) is VVVVVVVVVVVVVVVVVVVVVVVEEEEERRRRRYYYYYYYY good! It’s honestly by far my favorite! My second favorite is Beethoven’s 3rd Sonata in C major.*
@@justaharmlesspotato69You have good taste.
The First Impression of the First Two Bars is like: WTF??
Genial
Kovacevich movs 1-2 are exemplary. So witty, so polished, and so true to the notation too. But both performers play the finale too slowly I feel. And neither of them properly observe the durations at mark 240 in the score (it requires quite some audacity to do so!)
jesus too slowly? one can only play those eighth note triplets so fast
I'm growing to love the first movement. That chromatic theme is so zany and joyful.
Someone: compares Beethoven's music to Mozart's one too many times
Beethoven:
I believe this is Kova's first take, so much smoother and with flowing drive than the EMI later one (hope I'm right!)
1:15 I love this, it's like a running mouse.
*This piece (AKA masterpiece) is VVVVVVVVVVVVVVVVVVVEEERRRRRRYYYYYY BRILLIANT!!!*
TruecallawayX16 *You can never judge someone’s love to a piece!*
TruecallawayX16 *Not trying to exaggerate though...*
1:23 is so nice.
Loving beethoven more the older i get lol
nezkeys79 fodac😃
me too
I love Beethoven the more mature I grow.
@@johnk8174 Yes I agree me too 🙂🎶🎵
@@justaharmlesspotato69 Yes indeed it takes many years to explore all Beethoven's works anyway
but so true it all matures like fine wine with age 💞🎶🎵🎺🎻💞
0:35 medial cesura??
thanks a lot for the analysis! May I ask what's the meaning of Tr and RH? Thanks!
tr means trill and RH means right hand
Tr: Trill
RH: Right hand
😊
9/8 in Beethoven piano Sonatas: slow movement of this one, op.22 and op.79; one of the Variations in the last movement of op.109; Arietta of op.111 (9/16).
Beethoven from here on out would take a different path never going back to the conventional sonata
Why doesn’t this video have a million views?🧐
이 노래 넘 좋아..
실제로 쳐보면 싫어져요... 제가 지금 자격증 땜에 이 곡 치는중인데 첨엔 박자타는게 있으니깐 좋았는데 계속 하다보니깐 재미없구여 싫어져요... 좋고 싫고는 개인적인 취향이 있으니....
@@jiyun6969 ㄷㄷ
i thought Op 31 No 2 is the most well known? Especially the 3rd Movement
Игра Stephen Kovacevich для меня эталон.
진짜로 처음곡 쳤을때 느낀건데 첨엔 좋았는데 곡이 익숙해 지면 빠르게 쳐야 되니깐 셈여림,박자,속도 땜에 오히려 오래치면 팔만 아프고 또 페달은 하다 보면 신경 별로 안쓰이는데 오래 치다보면 마찬가지로 발목 아프고 한마디로 오래치면 손이든 발이든 아파요... 여러분 마음이지만 칠 생각은 접어두시는ㄱ...
ㄷㄷ어쩔수 없지만 2급 때문에 쳐야.....ㅠ
@@user-ni1mw5qd9z 다음달에 저 자격증 시험 보러 가는데 떨어질거 같...(떨어지는 원인:흑건.. 이라고 예상을 해보죠..)
@@jiyun6969 오 저도 2급 A 흑건인디ㅎ
@@jiyun6969 힘내요)
I might learn this one and also numbers 1 and 32. That would give a nice overview of Beethoven as a composer. thumbs up if you agree with me. Also, check out my version of Fur Elise - to mark his 250th...
By the way for me the 3rd movement of the Pastoral is the funniest...
Does anyone have the fell that the first 15 measures sou d like 4/4?
Does anyone else know that there is absolutely no hear able difference between 2/4 and 4/4?
@@authenticmusic4815 if you are listening to notes, maybe little difference depending on how the musician interprets the downbeats, however there is a larger difference in the timing of phrases and musical sentences present in the structure.
@@abrowncownow360 I agree, but I will correct you. It is possible to feel whether there are 2 or 4 beats in the bar, but, not knowing the tempo, it is impossible to know if they are half or quarter notes.
第一樂章☝🏻
Dear Ashish Xiangyi Kumar,
last week I had one of my analysis classes at the University for Music and Performing Arts Vienna in which we analyzed Beethoven’s Piano Sonata op.31/1, 2nd movement, and came across your description on RUclips: ruclips.net/video/q7LXQVxd6xA/видео.html
First of all I want to tell you that I like your characteristics of the different parts of the movement and I greatly appreciate highly that you offer these descriptions on the internet - very important at a time that seems to be loosing contact to these very great works of art. As a matter of fact I realized that the feeling of the length of themes has changed throughout the centuries. In the 20th and 21st centuries a theme “seems” to be much shorter than it was in the 18th and 19th centuries. And I can recognize this fact in the descriptions given by my students who come Austria, US, China, Ukraine and elsewhere. Therefore, I decided to offer a short commentary on your description, not to criticize you, but to add some insight on this matter.
You mention THEME 1 and THEME 2 at the beginning of the 2nd movement, but these two sections are joined together in ONE THEME. The form of this theme (the whole theme) is AABA which is called a “dreiteiliges Lied” (ternary song, either /:A:/BA or /:A:/:BA:/) and is very often used in songs or dance forms or is also used for theme and variation form (which clearly means that it forms ONE theme and not two). The other well known form is ABA or ABA’, the “dreiteilige Liedform” (ternary song form). Also in this instance the WHOLE form builds the theme.
As Beethoven likes to combine several structural devices in a single theme, he builds the first two A sections as a period, but then uses the “inverted” endings of the antecedent (tonic instead of dominant), and consequent part (dominant instead of tonic). Why? Because the next B section is part of THE THEME and not a new theme. All parts are built in sentence structure which is also very common with Beethoven’s themes. It is interesting how he creates a small but essential difference between the A and the B component. The sentence structure of the A section is composed on a 2-bar-element (2+2+4), the sentence structure of the B section is based on a 3-bar-element (3+3+4) which broadens the middle section of the theme. (One week prior we analyzed Korngold’s Piano Trio op. 1 and we made a very similar observation: in the first movement the first theme is an ABA’ form with 2+2+4 for the A section and 3+3+3 for the B section by the means of imitation - amazing, given that Korngold was 12 years old at the time while trying to fulfill the 8+8+8 “rule” - which is of course overruled several times - by combining 8+9+7 bars!).
Concerning the middle part of the 2nd movement of op. 31/1 you also mention TWO themes. But what you call THEME 1 is the TRANSITION section to THE THEME in Ab major (your theme 2). Why? The first part of the movement is primarily in C major and Beethoven does not want to go abruptly from C to Ab major. Therefore he “darkens” C major to C minor because Ab major is a second grade mediant to C major (one note common to both triads) but first grade mediant to C minor (two notes common to both triads).
Finally I want to give you another view on the “silly emphases on A flats” in the Coda of the piece. Imagine the metallic sound of the “Hammerklavier” of Beethoven’s time which makes the bars you mentioned even more rumbling and grumbling, a sound that is often used by Beethoven (though not so easy to reproduce on modern pianofortes, if even known at all by today’s pianists).
For further information please see Reinhard Amon/Gerold Gruber, Lexikon der musikalischen Form, Vienna 2011, 639p. or contact me.
All the best
Gerold Gruber
Любимая соната с детства. 40 лет слушаю и получаю кайф. А за двойную рекламу вы получили палец к жопе.
Technical !
?
I'm confused about the numbering of the Sonata. How could It have two "No."? The way I understand it is "Op.31" means it's his 31st published work, and "Sonata No.16" means that it's his 16th published Sonata. So where does the "No.1" come from? My guess is that Op.31 has multiple work or pieces (if that's what they're called, I''m not sure if that's the right name, if some one could correct me if I'm wrong) in it. So there can be Op.31 No.2, Op.31 No.3, etc. Op.31 No.1 just happens to be Sonata No.16, his 16th Sonata. Is that right? Would anyone care to confirm and or clarify?
ab20 yes, that’s right :) He has multiple works numbered “Op.31”.
Greatest Dreamer Cool, thanks!
ab20 *You’re always welcome! No problem!*
It was customary then to publish piano sonatas, string quartets, etc. in collections, often of three or six such works. In this case Opus 31 comprised three sonatas.
Топ🖤🔥
Its strange that for all the humor in this, it can only pay homage to haydns wit, rather than exceed it
thats where his other compositions come in
🌹❤
3rd movement sounds similar to a minuet!
hey is there a difference between having experienced the piano literature on RUclips, and having experienced it in life say at conservtaory studies?!?
probably, but for 99.9% it has zero future
@@fredericmoresmau4303 that was well put.
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6:17 looks like beethoven is making fun of nocturnes
Lmao yes, I don't like the second movement (boring), but now i understand that is a parody, is not meant to be taken seriously, so
@@miguelisaurusbruh1158 Not as boring as moonlight though.
Pour l hypothèse où elle serait caricaturale délibérément , voir la sonate de Stravinski .
Your comment about (bad) italian opera is kind of interesting. For sure you're not referring to 18th century italian opera and before, where we can include Monteverdi, Cavalli, Alessandro Scarlatti, Pergolesi, Piccinni (also Mozart?) :)
Anyway, I always find very interesting the similarity between a theme in the second movement of this sonata (09:20) and this Introduction to Semiramide appeareance in Rossini's opera some years later...
ruclips.net/video/jDf0kZJhkbY/видео.html
As always, thank you very much about your videos, they're a wonderful piece of work!
Marco Veranda Beethoven didn't like italian opera, that's why he is just mocking around with that, as you will know Beethoven tend to really write with a great sense of humour and ironie his sonatas, all of them are filled with that kind of things even tho they sound seriously you shouldn't take them that way
Aren't there any bad italian operas? Today the music is filtered through time. But go back to Beethovens time, and imagine all the mediocre music that was around.
thanks for the answer!
I did not mean to say that the are not bad italian operas, of course there are bad ones and bad moments in good operas, as it happens everywhere and everytime. But in my experience, whenever someone tries to execute a less known italian opera of the time with care and the correct approach, the results are great (we can nowadays listen to rare operas of Cimarosa, Giovanni Pacini, Giovanni Mayr, Ferdinando Paer, to quote the most famous of the less famous composers of the time) and reveal that italian opera is less bad than what may be thought at first. Unluckily most of the music written at that time is now forgotten,who knows what LvB may have listened to :).
My point is that I disagree with Ashish comment about the second movement being a parody of (bad) italian opera: I think it is a translation from the rich and wonderful language of italian opera to the equally wonderful language of piano sonatas, and it is one of my favourite movements of all the 32 sonatas!
@@mvaurelioIkr, this is THE best 2nd movement.
👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻
언블리버블
건나 잘 친다
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GOODE performance
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I was play it at the piano contest
Cool! How’d it go? Just wondering, no need to answer.
@@justaharmlesspotato69 Of course I passed it😎
*You know, this piece is VVVVVVVVVEEEEEERRRRRYYYYY BRILLIANT AND I LOVE IT!!! Do you?*
Well, since you’ve passed it, congratulations!!! Keep it up!
@@justaharmlesspotato69 Thank you for saying so. I think this piece is very good, too! So, do you want to be friends with me?
Why would you choose to set your videos to having ads interrupting?
He doesn't put the ads in the videos; YT does, since the recordings he uses are copyrighted.
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esthelahlahlahlahlahlahlahlahlah lah *LOL*
They talk Op. 111 having boogie woogie elements. Have a listen to this one?
Hannon needs lmfao
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Isn't the second them of the first mvt almost a ragtime?
Yes
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Wow, who's the performing pianist on this record, first part? He or she is very inaccurate indeed, but soooo... how to put it... untimid and free. I need to listen more, he/she might be really be close to almighty Brendel, really.
Yes, it is. Not really near Brendel's, but I can listen for it, not wishing switching it off in pain. And that's a praise indeed. So, who's the performer, please?
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L oeuvre est assurément la pire de celle de l époque du mauvais goût ,avec trouées sublimes(1802, avec les opus 36,37,47 ,trouées sublimes dans les deux dernières !).et je serais bien triste qu un mélomane qu une personne découvre Beethoven par elle.
Mais c est quand même fascinant que le mouvement 2 fasse a la fois penser à Mozart et a Chopin alors que celui ci n était pas encore né !
1:03 not as easy as it sounds
I admire Ludwig. He has made my life richer with his music and biographical details. Now that this sonate is not his best (my opinion) it is time to remember some darker side of his personality: 1) He misused ”van” surname in Vienna to pretend to be a noble and get benefits of the title 2) his character, that was described as ”untamed” by Goethe, is quite clear in this sonate, that is heavily stuffed with scales and odd changes of harmony and dynamics. Overall the sonate is too wide, a shorter form would have done this sonate a classic.
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どう弾いても、１６番はチェンバロ的です。１７番は、ラプソディックです。１８番はシンフォニックです。ベートーベンは、作品３１を、作曲技法的に、書き分けています。交響曲第五男、第六番、バイオリン協奏曲も、書き分けています。アスペルガー的な拘りにも見えます。ピアノソナタ３０、３１、３２もそうですね。バイオリンソナタ１，２，３もそうです。余りにも巨視的で着いて来れない人は、諦めましょう。コヴァセヴィッチもグートも、自然に音楽に迫っています。それで良いのですが、作曲者の意図は、別の処にもありました。辞めましょうね。そんなこと考えていたら、早死にします。
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