Beethoven: Sonata No. 25 in G major, Op. 79 | Boris Giltburg | Beethoven 32 project
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- Опубликовано: 18 фев 2021
- The genesis of this sonata is closely tied with that of Sonata No. 24, as both were commissioned by Muzio Clementi, an Italian-born, London-based pianist, composer and publisher. The contract for those and other works was signed on 20 April 1807, with Beethoven agreeing to compose the two sonatas ‘in an unspecified time and at his leisure’. This finally happened in the second half of 1809, and both sonatas were published by Clementi in mid-1810.
The G major sonata, Op. 79, is a work light both in spirit and in technical difficulty, recognised as such by Beethoven, who asked the German publisher to call it ‘Sonata facile’ (‘Easy Sonata’) or ‘Sonatine’.
The first movement (0:11) is a lively dance, titled alla Tedesca (‘in the style of a German dance’), which could refer to any number of quick dances in triple time, of which the Deutscher Tanz, Ländler and waltz were the chief types at the time. Its origin as a contradance is revealed in the coda, where its theme finally assumes the symmetric nature hinted at in the beginning (4:41). The development contains a surprising technical challenge, not quite fitting the sonata’s designation as ‘easy’: the left hand has to cross the right hand at speed in every bar, with lightness and precision (1:33). It is interesting music - the resulting ‘cuckoo call’ motif gave the sonata its unofficial nickname - but it’s anything but easy! (As an aside, Beethoven later wrote another alla Tedesca movement, as part of the String Quartet, Op. 130, and created a small link between the two: the four opening notes of the string quartet movement are the same as the sonata’s opening, inverted upside down.)
The second movement (5:08) is perhaps the least Beethovenian of the entire cycle - it is a beautiful melancholy barcarolle, which could have easily been one of Mendelssohn’s Songs Without Words. Artless simplicity in the outer sections surrounds an operatic middle section (5:46), with a beautiful soprano line soaring above the gently rocking left-hand figurations.
The finale (7:42) is full of wonderful charm, its endearing refrain varied and elaborated with each repeat, surrounding several energetic and characterful episodes. Interestingly, Beethoven later used the exact harmonic sequence of this finale’s opening in the sublime beginning of Sonata No. 30, transposing the music for the ‘simple’ G major into a more refined E major.
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Beethoven 32 - Over the course of 2020, I have learned and filmed all 32 Beethoven sonatas. Subscribe to this channel or visit beethoven32.com to follow the project.
Boris Giltburg, piano
Filmed by Stewart French
© 2020 Fly On The Wall, London
@FazioliPianos 
Видеоклипы
I. Presto alla tedesca - 0:11
II. Andante - 5:08
III. Vivace - 7:42
I'm so glad you're taking your time with this project, every single interpretation has been wonderful, congrats!!
What’s the project? Curious!
@@MrLJeffery well, playing the 32 beethoven sonatas haha, i think the goal was to do it all in 2020 but the pandemic slowed down everything, so i'm glad Boris took his time and recorded the best possible interpretation for every single sonata
Bravissimo!!!
Extraordinary. Beautiful. Loved every moment. 🙏 🙏 Thank you also for the notes you supply with every sonata. You are giving us the most abundant gifts.
Thanks you Boris for this beatiful interpretation!!
Wonderful pianist and performer 🎶🎵 💙
Qué lindo Boris Giltburg! Hermosa sonata y maravillosa interpretación de Beethoven, ¡congratulations!👏👏👏👏👏💟
Beautiful!
I love this sonata so much, rigth now I'm working on Clementi's Sonatinas, and as soon as I'm done with a selection of those, I'm going to try this one. I have been listening to this Sonata a lot lately, from a lot of artists. And I can easily tell you that this interpretation is right up there with Lewis's as my two favorites. I'm going to listen to your interpretation of the Waldstein now!
I love Clementi's Sonatinas. This sonata is definitely much harder than most of them, but it's still doable if you can play the Clementi. I find the third movement to be the trickiest.
Wow! Really good!
Bravo!!! Brilliant Pianist 👏♥️♥️♥️♥️♥️♥️ 🌻🌷🌹🌻🌷
Wonderful interpretation.Both technically and Sound quality.
Master pianist, bravooo
Can u explain what it feels like Go through Beethoven music for u because u reliving his music Energy!🙏 very interesting ur Opinion Tnx
I have a feeling Beethoven wrote this smaller sonatine directly after the Appassionata because the latter was so scandalous and new and different that he had to prove he hadn't lost his ability to produce the typical classical sound people were used to (Mozart and Haydn in particular).
hi Boris do you memorize all these, or are you sight reading?
There's another 'easy' sonata besides two 'lesser' sonatas, i see~ actually i kind of finished following your Beethoven project with tempest 3rd mvt today. Of course i need to practice more for sure! But as sonata 19 i didn't learn previously, but just listening your play repeatedly i thought i could play somehow~ likewise, maybe i can try this sonata which Beethoven had composed for his leisure:)
Grazie Boris per questa pausa rigenerante e magnifica in giorni così difficili 😘
@@annacastellani8701 sorry i don't understand~ anyway, thanks for the reply
@@widerhorizon " Thank you Boris for this refreshing and magnificent break in such difficult days "
Nice, a lot of caution......
I see no caution - he has risen well above any such concept. I only see feeling and precision, as he recreates Beethoven's world.