Beethoven - Piano Sonata No. 31, Op. 110 (1821) {Original 1835 Fortepiano)
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- เผยแพร่เมื่อ 22 พ.ค. 2024
- Ludwig van Beethoven (baptised 17 December 1770 - 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time.
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Sonata No. 31 in A-flat major, Op. 110 (1821)
1. Moderato cantabile molto espressivo (0:00)
2. Allegro molto (6:39)
3. Adagio ma non troppo (8:59)
4. Arioso dolente
Fuga. Allegro ma non troppo (12:32)
Penelope Crawford, fortepiano
Conrad Graf, Wien, 1835
In the summer of 1819, Adolf Martin Schlesinger, from the Schlesinger firm of music publishers based in Berlin, sent his son Maurice to meet Beethoven to form business relations with the composer. The two met in Mödling, where Maurice left a favorable impression on the composer. After some negotiation by letter, the elder Schlesinger offered to purchase three piano sonatas at 90 ducats in April 1820, though Beethoven had originally asked for 120 ducats. In May 1820, Beethoven agreed, and he undertook to deliver the sonatas within three months. These three sonatas are the ones now known as Opp. 109, 110, and 111, the last of Beethoven's piano sonatas.
The composer was prevented from completing the promised sonatas on schedule by several factors, including his work on the Missa solemnis (Op. 123), rheumatic attacks in the winter of 1820, and a bout of jaundice in the summer of 1821. Barry Cooper notes that Op. 110 "did not begin to take shape" until the latter half of 1821. Op. 109 was published by Schlesinger in November 1821, but correspondence shows that Op. 110 was still not ready by the middle of December 1821. The sonata's completed autograph score bears the date 25 December 1821 (it is this score which was used for this video); Beethoven continued to revise the last movement and did not finish until early 1822. The copyist's score was presumably delivered to Schlesinger around this time, since Beethoven received a payment of 30 ducats for the sonata in January 1822.
Adolf Schlesinger's letters to Beethoven in July 1822 confirm that the sonata, along with Op. 111, was being engraved in Paris. The sonata was published simultaneously in Paris and Berlin that year, and it was announced in the Bibliographie de la France on 14 September. Some copies of the first edition reached Vienna as early as August, and the sonata was announced in the Wiener Zeitung that month. The sonata was published without a dedication, though there is evidence that Beethoven intended to dedicate Opp. 110 and 111 to Antonie Brentano. In February 1823, Beethoven sent a letter to the composer Ferdinand Ries in London, informing him that he had sent manuscripts of Opp. 110 and 111 so that Ries could arrange their publication in Britain. Beethoven noted that though Op. 110 was already available in London, the edition had mistakes that would be corrected in Ries's edition. Ries persuaded Muzio Clementi to acquire the British rights to the two sonatas, and Clementi published them in London that year. - เพลง
The manuscript is so minimalist, clearly Beethoven had no time for pretentions. I imagine this score lying in a pile of papers, half eaten food, spilled drinks and chaos. Yet, the music is at the peak of order and artistry.
fantastic paradox..or irony....thank you for your comment!
yeah thanks... really good comment.
I don't know what is more impressive : The man who composed such a beautiful piece, or the people who could read the notation well enough to put into the readable score
The score is really fascinating!!
So beautiful ... a revelation on fortepiano, though, and it is wonderful to see Beethoven's handwriting flowing by as well... how he thought of each portion!
Remember everything was written in ink, no pencil and rubber. last minute alterations meant scratching out and rewriting. I dare say the ink has faded over the years but it's so instructive to see the composers original manuscript before editors got hold of it.
Wunderschöne und detaillierte Interpretation dieser kompakten doch perfekt komponierten Klaviersonate im nuancierten Tempo mit klarem doch warmherzigem Klang des historischen Fortepianos und mit sorgfältig kontrollierter Dynamik. Der dritte Satz klingt echt schön und auch mysteriös. Alles ist faszinierend!
Because it represents the hardship he was going through in life, left alone all by himself & not being able to hear anything. The only thing left is his music here, as he did such a great job telling the world what it feels like. All suspended from reality like being thrown & left inside the biggest hole yet to climb out of all time. The only way out is to point his inner connection to God. His music is pointing in the direction of the above. This is where his deepest connection with God becomes formed & he has the utter realization that he is the creation of God. & meant to go through life in such ways, simply because he has something to prove to the world! “That he is the best!”
Thanx so much for this wounderful facsimile piece
Oh yes, my favorite one! Thank you!
Respect for the people whose job it was to translate that disheveled scribble into readable manuscript!
Fun fact, there may be Bebung in the third movement, a technique meant for clavichord
I have never heard of that term before. Where does this occur in the movement?
@@chris93703 i guees it's the repeated A at 9:52
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Everything sounds better on period instruments, periodt
Thanks for posting this. Where did you get the manuscript? Is it available online?
Yes, you can find it on IMSLP
Someone has to try mov 3 on cello + violin. There is something there for strings would be amazing
Interesting, does the performer play a C7 / dimminished chord at 1:45? I don't think it's notated but it fits pretty well
I've listened to it several times and I don't hear anything that departs from the score! The tuning of the fortepiano used here does differ from what we are used to nowadays so chords do have slightly different qualities to them - it's something I'm still figuring out as I listen to these.
I can only hope for op. 111 to come next!
I already did the score-video with the manuscript approx. a year ago, but I suppose he could do it anyway, with a different recording. I choose Pogorelich - one of the most sublime and extraordinary performances of Beethoven's final Piano sonata ever recorded.
It will be a nice comparison. Modern versus historically correct. Best of both worlds.
@@bartjebartmans I look forward to analysing and comparing :)
What’s the little word he writes to repeat the figure?
This is the modern version of the more useful abbreviations en.m.wikipedia.org/wiki/Abbreviation_(music)
(i had a wikipedia link posted, sorry if it's not visible. the article is called abbreviations in music)
Beethoven hardwrite is hard to read
Jesus Christ, I understand is a handwritten score, but you have to almost decipher it. I seriously doubt that anyone except him could fully read the handwritten score.
The fact that I made this video is proof that Beethoven's handwriting is pretty easy to read. I have not run into a score I couldn't read. Copyists like Ferdinand Ries prepared the manuscript scores for publishing, they could read any scribble Beethoven came up with.
Lord Almighty, that handwriting is atrocious
Almost as bad as a doctor's.