Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)
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- เผยแพร่เมื่อ 7 ก.ค. 2024
- B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.
MVT I, Presto
EXPOSITION
00:00 - Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 - Transition Group. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 - Theme Group 2, Theme 1, opening with M1.
00:55 - Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 - Theme Group 2, Theme 3. Based on Theme 1
01:25 - Theme Group 2, Theme 4.
01:32 - Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 - M1, 4 bars. Theme 1 enters in D min.
03:31 - Modified Theme 1 (rhythm preserved) in Bb
03:36 - Development Theme. D min, Bb, G min, Eb
03:56 - Dominant preparation
RECAPITULATION
04:13 - Theme 1. At 4:24 diverted to E min
04:31 - Transition Group
04:53 - TG 2
CODA
05:42 - TG2, T4 extended for 4 steps
05:45 - Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 - Imitative treatment of M1 over tonic pedal
06:13 - Final crescendo over tonic pedal. Bass notes trace augmentation of M1
MVT II, Largo e mesto
06:25 - TG1, T1
07:30 - TG1, T2
08:27 - TG2, T1
09:26 - TG2, T2
DEVELOPMENT
09:53 - Episodic Melody
10:33 - Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 - Dominant preparation
RECAPITULATION
11:28 - TG1
12:57 - TG2
CODA
14:00 - TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 - (x) over dominant pedal
15:12 - TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.
MVT III, Menuetto: allegro
16:50 - Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 - Trio.
18:41 - Menuet
MVT IV, Rondo: allegro
19:28 - Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 - Transition
20:01 - Episode 1
20:16 - Theme
20:36 - Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 - Theme. The transition is diverted to
21:50 - Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 - Theme, with decoration.
22:30 - Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH. - เพลง
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Lortie:
00:00 - Mvt 1
06:25 - Mvt 2
16:50 - Mvt 3
19:29 - Mvt 4
Jando:
23:18 - Mvt 1
31:12 - Mvt 2
40:44 - Mvt 3
43:33 - Mvt 4
Lortie’s performance is one of my all-time favourite B. recordings; when I’m listening to it, at least, it’s hard to imagine something more perfect. The dynamic control on display is pretty extraordinary [0:14, 0:38, 5:01], there’s all sorts of beautiful colorization everywhere [1:33, 5:05, all over the last movement], the 2nd mvt’s doleful lyricism is completely realized, and passages are articulated with a lot of care [see the non-legato closing at 23:09]. Jando’s performance displays the same attention to detail as Lortie’s, but his much slower tempi in the 1st mvt allow him to play with these microscopic variances a lot more: this performance is less sleek, but somehow more down-to-earth, more honest. There’s a lot less pedal in his recording, where the fingers do most of the work, and his tempo in the 2nd mvt is also brisker than Lortie’s. His dry style yields some unexpected rewards, such as the wonderful semidemiquaver passages at 34:58 and similar, where the textures are more orchestral but the grief starker/more biting, and the rondo, where the razor-sharp articulation gives a really nice, crisp, bite to the whole movement.
Ashish Xiangyi Kumar OOOOOOOOMMMMMMMGGGGGGGG *THANK YOU!!*
Your analysis always exceed my expectations! They never fail to disappoint
Eternalshimo *HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAAHHA*
I really aprreciate your passion toward music. Yeah, totally out of this world. btw, i think the biggest piece of "total masterworks than noone listen too" is mozart's 41th symphony, probably the best his creation, one of the best music pieces that humanity has created... and the view count on the biggest video barely reaches 2M...
YOU CANNOT PUT ADS IN THE MIDDLE OF THE SONATA OR EVEN WORSE OF THE MOVEMENT
This Beethoven Sonata carries me in a fairy world of music.
Thanks God Beethoven has existed.
Listen to Russian composers from the Revolution era, then you'll be in a new world.
Kevin Huang Why not Beethoven?
@@kevinhuang8916 they are nothing compared with the art of Beethoven.
Kevin Huang Why not Beethoven? Beethoven is AMAZING!
@@justaharmlesspotato69 Why not both? Both is good.
Wow. That second movement is definitely one of the most beautiful things EVER written. Beethoven was a master of emotion and his music is as relevant today as it was back then.
It’s so well hidden, I never liked the first movement of this sonata so I just skipped it. But one day i went and played it all along, searching for some hidden gems and found one of my favs of beethoven.
@@quesote20 what was it that you found
Second movement is deeply profound....had an ad about 45 seconds from end of it. Was falling asleep
Interesting. I find the second movement really boring.
@@bryanryan4504 all in the tempo it's played in. Most recordings its played too slow for my liking. Concert pianists trying too hard to prove they can play slow as well as fast. Shame, there's really a lot of passion in it, IMO.
Happy birthday my dear Beethoven
Happy birthday my deaf Beethoven
@@miguelisaurusbruh1158 good job he didn't have to hear to do his job
Call me Ludwig!
@@miguelisaurusbruh1158 is it a good subject for jokes?
@@localvoid6753 yes
6:08 What a glorious finale for the first movement!
Never heard this before. The 2nd movement is such an amazing expression of passion and artistic genius. He was certainly reaching for something higher beyond the realm of the physical world.
The second movement is absolutely transcendent. I've played it for people before, and almost invariably their reaction is "Whoa. That's powerful." It makes an amazing contrast between the energetic 1st movement, too. No. 7 is my favorite of the early sonatas.
Isn’t this piece the first one, in which he was completely deaf?
@@SamSoyk Not quite; this was written when he was in his late 20s, around when he first began having hearing difficulties. He didn’t go completely deaf until he was 44 or 45, which makes his last 3 - 5 sonatas the only ones I believe he wrote while completely deaf.
I love this Sonata. Especially the 2nd movement - I think this is where we truly hear Beethoven's sadness and depression, at the the time he composed this. It's such an emotionally powerful work. I know that there are many other Sonata's that portray that. But, for me, this is more of an in-depth and personal work of his. We can really grasp what he was going through when he composed this Sonata. It's bittersweet.
But the first movement is sunshine in sounds lol
Hurbii maybe that’s what he wanted people to see at face value.
joshua smith you’re saying I’m wrong?
Hurbii no, not at all. Reread the original comment. Then you will understand where I’m coming from. If we are talking about this piece from Beethoven’s meaning and feeling, then maybe he wanted people to see this happiness at face value, while on the inside, his second movement reflects what he truly feels.
@@mcrettable Yes, the other movements are more happier, I suppose. I was mainly referring to the 2nd movement of this Sonata.
Been waiting for this for so long, I play it myself and it sure is a beautiful piece!
0:55~1:06이쯤 너무 상쾌하고 기분좋다..♡
새벽 해뜨는 걸 보는 기분......
This piece right here is something different I´m telling you, Beethoven just creating motifs based on the most unique patterns and make it feel so well connected, like a beautiful breeze.
I love the first theme from the first movement, its so cheery and playful with its scales, and it just keep that vibe through the whole sonata
Absolutely and especially the transitional areas just brilliant music
Barenboim has done a tiny (but excellent) 5-minute segment on the last movement of this sonata: th-cam.com/video/wh-pcrWG3Mg/w-d-xo.html
Ashish Xiangyi Kumar Yes, I watched it and it was amazing!
Surely the best of the early sonatas. Many elements point forward to Beethoven´s late sonatas.
Incidentally: I seem to be facing a slightly weird issue where some of my uploads (like the Tempest Sonata or Thibaudet's Mendelssohn PC 1, among others) aren't discoverable (by me!) on YT via the search function. So:
1. Is anyone else facing this issue, and if so,
2. Any idea why this is the case, and
3. How I should get around this?
And to clarify, using the case study of the Tempest video:
1. It's not a copyright issue: there are no geographical viewing restrictions, though you can't view it on mobile devices;
2. The video still gets a healthy number of views each day, about 10% of which are via YT search.
I'm able to find both videos via the search function. Though I have heard numerous complaints about TH-cam hiding videos from user's subscription box.
I don't know about the Thibaudet's Mendelssohn PC 1 but I found the Tempest video pretty easily. I typed in something along the line of Beethoven 17 and your video was about the 4th,5th one down.
Yeah, I had this problem with your upload of Sonata no. 28, Op. 101. I could find it easily on the computer, but on mobile I couldn’t find it, and when I eventually did it said the video wasn’t available.
Hey! would be interested in listening to a string quartet arrangement I wrote for this? Well I wouldn't say arrangement, I made a few artistic additions ;3
Hey I wrote an arrangement for string quartet if you're interested in hearing it. (first version)
soundcloud.com/user-570795444/beethoven-sonata-no-7-for-sq-v1
The best of the very early Beethoven sonatas
Alberto Lorenzo I agree but op10 no2 is really underrated
I agree. I think it's the finest sonata of his until the op. 31 set. The only other early one that might top it is the op. 26.
@@lillianli1587 ....underrated..the one in F no.6?
How about the 3rd?
@@felixmladenov5428 you mean op. 2 no. 3? It's a great piece but I like 10/3 better. The first mvt of 2/3 is a bit showy with all the broken octaves and whatnot, and 2/3's slow movement can't compare to 10/3's.
Beethoven is The Maestro. The cornerstone of music composition that all compare to.
입시곡으로 정하기전엔 7번이 너무좋았었죠....네...
Oh my God the second movement is so beautiful
One thing must be noted. Many works you hear in recital are not based on Musical Merits, but on technical Difficulty. If a work is felt to be too easy to play, it tends to get neglected, no matter how great the musical merits. Haydn's piano sonatas, for example.
How true! The same goes for Scarlatti's slower sonatas. Listeners are more concerned with the technical aspect of music rather than its beauty.
That's why it's important to play and enjoy them for personal gratification first and foremost.
Is this considered technically easy? I mean I’ve learned pieces tat are technically more difficult, but this doesn’t look technically or musically easy.
Harry Andruschak. Can you recommendate some interesting Haydn piano sonatas. It seems they have place in the music history developong sonata form, but are there beautiful ones?
@@texwiller4029 I'd recommend the Hob XVI 32, 37, 46, 49 and 52. Very much like a balance between early Beethoven and Mozart that is unfortunately neglected.
The minuet is so wonderful I don't even.. just wow
Nobody’s talking about the coda of the fourth movement? It’s imo one of the greatest codas of all time. It sounds so mysterious it almost feels like there’s no ending.😮
Lotie's perfection is stunning!!
This music is so sophisticated that it makes my head spin. It is a great example of why the generation after Beethoven had a major compositional inferiority complex. I love the emotional contrasts as the music flows from one movement to the next…first joyous then tragic then pastoral then very quirky. Best to learn opus 7 and opus 22 before this then it’s not as intimidating.
"major compositional inferiority complex" wtf
@@MiScusi69 реально, написал и не пояснил. А вдруг такого понятия вообще не существует, хых)
This and the op.4 (although that one is more middle Beethoven in nature) are true masterpieces of the early period.
My two absolute favourites with op.2 n.3. Even early Beethoven was capable of writing true pieces of art.
Op 7?
The second movement is the epitome of loneliness. The key of d minor is a sad key anyhow. Very beautiful
Like sonata 15.
Like Dvorak symphony 7
Like Brahms tragic ouverture.
Happy 250th Birthday Beethoven! I first heard this sonata (Summer, 1995) when I was thirteen years old on the radio when Awadigen Pratt played it. Underrated and over enjoyable. Thank you!
Listening to this Sonata that I fell in love with. Started learning it a few days ago but slowly in order to master it maybe after 6 months of practice.
I'm obsessed with Beethoven's Sonatas and this is one that I'm slightly more obsessed with
What a beautiful Melody in the 3rd Mvt.!
This is such a delight!
Thank you for putting the musical score up with the sonata. 🙏
Thanks for uploading!
One of my favorite by far
"one of those that belongs firmly in the “total masterwork that no-one listens to” - *cough*, Op.7. Majestic.
Yep, the Op.7 is definitely in that category too.
Looking forward to that one, too. I think the op. 7 wins the "most difficult until the Waldstein" award, unless the op. 2/3 wants to lay claim.
have you played it?
Not really. I've played the slow and 3rd mvts. of op. 7, but I never could get the first movement up to tempo.
Ashish Xiangyi Kumar OOOOOOOOOMMMMMMMMGGGGGGGG *THANK YOU SOOOOOOO MUCH!!!*
STILL Sensational! BRAVO from San Agustinillo !
The coda in the last movement keeps being beautiful
I see you everywhere in Beethoven’s sonatas
I like this one particularly among his early sonatas. How come I've never heard (of) this before?
other piano sonatas may be far better known but imo this is Beethoven's best.
All three Opus 10 sonatas were dedicated to Countess Von Browne. The slow movement of no. 7 is a love note but also despairs of ever having that love reciprocated. The movement is in ternary form, which he never used again in a piano sonata. The music anticipates so many later developments that it's hard to pick any particular composer and match him to a specific passage. I heard bits and pieces of Schubert, Schumann, Chopin and even Debussy. Amazing doesn't even begin to describe it.
This sonata is, in my opinion, the first unequivocal masterpiece that Beethoven produced. Glenn Gould was particularly fond of the slow movement. It's interesting to note that Beethoven remarked that he considered his piano pieces inferior, and he also called the piano an inadequate instrument. But composers are not the best judges of their own works. Why does Jando take the first movement allegro? The tempo marking is presto!
Even if considered a classical sonata it is very lyrical surpassing all composers of the period. At moments it seems Chopin but never more Haydn. He obtains this romantic style with scales which he knows very well modulating in key far away from the original key. A masterpiece to discuss and to listen with great interest. It is probably more complicated than the pathetic...sonata . Thank you
Minha preferida,igualando-se as outras 31.Eterno e Eternizado Beethoven querido!
Happy birthday Beethoven!
The 2 movement is the best thing i've ever heard. Sorry if my english is bad.
It's one of my favorite movements from a Beethoven sonata. So incredibly powerful.
MeidoMB Your English is not bad, it’s actually better than mind lmao
MeidoMB You just had to say “2nd” or “second” movement instead of “2” movement.
I stumbled upon it on Itunes for the first time the other day while doing yard work. It was a piece that really resonated with me.
the only thing that feels better than listening to this second movement is playing it
one of the best slow movs ever by any composer
Especially playing it alone late at night
The ending of movement two sounds like the soundtrack to someone's life falling apart.
22:53 c minor7.. I love beethoven for this progression
Well, that's not unusual in harmonic sequences at all :) It's the only place where it's "allowed" to use it. Nevertheless, most music theory professors will most likely try to rationalize it, saying it's some sort of dissonance that gets resolved implicitly afterwards, in some way.
12:25 Hendrix chord
Fuck this is just so beautiful. I'm almost crying. There will be one day when I play this in front of a crowd on stage, that I swear to myself.
can u play it yet
@@nat91307yeah can you play it now it’s been 4 years
I've been waiting for this one. This, along with the op. 26 sonata, is my favorite of the early Beethoven sonatas. It's an absolute joy to play (a bit easier than the 11th that AXK is so fond of; I don't like that one quite as much as this one myself). That Largo movement is just magnificent, and its intensity must have startled LvB's contemporaries. I can't think of anything Haydn or Mozart wrote that's as dark and dramatic as the Largo.
The first movement's amazing in efficient use of motives, like AXK said: nearly the entire movement is built off a 4-note scale, and not a note is out of place. Also, it pushes beyond the limits of the piano that LvB had at the time; there are a couple passages that sound better if you add notes that Beethoven wouldn't have had available (like the octave scale during the recap in the LH).
Great stuff!
Last time I listened to this Largo intently was 4 years ago and so many parts of it stick out so clearly in my mind... It is a masterpiece.
I think Mozart's C minor fantasia is comparable in terms of sheer resignation and the sort of sublime fear it induces.
I absolutely love the C minor fantasia, but I don't think it's quite as dark and despairing as this Largo. The Mozart has some moments of gentle beauty which are mostly absent in this Largo. Both are absolute masterworks, though.
I suppose you're right. The major sections of that Mozart piece are long and stable enough to let the heart rate relax a little, even if one quietly knows they can't be where the piece is going to end.... whereas the major sections of this Largo are shorter and still filled with pathos, devoid of any prolonged rest or stability.
My Orchestra arrangement of Beethoven's Piano Sonata no. 7:
Woodwinds:
Flute
2 Oboes
2 Clarinets (in A (first, third and fourth movements), C (second movement))
2 Bassoons
Brass:
2 Horns (in D)
2 Trumpets (in D, second movement tacet)
Percussion:
Timpani (second movement tacet)
Strings:
Violins I, II
Violas
Cellos
Basses
I did once listen through all 32 Piano Sonatas by Beethoven, but doing that has the issue that sometimes, you don't pay much attention while listening to the piece in the background, and you miss gems like this lovely sonata!
I did know the third movement, having attempted to sight-read through it (and not quite doing it justice), but seriously, this is just the loveliness of Beethoven having fun in his music - except the second movement, which I wouldn't characterise as 'lovely' due to its seriousness. My only slight issue is that the rondo's episodes are a little short for my taste i.e. I feel like the theme comes back too soon, but everything else more than makes up for it.
Same
This is indeed the gem I have missed for decades.
2nd movement should be a piece on its own, and be much more famous, its simply amazing
I heard it for the first time yesterday when it happened to come up on my Iphone. I was entranced by it and shocked that I had never heard it before.
Can we please talk about the theme in the 4th movement resolves with a deceptive cadence in measures 6? How amazing is that!!
@@zafferung4440 you're the ignorant one. Terminology and spelling are different in different countries. In the US measure and bar are used interchangeably, and we spell "practicing" with a c!
@@zafferung4440 How can a human being be so rude... Absolutely disgusting mindset.
In the Finale I find even more amazing the deceptive cadence in bar 32
Oh how I've heard of the minuet in the 3rd movement of this piano sonata before! I didn't know it's from this sonata...
8:16 Now I know where Mahler got *that* moment from...
I'd love to know which Mahler moment you're thinking of :0)
@@rjr1967 From the Adagietto of his fifth symphony.
The Largo e mesto (second movement) is one of the most slow movements Beethoven ever wrote.....
Yes indeed it is very slow
That's a weird way to measure music...
Hello, unrelated to this video, may I ask what your views are on Lang Lang's playing? Quite a lot of pianists and critics have strong feelings about him, and I wonder where you place him. Also, I love your videos and commentary, you do fantastic work and I always look forward to your next upload.
P.S. I have never had an issue finding any of your videos using the search function on TH-cam, albeit this site works in strange and mysterious ways sometimes.
Yo -- glad to hear that you're liking the channel!
Re Lang Lang -- mixed bag, basically, with the general rule being that the more freedom he's given the worse he tends to be? So his 4 Mozart sonatas on record are very good to really excellent, with the K.330 (iirc -- listened to this a long time ago) given a really nice, detailed, strangely doleful performance (despite LL's reputation he's sometimes often introverted, sometimes to a fault, in his recordings. I've always found this a bit puzzling.) His Kinderszenen is really ordinary, even boring, and his Chopin Sonata Op.58 is so slow and mushy it's hard to listen to (I also recall his Op.22 being slow and -- it's kind of weird to say this -- lacking brilliance). In the Op.25 etudes the quieter etudes fare really well (the 25.1 is really nicely voiced, and I don't even mind the addition of an extra bass note), but the loud ones are a mixed bag -- the 25.11 is pretty great listening, but the 25.12 is annoyingly bangy despite some pretty decrescendi.
I saw a YT clip of LL playing the last movement of the Appassionata that was very good, without much emoting or exaggerating, with the rhythmic drive that the piece requires, and I was impressed. (It's not quite as good as Jumppanen's recording on this channel, but that's a very high standard to meet.)
I enjoy Lang Lang's playing although watching him play makes me winch because his technique looks so appalling. However, he is my inspiration because when my piano career was not in a good place, he came along and showed me that even though preparing for recitals and concerts was still hard work, it could be really enjoyable too. Since then, I've enjoyed practicing so much more and it was down to him.
Hi Ashish - a quick question. Listening to this has reminded me of how great it would be to have you upload your preferred performances of/commentary on the Mozart sonatas. Is this something you'll do eventually? And related to that, I think you once said that you broadly concur with Glenn Gould's assessment of Mozart. Do you hold those views to be true of Mozart's keyboard music only, or of all his output?
The coda in the last movement
14:10 to 15:14 is the best of Mvt2
Omar Ayman if you like that part you should listen to th-cam.com/video/YQt17o9ypZ8/w-d-xo.html at 2:04
It sounds kind of similiar imo 😋
this is SO COOL OMG I WANNA PLAY THE 1st movement so bad!!!
Go for it! It's fun. It's not quite as hard as you'd think. Very pianistic. The last movement is treacherous, though.
Me too!!
42:16 wow
Oh gosh, the exposition of the first mvt is like a DEVELOPMENT of the “motif 1”.
I also adore Elisabeth Brauß’s interpretation of the work.
考试要练这套奏鸣曲 旋律真不错
people who dislike this should get a life.
I suddenly laughed hard about the humor at 22:15
@@zafferung4440 humourith
06:25 - 2 часть начало
09:53 - тема среднего раздела
Reminds me quite a bit of his ghost piano trio.
I also have thought this!
00:00 І ч. ГП 1 т. D-dur
00:20 І ч. ГП 2 т. h-moll
00:45 І ч. ПП A-dur
01:16 І ч. ЗП A-dur
03:24 І ч. РБ
06:25 ІІ ч. ОТ d-moll
09:57 ІІ ч. СР F-dur
16:50 ІІІ ч. ОТ D-dur
19:29 IV ч. РФ D-dur
20:38 IV ч. ЕП B-dur
1:41
I was playing this song this tempo's 1/2 ...
To play it evenly every passage and with good tone this is no easy piece
0:55
Movement 3 = Schubert D. 915 in C minor
Did you notice the difference in the plan of emotional tense throughout whole Sonata? Lortie's 1st mvt is very fast and energetic, 2nd mvt is much slower. On the other hand, Jando keeps tempo in check in 1st mvt, but 2nd mvt is more vigorous.
Lortie's version of I movement is too fast for me... even if is marked as 'Presto'.
BEETHOVEN HAS BIG BASS
5:51 final fantasy menu's theme.
M. 74 of the fourth movement is strikingly similar to parts of Ligeti's Musica Ricercata no.3.
Largo could be a Chopin's nocturne...
These commercials are the worse when its right in the middle of a climatic movement!.........aw.....!
I cant believe people would dislike this, some people may not like Beethoven's style and that's' fine but why dislike it?
From the description:
Quote
B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category
Unquote
Not true, It's one of my favourites, especially the 2nd movement.
And Richter's performances of the piece are magnificant! (even though many "contemporary" critics say it's old fashioned)
47:44
I really dislike the first idea in Octaves. The Quarter note is a pickup, but is treated like a downbeat, then the rest of the idea is off, and seems to end in an upbeat. But then as the motif comes back he places the downbeat. There might be a slur there but that doesn’t mean you can’t place the downbeat properly. You can slur properly while still maintaining the correct feeling of a downbeat over a barline.
Well, the first octave is written legato, while the rest of the idea is stacatto. A good interpretation could perfectly make the downbeats sound as written by exaggerating the contrast between legato and stacatto.
1:40 biggest 👍🏻
개좋네 ㅠ
6:29 at first it looks like you need 6 fingers on the left hand
I think that you should play the deep D, the F, A with the left hand and the right hand then plays the higher F, A and what is notated in treble clef.
He JAN DO play this piece!
Truly the first movement is the hardest thing I've ever had the pleasure of mastering and memorizing. Best word to describe it is just DENSE. Every second is filled with so much detail and technique and notes, its a pain to memorize.
I'm doing probably the first and second this semester (no official approval yet, started over winter break) and am loving it so far! Have you listened to Shiff's lecture-recital on it? That clarified part of the memory aspect for me, as he talks about everything kind of fitting in to a four-note motif. And he just has some awesome points.
th-cam.com/video/V50x4VDgTYg/w-d-xo.html
@@michellehylton3595 The video you posted is now private, do you have another link of the video?
1:40 lmaooo 😂
😂
20:35
19:29
I was because of the Movement III which was entitled “Fincl_01” in the midi files of MS Publisher software HAHAHA
Playing this for my school exam ;))
Good luck! (Even tho I’m 3 years late)
@@apianoguy-wx3ch update from the future: it went well LMAO
I believe presto is around 120 - 160
This sonata is usally played prestissimo
Second performer is right methinks.
This is played at about 150, so it still counts bruv
Working in this . 😢
ピアノ三重奏曲第5番との関連がありそうなソナタですね🧐
Playing the 1st movement a bit slower is much better.
6:25 Г.П
8:40 П.П