Beethoven - Piano Sonata No. 30, Op. 109 (1820) {Original 1835 Fortepiano}
ฝัง
- เผยแพร่เมื่อ 15 มิ.ย. 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.
Please support my channel:
ko-fi.com/bartjebartmans
Uploaded with special permission by Producer/Editor Peter Watchorn
www.musicaomnia.org
Sonata No. 30 in E major, Op. 109 (1820)
Dedication: Maximiliane Brentano
1. Vivace ma non troppo, sempre legato - Adagio espressivo (0:00)
2. Prestissimo (3:53)
3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo (6:20)
Penelope Crawford, fortepiano
Conrad Graf, Wien, 1835
Description by Robert Cummings [-]
By the time Beethoven composed this work, his output had declined substantially, perhaps owing to his deafness and disappointments in life. The only complete works to emerge from the period of 1820-1823 were the last three piano sonatas, the Missa Solemnis and the Ninth Symphony. Even when compared to these imposing works, the E major Piano Sonata retains its status of a masterpiece. It is a remarkable work in several respects. The first movement has a nearly unique structure: it opens with theme marked Vivace ma non troppo that almost immediately slows to an Adagio espressivo. Thereafter, the two contrasting tempos and utterances alternate. Scarlatti and Mozart had used such a scheme before, but never in such a bold and innovative fashion. On the surface, this short movement has a serene, almost angelic quality, but, like many other works written during this period, the composition's surface is merely one dimension among many. Indeed, nothing about this sonata is one-dimensional. Thus, for example, the subdued, brightly lit realm suggested by the beginning of the works eventually leads the listener to sections where the narrative slows down, conjuring up dark shadows that intimate feelings of longing and doubt. The second movement, given its sonata form structure would be typical of a Beethoven first movement if it were not for its terse development and extreme brevity. There are two subject groups in this Prestissimo, with the first led by an assertive theme that more than vaguely suggests Schumann's piano style. More subdued at the outset, the second subject generates tension and energy as it progresses. Following a brief development, an interesting reprise leads to a concise coda. The finale is twice as long as the previous two movements put together. It is a theme-and-variations scheme, whose main theme is marked Andante molto cantabile ed espressivo. The melody is beautiful, in style looking toward the Romantic movement that was then in its infancy. It is tranquil yet melancholy, pleased but valedictory. Some of the six variations generate further variations either through development (the third variation), or as a result of a two-tiered layout (the second variation). While the finale contains many lively moments, it is predominantly slow-to-moderate in tempo and generally subdued, gaining in confidence as the narrative proceeds. This movement concludes with the main theme played slowly and serenely. While the ending suggests a certain peaceful resolution of life's struggles and conflicts, it also reveals a feeling of resignation which is free of conflict and fear. - เพลง
This comment is from the producer of this recording, and the founder and owner of the classical CD label, Musica Omnia, based in the United States. This recording was made (along with Beethoven's op. 110 & op. 111 sonatas) in April, 2010 in the First Presbyterian Church, Ypsilanti, MI in the USA. The fortepiano is from within a few years of Beethoven's life, built in 1835 in Vienna by the master builder, Conrad Graf. Beethoven's last piano was by Conrad Graf, built around 1824, and quadruple-strung in the treble (rather than the usual triple strung instruments, including the present one). The CD, devoted to the last three sonatas, was released under the title "Magnificent Landscapes", following the title of an unsigned 1824 review of all three sonatas in the prominent Leipzig
Allgemeine musikalische Zeitung, which compared Beethoven’s music to being led through a “magnificent landscape, through forests, meadows, valleys and rocky gorges, with glimpses presenting the most ravishing vistas” yet “the most captivating moments of calm could be followed by rapidly changing features next to one another…causing one to hesitate along the way.”
The artist for this CD is the highly distinguished American fortepianist, Penelope Crawford, who has made many recordings for Musica Omnia, including as a member of the Atlantis Ensemble, with the Dutch violinist Jaap Schroeder, many of which are also available on this channel. This particular CD is one of the very finest we have produced, with a level of technical and musical understanding that sheds real light on these familiar and challenging "late" Beethoven works. One of the sounds that you will hear on this fortepiano is the "moderator" pedal, which inserts a strip of felt between the (leather-covered) hammers and the strings, providing an effect that cannot be imitated on the modern piano. It was essential to the composers who knew this kind of instrument, right through to Mendelssohn and Schumann, both of whom owned instruments by Graf: Mendelssohn's own Graf was just a couple of serial numbers away from the one you hear on this recording.
Another way in which Penelope Crawford's work can be heard on this channel is as the producer for all of the solo Bach harpsichord recordings released by Musica Omnia, which are all being provided here with scores. She is one of America's leading musicians. Peter Watchorn
This is my favorite piano sonata, and a top 10 favorite piece in all of music. It is absolutely stupendous.
Yep that's Beethoven's handwriting 😆
But it's Beethoven, "i absolve you"
Yes!👍
Yes!👍
Some graphologists have estimated his IQ to around 160. It wouldn´t be surprising. No artist reach such heights with an average IQ. Schubert was brilliant as well.
@@metteholm4833 Well, IQ tests aren't a good way to measure intelligence
Wonderful piano, pianist and presentation. Thank you.
My favorite Beethoven sonata
What's strange to me is that it's not more popular. It's not like it's unknown, but compared to the Moonlight, or Pathetique, or Waldstein...maybe it just needs a catchy nickname.
@@erichodge567 unfortunately Beethoven's last 4 sonatas were not famous at that time, because they were considered impossible to play (until Liszt in 1836 tried to play and perform in Paris) and also because Beethoven was already ahead of his time and music critics did not understood the style of his composition (with the exception of the fugue of the sonata no. 31 in the Bach/Händel style), they thought that Beethoven, because of his deafness, was no longer understanding how to compose
@@erichodge567 the Pathetique sonata was the great mark of the consolidation of the early romantic period, with the piano as the main instrument
@@PEDRO_boaro , that makes perfect sense. I actually remember hearing op. 109 for the first time and thinking, "This is nuts." I think I had to hear it three times before I finally "got it". That third time, though, it utterly blew me away. Anyway, thanks.
This performance is mesmerizing. I had already heard the Opp. 110 and 111 from this collection, and I was already familiar with Op. 109, so I knew that I would be in a different realm for twenty minutes. It is everything I expected. When it was over, I was completely refreshed in mind and spirit.
Thank you!
My absolutely favourite piece of all of music. Everything I ever wanted from music is there within the less than 20 minutes.
Who is the pianist? This version is superb! Now my favorite version.
Paul Badura Scoda has another great piano forte version.
Unfortunately his instrument and recording doesn't come close to this. His playing yes, but the rest, no.
@Daniel Durovsky if you click on the tab "show more" you will see Penelope Crawford
I can't believe someone made a video with Beethoven's own score! It's amazing, I'm so thankful for this! I have to try what beethoven crossed out at 5:57
There is (how I remember) a video in TH-cam with Beethoven's handwriting of his 9th symphony.
Plus my uploads of his 6th Symphony and Moonlight Sonata. All in his hand.
good luck reading that
I love 13:42~13:53 sound so much
I can play only this part!!
When one listens to this and reads his sheet music in his writing, you are reaching back in time 220 years. It’s truly fascinating.
Yet it's effect is timeless!
Thank you sooo much for the tremendous work you did!
Absolutely beautiful
Wow, Beethoven's handwriting!
Thank you so much for associating the music with the original manuscript!!!!!
I've never seen this done before. How interesting!!!
Wonderful.
Many thanks!
This sounds much better on a classic fortepiano imo.
Absolutely! And, something I miss reading by TH-cam crowd, is the fact that Mrs. Crawford puts down one of the finest renditions of this Sonata I know of!
@@bartjebartmans
It sounds to me when I listen that one of the high notes, perhaps E, is out of tone. Is this how it would usually sound or does the piano need tuning or is this because the piano is old?
@@chris93703 perhaps as the instrument is tuned to A = 430 Hz and not 440 Hz?
É uma escuta transportadora, imaginemos a sala de Beethoven, ele ao piano.
Also...in the final movement theme and variations does anyone else note a similarity to Bach's Goldberg variations, particularly in the theme?
Very much so.
The handwriting only looks messy. All of the notes are in the right places and the expression marks are clear. I spend a lot of time working with manuscripts by 19th century Viennese dance composers and, trust me, there are much worse. These composers wrote under time pressure. Repeated passages are inevitably not written out. Dynamic and expression marks are often inconsistent and left to the copyist to sort out. I've seen scores where the composer has not bothered to write the right notes, just the right rhythmic shape in approximately the right place, and assumed the copyist would fix the harmonies. Some composers worked by committee, letting assistants fill in some parts. Others (thank you!) produced scores so neat you could easily play from them.
Delightful!
I feel harbinger of Romantic period
Omg yes
are these the original notes by Beethoven? fascinating to see
yes
I wonder if everything you see is Beethoven’s handwriting. For example the additions in what seems to be written with a pencil, such as the bar numbers. Does anyone know?
Probably the editor/copyist! Most likely Beethoven would've only written the page numbers (if he did).
This is a recording of a forte-piano? How come it sounds so much like a modern piano?
2:16
01:06
15:10
Who is the performing artist?
If you click on the tab "show more" you will see the info: Penelope Crawford
@@bartjebartmans Thank you. I overlooked it in favor of all that other historical material.
looking at his writing style, i would thin he is left handed.
he was
How can anyone understand what's written there?
With a bit of practice it is actually quite readable.
@@bartjebartmans i found a lot of joy playing from the facsimile Bach Violin sonatas and partitas. Very readable too
@@Tylervrooman bach is different. by a lot.
@Justin Case. They are both handwritten. The only difference is style and character. Some composers have incredible neat handwriting like Faure, Schonberg, and some incredibly messy like Beethoven, Chopin etc. but I have never seen a score I couldn't read. Heck, if that was true copyists couldn't either. Compare their handwriting to a score of Xenakis or Pli selon pli by Boulez or any graphic score by 60's avant gardists. Now we are talking!
@@bartjebartmans dude... best content on TH-cam, we thank you!!