If you want to feel optimistic, refreshed, excited, youthful, whatever your age is, wherever you come from: please, by all means, listen to anything from Haydn. Just anything. He's the epitome of all of the above.
The melody in the Piano Sonata conveys joy and there is the excellent balance between lightness & power. The pianist, Wilhelm Backhaus, channels Haydn's elaborate melody with amazing fluency and charm.
This is my absolute favorite Haydn Sonata! No wonder Beethoven took lessons from Haydn despite a lot of things in here inspired Beethoven for his sonatas!
Everybody can tell that Beethoven was overexaggerating when he said "Though I had some instruction from Haydn, I never learned anything from him." This sonata clearly foreshadows the developments that Beethoven would make.
@@heinzguderian9980 Beethoven always claimed he learned a lot from studying Haydn's MUSIC. What he was saying he never learned anything from were the LESSONS he took with Haydn. Those are two separate things. In other words, he would have learned just as much from Haydn even if he had never met him but only knew his scores.
Maestro_T Absolutely correct; additionally, at the time of the counterpoint lessons ie from when Beethoven arrived in Vienna in November 1792 until Haydn set off for his second trip to England in January 1794, Haydn’s main preoccupation was preparing for his second London visit - he was composing the six Opus 71/74 quartets for example along with other works ready for the star of the London season in January 1794. (It is interesting to speculate why the 22 year old Beethoven’s counterpoint studies had been relatively neglected in Bonn). Beethoven had issues with all his formal teachers, but we know he studied and copied out a number of Haydn’s works for his own study purposes and learnt much from them which is clearly audible in a number of his works, including this one. Just one example: listen to Haydn quartet Op 74 No 1, first chord (1793) followed by Beethoven’s first symphony, first chord.
Andy Milsten Beethoven learnt a huge amount from Haydn, but *not* from the formal counterpoint lessons which took place in the 14 months between Beethoven’s arrival in Vienna in November 1792, and Haydn’s departure for his second long visit to England in January 1794. These lessons with Haydn were almost entirely focussed on Beethoven learning counterpoint using the standard and most influential manual of the time, Fux’s Gradus ad Parnassum; Haydn being a suitable teacher as his mastery of Fux was absolute, and his copy full of modern worked examples.* When Haydn left for his second trip to England, Albrechtsberger - on Haydn’s recommendation as probably the best teacher in Vienna - took over the lessons and simply carried on with the counterpoint, again using Fux as did everyone else. You are otherwise right; there is a huge amount in Beethoven that is foreshadowed in Haydn, and it is pretty plain to hear or see in the scores. * It is thought now that Mozart may well have borrowed Haydn’s copy of Fux as part of his wider counterpoint studies in the 1780’s.
Abhik Mazumder Beethoven was Haydn’s greatest pupil, but not in the way you suggest. The formal lessons Beethoven took with Haydn in the fourteen months between his arrival in Vienna in November 1792 and Haydn’s departure for his second trip to England in January 1794 were almost entirely focussed on counterpoint using the Haydn’s heavily annotated copy of the standard manual of the time, Fux’s Gradus ad Parnassum. When Haydn left for his second trip to England in 1794, Albrechtsberger took over the lessons, once again, counterpoint using Fux.
@@elaineblackhurst1509 Sounds true, but one cannot deny that a figure such as Haydn would be a reasonable influence for Beethoven. This piano sonata especially is quite reminiscent of the piano sonatas Beethoven was to write in the the future, especially the earlier Pathetique and somewhat later Hammerklavier (to me, at least).
@@kushgroover54 You’re right, Beethoven knew Haydn and his music well, and he studied a wide range of his scores, indeed copied many out such as the whole of the string quartet Opus 20 No 1, and parts of Symphony 99. There is more of Haydn in Beethoven’s DNA - in terms of compositional technique - than all other composers put together, though what Beethoven did with it is a key part of understanding his greatness. My point - as I think you have understood - is that all these references to Haydn as Beethoven’s teacher are simply misleading; additionally, Beethoven was absolutely clear that he ‘…learned nothing from Haydn’ - though this of course refers solely to the counterpoint lessons. The other point about Haydn’s late piano sonatas and trios, is that they were all composed for incomparably bigger-scale London fortepianos, to be played publicly, by professional pianists, using a new, more modern keyboard playing technique; we are on the threshold of Beethoven and the 19th century as is clearly audible - and visible by looking at the score - in this sonata. We have left behind the world of Mozart for ever. PS. Haydn perhaps foreshadows Beethoven, rather than ‘is reminiscent’.
Ich stimme dem Unbekannten Perfect Blue vollkommen zu! Haydn: Balsam des Lebens! Weder Mozart noch Beethoven noch Schubert, sondern ALLES in höchster Zusammensetzung, in überlegener Mystik! Ich verehre den größten Vertreter der westlichen klassischen Musik !!!!
Your interpretation is neat, and enjoyable. You really connect with the Sonate. I like the difference between forte and piano, it was excellent. Nice job!
baldrbraa It is foreshadowing and preparing the way for the astonishing and unprecedented (1794) switch from the E flat major first movement to the E major second movement. Haydn’s tonal experimentation in his late works is avant la lettre Beethovenian, and in this particular case - if it had been done by Beethoven first - would undoubtedly have been labelled ‘revolutionary’.
The shadow of Beethoven casts both forwards and backwards in time, which has robbed Haydn's reputation, making it difficult to appreciate his genius and originality in its own right.
Paul Wellingslongmore Beethoven’s ‘shadow’ and impact on the music that followed in the 19th century was huge; that same shadow is not really relevant when it comes to looking back to Mozart and Haydn, who with a little careful listening, speak with their own very powerful - but different - voices. Mozart and Haydn should not be judged by a Beethovenian measure, and neither should Beethoven be judged by any future composer you may care to choose. Mahler’s symphonies no more rob Beethoven’s reputation any more than Beethoven’s rob those of Mozart or Haydn - they are simply different.
@@elaineblackhurst1509 hear hear, a perfect statement. True Haydn's music may not be famous at all with your average person, but people who truly love classical music will seek him out and appreciate his masterpieces.
@@elaineblackhurst1509 I agree entirely that Mozart and Haydn should not be judged by a Beethovenian yardstick, but unfortunately they are, at least by the many who post comments on the internet. The idea, openly espoused by music critics from the C19 onwards, being that art is progressive and music evolved to a higher plane with Beethoven. Thus not only did works become longer and more complex, they also became more profound. And intellectually satisfying, with more ingenious use of motivic development and daring key structures and relationships. Thus earlier composers were seen as precursors and following composers followers in the long shadow, either willingly or not. The same situation later occurred with Wagner. In this more tolerant and pluralistic age we can now fortunately try at least to appreciate the genius of masters like Haydn and marvel at his creatively, craftsmanship, humanity and spiritual depth. We can also see clearly where many of Beethoven’s ideas and approaches originated, but that again is not relevant to our appreciation of Haydn.
@@costanzomusicworld It’s very difficult to understand why you have made this point as Haydn quite clearly was *not* Beethoven’s ‘…composition teacher’. The lessons - from which Beethoven was adamant that he ‘…learned nothing’, and pointedly refused Haydn’s request to add ‘Pupil of Haydn’ to the piano sonatas Opus 2 that he dedicated to him, were entirely devoted to studying counterpoint.* These counterpoint lessons lasted just 14 months in between Beethoven’s arrival in Vienna in November 1792, and Haydn’s departure for his second trip to England in January 1794. The lessons consisted of Beethoven completing hundreds of exercises from the standard manual of the age, Fux’s Gradus ad Parnassum. Similarly, Salieri was not really Beethoven’s teacher either; those lessons too had a sole focus which was about learning to write Italian vocal music - ie opera. Beethoven clearly learned a huge amount from Haydn, but not from Haydn the ‘composition teacher’, nor from the formal lessons as explained. * Counterpoint is a form of musical grammar.
@@paulwl3159 This is a really thoughtful comment and you raise lots of interesting points - many thanks. I agree with much of what you say. One point I would debate though is the idea of art evolving in a linear fashion, something which I think is both artificial and misleading, as it leads to some of the points you make about progress, and Beethoven being on a ‘higher plane’, and so forth. Such thinking would inevitably diminish Beethoven’s music if compared to Berlioz, Wagner, Shostakovitch, et al, in the manner you have suggested Beethoven does with Mozart and Haydn. This linear approach also places Bach and Handel - and a string of others - so far back in an evolutionary line as to be ridiculous. I think it is better to think of progress or evolution in music in a different way. James Ackerman (Art and Architecture 1963) wrote that: ‘What is called evolution in the arts should not be described as a series of steps towards a solution to a given problem, but a succession of steps away from one or more original statements of a problem’. This is I think the key to understanding Mozart and Haydn in relation to Beethoven; Beethoven is not moving onto a higher plane, but exploring different paths from those of his two greatest predecessors. Similarly, the Symphonie Fantastique of Berlioz is exploring different areas from any investigated by Beethoven - but I would make no qualitative judgement about this in the manner we might about Beethoven vis-a-vis Mozart or Haydn. And again, there are symphonies - and works in many other areas - by both Mozart and Haydn that explore areas that fascinated Beethoven, but into which he never ventured: there is no Beethoven follow-up to Symphony 40, the late operas, or most of the concertos; ditto also Haydn, though Beethoven was more interested in Haydn’s main areas (symphony, string quartet et cetera) which he developed in different - not higher - ways as in Ackerman. Written straight off the top of my head, so apologies for any nonsense herein.
@@tarikeld11 Haydn only taught Beethoven counterpoint - a form of musical grammar - whilst in Vienna between the former’s two long visits to England between August 1792 and January 1794. Beethoven was required to complete hundreds of dry academic exercises from the standard manual of the time, Fux’s Gradus ad Parnassum - many of which were neither marked nor corrected by Haydn - hence Beethoven’s comment which was referring specifically, and only to these counterpoint lessons. The frequent and wider mis-use of this ‘I learned nothing from Haydn’ comment - out of context - as applying to Haydn in general, is as unfair to Beethoven as it is to Haydn.
Its not an easy piano sonata. The running passages in the first movement requires the usage of the weak fingers which always appear to be a liability when the technique is not there.
@@jameshelgeson4668 You are quite right, the E major of the second movement is clearly fore-shadowed in the E flat major first movement. This tonal fluidity, the experimental and progressive work with wide-ranging tonality, and with tonal journeys within a whole work that move through different - often 3rd-related keys, is one of the great unwritten books on one of the great composers. Symphonies 45 (1772), and 95 (1791), are two interesting - indeed revolutionary - examples of the above, both of which were clearly known to Beethoven as can be heard in his 5th symphony - as was this sonata with its revolutionary juxtaposition of E flat and E major.
good sonata. much more depth than mozart, who I find to be childish, superficial, and with no emotion. mozart could never have composed a piece with this much feeling and warmth.
Max Stuart, Mozart wrote for a different period in music, this masterpiece was written for piano, and in romantic period, but Mozart wrote for a “piano type” that couldn’t make any forte or piano, and also for classical period, so don’t say that he had no feelings.
You are correct that of all mozarts compositions his piano sonatas are not ground breaking, but no one wrote a better piano concerto that Mozart. the experts believe that he wrote his piano sonatas for his students to prepare them for the concertos. Whose knows, had he lived longer I believe we would have had more groundbreaking piano sonatas. But I disagree with you that mozart was without emotion in his musical. His emotion is apparent in all his works more so that the technical difficult or in the piano sonatas the ground breaking achievement
How are the Piano Concertos (20, 23, 24, 27), the Sinfonia Concertante, the Clarinet Quintet, the Clarinet Concerto, the String Quintet 4, Symphony 40, the Great Mass in C, the Requiem, Don Giovanni, the Fantasy in D minor, Violin Sonata 21, and much more “unemotional” in any rational way?
![[Andrejs Osokins] Haydn: Piano Sonata in e, No.53, Hob.XVI/34](http://i.ytimg.com/vi/B2pU3Gl03C4/mqdefault.jpg)
If you want to feel optimistic, refreshed, excited, youthful, whatever your age is, wherever you come from: please, by all means, listen to anything from Haydn. Just anything. He's the epitome of all of the above.
that's not what music is.
The melody in the Piano Sonata conveys joy and there is the excellent balance between lightness & power. The pianist, Wilhelm Backhaus, channels Haydn's elaborate melody with amazing fluency and charm.
Thanks!
that's not how music works.
00:00 01-Allegro
05:42 02-Adagio
10:33 03-Finale. Presto
Probably the best and most well balanced performances of this marvelous work!
This is my absolute favorite Haydn Sonata! No wonder Beethoven took lessons from Haydn despite a lot of things in here inspired Beethoven for his sonatas!
Everybody can tell that Beethoven was overexaggerating when he said "Though I had some instruction from Haydn, I never learned anything from him."
This sonata clearly foreshadows the developments that Beethoven would make.
@@heinzguderian9980 Beethoven always claimed he learned a lot from studying Haydn's MUSIC. What he was saying he never learned anything from were the LESSONS he took with Haydn. Those are two separate things. In other words, he would have learned just as much from Haydn even if he had never met him but only knew his scores.
Maestro_T
Absolutely correct; additionally, at the time of the counterpoint lessons ie from when Beethoven arrived in Vienna in November 1792 until Haydn set off for his second trip to England in January 1794, Haydn’s main preoccupation was preparing for his second London visit - he was composing the six Opus 71/74 quartets for example along with other works ready for the star of the London season in January 1794.
(It is interesting to speculate why the 22 year old Beethoven’s counterpoint studies had been relatively neglected in Bonn).
Beethoven had issues with all his formal teachers, but we know he studied and copied out a number of Haydn’s works for his own study purposes and learnt much from them which is clearly audible in a number of his works, including this one.
Just one example: listen to Haydn quartet Op 74 No 1, first chord (1793) followed by Beethoven’s first symphony, first chord.
Heinz Guderian Beethoven’s remark is possibly the most disingenuous comment in the entire history of western classical music.
Andy Milsten
Beethoven learnt a huge amount from Haydn, but *not* from the formal counterpoint lessons which took place in the 14 months between Beethoven’s arrival in Vienna in November 1792, and Haydn’s departure for his second long visit to England in January 1794.
These lessons with Haydn were almost entirely focussed on Beethoven learning counterpoint using the standard and most influential manual of the time, Fux’s Gradus ad Parnassum; Haydn being a suitable teacher as his mastery of Fux was absolute, and his copy full of modern worked examples.*
When Haydn left for his second trip to England, Albrechtsberger - on Haydn’s recommendation as probably the best teacher in Vienna - took over the lessons and simply carried on with the counterpoint, again using Fux as did everyone else.
You are otherwise right; there is a huge amount in Beethoven that is foreshadowed in Haydn, and it is pretty plain to hear or see in the scores.
* It is thought now that Mozart may well have borrowed Haydn’s copy of Fux as part of his wider counterpoint studies in the 1780’s.
Like everything else this composer writes, this is a superb masterpiece.
Very much of prophetic of what was to come in Haydn's greatest pupil
Abhik Mazumder
Beethoven was Haydn’s greatest pupil, but not in the way you suggest.
The formal lessons Beethoven took with Haydn in the fourteen months between his arrival in Vienna in November 1792 and Haydn’s departure for his second trip to England in January 1794 were almost entirely focussed on counterpoint using the Haydn’s heavily annotated copy of the standard manual of the time, Fux’s Gradus ad Parnassum.
When Haydn left for his second trip to England in 1794, Albrechtsberger took over the lessons, once again, counterpoint using Fux.
Oh, I thought you meant Mozart.
@@elaineblackhurst1509 Sounds true, but one cannot deny that a figure such as Haydn would be a reasonable influence for Beethoven. This piano sonata especially is quite reminiscent of the piano sonatas Beethoven was to write in the the future, especially the earlier Pathetique and somewhat later Hammerklavier (to me, at least).
@@kushgroover54
You’re right, Beethoven knew Haydn and his music well, and he studied a wide range of his scores, indeed copied many out such as the whole of the string quartet Opus 20 No 1, and parts of Symphony 99.
There is more of Haydn in Beethoven’s DNA - in terms of compositional technique - than all other composers put together, though what Beethoven did with it is a key part of understanding his greatness.
My point - as I think you have understood - is that all these references to Haydn as Beethoven’s teacher are simply misleading; additionally, Beethoven was absolutely clear that he ‘…learned nothing from Haydn’ - though this of course refers solely to the counterpoint lessons.
The other point about Haydn’s late piano sonatas and trios, is that they were all composed for incomparably bigger-scale London fortepianos, to be played publicly, by professional pianists, using a new, more modern keyboard playing technique; we are on the threshold of Beethoven and the 19th century as is clearly audible - and visible by looking at the score - in this sonata.
We have left behind the world of Mozart for ever.
PS. Haydn perhaps foreshadows Beethoven, rather than ‘is reminiscent’.
Я мало знакома с Гайдном. Но теперь могу сказать : его музыка прекрасна!!
Ich stimme dem Unbekannten Perfect Blue vollkommen zu! Haydn: Balsam des Lebens! Weder Mozart noch Beethoven noch Schubert, sondern ALLES in höchster Zusammensetzung, in überlegener Mystik! Ich verehre den größten Vertreter der westlichen klassischen Musik !!!!
Your interpretation is neat, and enjoyable. You really connect with the Sonate. I like the difference between forte and piano, it was excellent. Nice job!
He's been dead for 50 years, but I'm sure he appreciates your kind comment.
やっぱり52は、良く出来た美しいソナタだと思う‼
Very profound sonata. People have ignorant ideas about Haydn.
Good recording, I’m currently working on arranging this piece for orchestra for a class.
how did it go?
The unexpected change from G major to E major at 3:17 is the same as Beethoven used (D to B major) in his Hammerklavier sonata 1st movement.
Amazing!
baldrbraa
It is foreshadowing and preparing the way for the astonishing and unprecedented (1794) switch from the E flat major first movement to the E major second movement.
Haydn’s tonal experimentation in his late works is avant la lettre Beethovenian, and in this particular case - if it had been done by Beethoven first - would undoubtedly have been labelled ‘revolutionary’.
The G major is more like a dominant of C minor, so the modulation to E major is even more surprising.
i will be ready to die when i can play this piece with proficient beauty
1:19 hOT cRoss BUNs
The shadow of Beethoven casts both forwards and backwards in time, which has robbed Haydn's reputation, making it difficult to appreciate his genius and originality in its own right.
Paul Wellingslongmore
Beethoven’s ‘shadow’ and impact on the music that followed in the 19th century was huge; that same shadow is not really relevant when it comes to looking back to Mozart and Haydn, who with a little careful listening, speak with their own very powerful - but different - voices.
Mozart and Haydn should not be judged by a Beethovenian measure, and neither should Beethoven be judged by any future composer you may care to choose.
Mahler’s symphonies no more rob Beethoven’s reputation any more than Beethoven’s rob those of Mozart or Haydn - they are simply different.
@@elaineblackhurst1509 hear hear, a perfect statement. True Haydn's music may not be famous at all with your average person, but people who truly love classical music will seek him out and appreciate his masterpieces.
@@elaineblackhurst1509 I agree entirely that Mozart and Haydn should not be judged by a Beethovenian yardstick, but unfortunately they are, at least by the many who post comments on the internet. The idea, openly espoused by music critics from the C19 onwards, being that art is progressive and music evolved to a higher plane with Beethoven. Thus not only did works become longer and more complex, they also became more profound. And intellectually satisfying, with more ingenious use of motivic development and daring key structures and relationships. Thus earlier composers were seen as precursors and following composers followers in the long shadow, either willingly or not. The same situation later occurred with Wagner.
In this more tolerant and pluralistic age we can now fortunately try at least to appreciate the genius of masters like Haydn and marvel at his creatively, craftsmanship, humanity and spiritual depth. We can also see clearly where many of Beethoven’s ideas and approaches originated, but that again is not relevant to our appreciation of Haydn.
@@costanzomusicworld
It’s very difficult to understand why you have made this point as Haydn quite clearly was *not* Beethoven’s ‘…composition teacher’.
The lessons - from which Beethoven was adamant that he ‘…learned nothing’, and pointedly refused Haydn’s request to add ‘Pupil of Haydn’ to the piano sonatas Opus 2 that he dedicated to him, were entirely devoted to studying counterpoint.*
These counterpoint lessons lasted just 14 months in between Beethoven’s arrival in Vienna in November 1792, and Haydn’s departure for his second trip to England in January 1794.
The lessons consisted of Beethoven completing hundreds of exercises from the standard manual of the age, Fux’s Gradus ad Parnassum.
Similarly, Salieri was not really Beethoven’s teacher either; those lessons too had a sole focus which was about learning to write Italian vocal music - ie opera.
Beethoven clearly learned a huge amount from Haydn, but not from Haydn the ‘composition teacher’, nor from the formal lessons as explained.
* Counterpoint is a form of musical grammar.
@@paulwl3159
This is a really thoughtful comment and you raise lots of interesting points - many thanks.
I agree with much of what you say.
One point I would debate though is the idea of art evolving in a linear fashion, something which I think is both artificial and misleading, as it leads to some of the points you make about progress, and Beethoven being on a ‘higher plane’, and so forth.
Such thinking would inevitably diminish Beethoven’s music if compared to Berlioz, Wagner, Shostakovitch, et al, in the manner you have suggested Beethoven does with Mozart and Haydn.
This linear approach also places Bach and Handel - and a string of others - so far back in an evolutionary line as to be ridiculous.
I think it is better to think of progress or evolution in music in a different way.
James Ackerman (Art and Architecture 1963) wrote that:
‘What is called evolution in the arts should not be described as a series of steps towards a solution to a given problem, but a succession of steps away from one or more original statements of a problem’.
This is I think the key to understanding Mozart and Haydn in relation to Beethoven; Beethoven is not moving onto a higher plane, but exploring different paths from those of his two greatest predecessors.
Similarly, the Symphonie Fantastique of Berlioz is exploring different areas from any investigated by Beethoven - but I would make no qualitative judgement about this in the manner we might about Beethoven vis-a-vis Mozart or Haydn.
And again, there are symphonies - and works in many other areas - by both Mozart and Haydn that explore areas that fascinated Beethoven, but into which he never ventured: there is no Beethoven follow-up to Symphony 40, the late operas, or most of the concertos; ditto also Haydn, though Beethoven was more interested in Haydn’s main areas (symphony, string quartet et cetera) which he developed in different - not higher - ways as in Ackerman.
Written straight off the top of my head, so apologies for any nonsense herein.
Thanks for sharing this treasure!
A very nice recording! I like his interpretation and how he shows the main theme. Really really nice
Hello 0:28
Hello! ❤
5:42 Beethoven's Les Audieux 2nd movement🤔
hmm...
I think that Beethoven was inspirated with this
@@m.erubik Yes! Haydn was his teacher (even though Beethoven said he had never learned anything from him)
@@tarikeld11
Haydn only taught Beethoven counterpoint - a form of musical grammar - whilst in Vienna between the former’s two long visits to England between August 1792 and January 1794.
Beethoven was required to complete hundreds of dry academic exercises from the standard manual of the time, Fux’s Gradus ad Parnassum - many of which were neither marked nor corrected by Haydn - hence Beethoven’s comment which was referring specifically, and only to these counterpoint lessons.
The frequent and wider mis-use of this ‘I learned nothing from Haydn’ comment - out of context - as applying to Haydn in general, is as unfair to Beethoven as it is to Haydn.
00:00 - глав. партия.
00:47 - п.п.
10:33 - глав. п. финала
the beginning sounds like mozart piano quartet 2 first move
1:18 three blind mice
I am wondering why he's playing the long notes at a slower tempo compared with shorter ones.
Its not an easy piano sonata. The running passages in the first movement requires the usage of the weak fingers which always appear to be a liability when the technique is not there.
00:18
01:18
1:50
5:43
My favorite Haydn sonata is # 44 hob xvi 29
Hmm not too much of a fan of playing those first chords rolled, but I guess that's the beauty of interpretation :P
this artist is from back in the day when rolled chords were rather popular...
Shreddddd this pianooooo
3:04
Plss answer me for wich grade is this piece
Наивысший класс! 🎉🎉🎉
How odd, a shift from E-flat major up a semitone to E major in the second movement.
Yt Yt Not so much odd as revolutionary; it’s the sort of thing Beethoven did later and for which he normally gets the credit rather than Haydn!
Note how this shift is predicted by the tonal movement in the development of the first movement.
@@jameshelgeson4668
You are quite right, the E major of the second movement is clearly fore-shadowed in the E flat major first movement.
This tonal fluidity, the experimental and progressive work with wide-ranging tonality, and with tonal journeys within a whole work that move through different - often 3rd-related keys, is one of the great unwritten books on one of the great composers.
Symphonies 45 (1772), and 95 (1791), are two interesting - indeed revolutionary - examples of the above, both of which were clearly known to Beethoven as can be heard in his 5th symphony - as was this sonata with its revolutionary juxtaposition of E flat and E major.
Wait what the fuck is up with the dislike to like ratio? And why does this only have 61k views?
Why doesn't he play bars 27 - 38 in the slow second movement?
7:46
0:00
I can see why this is in a grade 8 exam
호남예술제 곡이다... 떨어졌지만...ㅜㅜ
What's this score edition?
Abrniz ogogòl!
굿굿 베리굿 벗 베리하드 솰라솰라 구드
More like beethoven
not one of my favourites actually.
ㅌ ㅞ
good sonata. much more depth than mozart, who I find to be childish, superficial, and with no emotion. mozart could never have composed a piece with this much feeling and warmth.
Max Stuart, Mozart wrote for a different period in music, this masterpiece was written for piano, and in romantic period, but Mozart wrote for a “piano type” that couldn’t make any forte or piano, and also for classical period, so don’t say that he had no feelings.
You are correct that of all mozarts compositions his piano sonatas are not ground breaking, but no one wrote a better piano concerto that Mozart. the experts believe that he wrote his piano sonatas for his students to prepare them for the concertos. Whose knows, had he lived longer I believe we would have had more groundbreaking piano sonatas. But I disagree with you that mozart was without emotion in his musical. His emotion is apparent in all his works more so that the technical difficult or in the piano sonatas the ground breaking achievement
How are the Piano Concertos (20, 23, 24, 27), the Sinfonia Concertante, the Clarinet Quintet, the Clarinet Concerto, the String Quintet 4, Symphony 40, the Great Mass in C, the Requiem, Don Giovanni, the Fantasy in D minor, Violin Sonata 21, and much more “unemotional” in any rational way?
Please grow up
@@sammora707 He was a contemporary of Mozart lol
3:04
3:02