It’s crazy to think that Beethoven was writing master piece after master piece. Even if we look at Op. 50 - Op. 60 we have the Waldstein Sonata Op. 53, Eroica Symphony Op. 55, Appassionata Sonata Op. 57 and the 4th Piano Concerto Op. 58. How Beethoven managed to write such great music over and over again consistently throughout his life is a wonder to the world of art.
Lenin once said: "I know of nothing better than the Appassionata and could listen to it every day. What astonishing, superhuman music! It always makes me proud, perhaps with a childish naiveté, to think that people can work such miracles! … But I can’t listen to music very often, it affects my nerves...If I continue listening to it, I won't be able to carry on with the Revolution." In my opinion, one of the deepest and best examples that music can reach out to everyone.
MarcoGDaz + iPod wouldn't have helped. Comrade Lenin got STD - syphilis and had brain damage (half his brain is believed to be rotten) - from the years he spent in Western Europe and the prostitutes there.
Straight up this masterpiece of music is my favorite. It has helped me throughout my darkest points in my life and has influenced me as a person. It will always amazing me how someone 200 years ago can live on through his work and still change peoples lives. Bless this man Beethoven and all of his works.
@micoveliki8729 I know this is like four months late but no one has replied to you so I thought I would. Movement 2 - Theme and variations - Db Major 11:05 - Theme Part 1. 11:50 - Theme Part 2. 12:42 - Variation 1 Part 1. Theme with syncopation 13:22 - Variation 1 Part 2. 14:06 - Variation 2 Part 1. The theme becomes more melodic and lyrical 14:47 - Variation 2 Part 2. 15:24 - Variation 3. For the first time in the sonata, there is joy. The theme takes on a sense of playfulness and remedy and while the joy isn't overbearing or anything, it does give the slight sense that there is still hope left. There are also no exact repeats in this variation 16:29 - Variation 4. For the most part, with some minor changes such as the melody jumping up an octave at some points and the removal of the repeats, this variation is really just a repeat of the theme. It brings us home and gives a sense of comfort and resolution. 17:19 - As the music winds down, it prepares for a cadence to end the movement in the tonic key of Db Major. But instead, Beethoven pulls one of the best tricks of this sonata. At first it seems the movement will end in a standard ii-V-I progression, perfectly cadencing the movement and ending it peacefully. But the V chord doesn't go to the tonic, instead, a rolled diminished 7th chord is played. The bliss and hope of the second movement is abruptly halted as mystery and tension takes over. The 7th chord is played again, now violently in fortissimo, and without pause, the music transitions into the finale. Finale - Sonata Form - F minor INTRODUCTION 17:34 - The diminished 7th chord is repeated 17:39 - A 16th note figure appears as it works its way down to the bass where theme 1 will be presented. EXPOSITION 17:51 - Theme 1 in F minor. Theme 1 introduces two important motifs. Motif 1 is the change to Neapolitan harmony (using the key a half step above the tonic) at 17:55. And motif 2, is the dotted rhythm, first heard in the bass of the theme but is first heard quasi melodically above the theme at 17:58. 18:05 - Theme 2 in F minor. Note motif 2 in the middle voice and then in the top voice at 18:17. 18:29 - Transition, based on theme 1, going from F minor to C minor 18:39 - Theme 3 (subordinate theme) in C minor. Note how the theme begins on Neapolitan Db (motif 1). 18:55 - Theme 4 (cadential theme) in C minor. The 4th theme begins with using a canon version of theme 1 and then transitions to an echo like phrase at 19:01 DEVELOPMENT 19:14 - Theme 1 built from a diminished 7th chord 19:21 - Theme 1 in Bb minor 19:34 - A new, nervous theme in Bb minor. 19:48 - Theme 1 in a cannon that goes from F minor to F# Major (motif 1), to diminished 7th harmony, to Bb minor. 19:57 - Shift to C minor which sets up the cadenza 20:03 - Cadenza using Neapolitan (motif 1) and diminished 7th harmony 20:31 - The harmony has shifted to a dominant 7th chord preparing us for a return to F minor. RECAPITULATION 20:37 - Theme 1 back in F minor with theme 2 following suit at 20:51 21:15 - Transition going from F minor to, uh… F minor. 21:24 - Theme 3 in F minor 21:42 - Theme 4 in F minor 21:51 - Here Beethoven does another neat trick. As the momentum and intensity builds you’d expect the movement to reach its climax but instead, it veers off to a different path and repeats the development and recapitulation as the music attempts to maintain control over itself. 24:33 - Finally, after the repeat, the music begins to spin out of control, catalyzing into the coda. CODA 24:39 - The tempo jumps to presto and a new, violent, dance of death theme is introduced. 24:59 - Theme 1 at rapid speed, crawling up the keyboard. 25:09 - Ending material 25:17 - The music cascades down the keyboard, violently closing out the sonata in the darkness of F minor.
@@1103-g3kdude thank you so much for doing this, im studying appassionata mvmt 3 right now and it's nice to see the different transitions and build ups like this
Anyone completely pissed off that TH-cam ads can interrupt 10+ minute long videos now? It's ridiculous. Especially when they're in the middle of amazing music pieces like this.
That coda of the last movement...Just wow, I grew up listening to Beethoven's sonatas but they still shocks me. I always hear and learn something different every time I listen to them.
I cannot express in words how perfect, excellent this sonata is. It makes me Live Beethoven a lot. I mean come on the ending of the second movement gives the perfect start to the third one. And the best part is that I can understand the musical decisions Beethoven does and makes me feel identified with him. I guess I will express how much I love this piece when I'll be able to play it... Since today, Beethoven is my favourite composer ever.
+Apetecan7 He is a composer who wants you to hear (see) the decisions made. That's why he starts with small vaporous ideas, not really fully made melodies like Chopin. Because he wants you to see how the material is developed. Like a seamstress who says, Look at this seam, and look and this seam and look at THIS seam. LOOK at how it's made!
It is similar to Rossini's "Siege of Corinth" overture - the way it threatens to "break through" twice - and then does the third time (into the "presto" coda).
One of my absolute most favorite pieces in all of music just simply because of the presto section about a minute before the end of the piece. It is so powerful.
0:00 1ч головна тема 0:36 1ч тема долі 7:15 1ч побічна тема 11:05 2ч тема варіацій 17:51 3ч головна тема. перший елемент 18:17 3ч головна тема. другий елемент 18:37 3ч побічна тема 19:34 3ч тема епізоду в розробці 24:39 3ч тема коди
The sonata sounds like a galop at 24:39. That is my favorite part of the piece. The second goes to the theme of the variation in the second movement. Beautiful.
Second movement doesnt get enough love. It's such a beautiful theme and variation. Of course its competing with arguably one of the most incredible 1st and 3rd movements ever created. But still haha after listening to both of those so much the 2nd is always nice to hear.
This is truly wonderful. Beethoven was a complete genius. This movement is very like Rachmaninoff in character. It is so completely dark and mesmerizing. .
Agree. I was gonna tell the "it's too dark and violent" commentators that they should listen to Rachmaninoff, especially Opus 32 preludes. Then they'll see Beethoven as tame as a little kitten. Rachmaninoff was the Led Zeppelin of his era.
One of those genius pieces that keeps getting better the more you listen to it. The raging inspiration and beautiful ideas in this music only keep getting clearer.
Emil Gilels. I could speak volumes about this wonderful pianist, how I had a chance to hear him live and never did. I am sure that live would have been even more impressive. The recording only gives us so much. He was great. Impassioned, dramatic, meticulous and just plain great.
인생을 바꿔준 애증의곡이네요. 한 20년 안듣다가 다시 들은지 7ㅡ8년 된듯하네요. 고딩 3년동안 21번.23번을 대입입시로 준비했는데 이걸 선택하고 원하는 학교도 가고 꽃길만 가는줄 알았는데....여기까지만... 난 88학번... 50중반에 들어도 넘 조으네요. 아마 죽을때까지 들어도 좋을꺼 같아요
This is such an inspired interpretation. Gilels had everything at his command and the piece is displayed to perfection. Such dynamics and tone. What a remarkable pianist. I am in awe of him. And what he brings out. I can understand how Lenin said, "If I keep listening to Beethoven's Appassionata, I won't be able to finish the revolution." I wonder what was going on for Beethoven at the time of the composition of this piece.
Laurence Esposito I was just reading about this! The chilly quote: " it moves me to stroke the heads of my fellow beings for being able to produce such beautiful things in spite of the abominable hell they are living it. It is necessary to smash those heads, smash them without mercy."
**MVT I** **ЭКСПОЗИЦИЯ** 00:00 - Тема 1 (Обратите внимание на её минималистичный характер - арпеджио, разделённое в обеих руках на расстоянии двух октав, и использование неаполитанской гармонии, чтобы сразу же увести вас далеко от основной тональности) 00:27 - Введение мотива судьбы в левой руке (Его основная природа - полутон вниз - подразумевает тональную структуру всей темы и сама по себе происходит от «вздыхающей» второй половины первой фразы темы 1 на 0:06) 00:48 - Повтор темы 1 01:03 - Переход. Обратите внимание на тревожную триоль, а также на заметное разрешение вниз на полутон на 01:06 01:22 - Тема 2. Замечательно, что она основана на инверсии темы 1 - контраст, построенный на органическом единстве. 01:37 - Переход. Обратите внимание на неаполитанскую гармонию на 1:40, которая снова разрешается вниз на полутон, а также на использование трилей (быстрое колебание между двумя нотами на полутон). Напряжение нарастает через продолжительную гамму на 1:50, перед резким переходным мотивом на 1:58, который снова содержит много неаполитанской гармонии и движения на полутон (например, мотив судьбы в левой руке на 2:03). **РАЗВИТИЕ** 02:27 - Тема 1, с акцентом на второй половине первой фразы 03:05 - Тема 1, получившая особенно драматическую последовательную обработку и модулирующая по большим терциям (E-C-Ab) 03:34 - 2 Переходная тема 04:05 - Тема 3, которая модулирует из Db мажор в Bb минор, Gb мажор, B минор и C мажор 04:43 - Расширенное пребывание на уменьшённом септиме, напоминая о её использовании в начале на 0:38 04:46 - Мотив судьбы, теперь глубоко агрессивный **РЕКАПИТУЛЯЦИЯ** 04:57 - Тема 1. Никакая не обычная рекапитуляция, и повторение темы 1 здесь сразу показывает, почему: открытие движения было бедным, суровым, зловещим; но сохранение триолей в левой руке полностью меняет ситуацию, придавая теме 1 пульсирующее основание, угрожающее напряжение. И есть ещё одна поразительная особенность: гармония нарушена. Вся идея развития заключается в создании гармонического напряжения до грандиозного возвращения тоники в рекапитуляции: но хотя мы находимся в фа миноре, левая рука отказывается присоединиться к веселью, упорно оставаясь на доминанте. 05:34 - Тема 1, F мажор 05:57 - Переход 06:16 - Тема 2, также в F мажор 06:32 - Переход **КОДА** 07:19 - Тема 1, модулирующая, пока не приводит непосредственно к 07:31 - Теме 2, которая сама модулирует в драматическую каденцию на 7:48, начинающуюся с неаполитанской. 08:22 - Мотив судьбы, который замедляется и затихает, пока вдруг не превращается в огромную какофонию на 8:54. 08:55 - Необычный пассаж, где тема 2 поглощается настроением темы 1: тональность теперь явно фа минор, тёплые триоли становятся резкими, лирическая мелодия холодной. 09:09 - Драматическая фигурация 09:21 - Тема 1 поднимается и опускается по клавиатуре, затихая в одном из очень редких ppp Бетховена. Это не окончание движения, а скорее своего рода смерть. **MVT II** 09:45 - Тема. Как и тема первого движения, она тоже довольно минималистична. Несмотря на то, что это, по сути, движение тема и вариации, в течение всего движения эта тема никогда не будет слышна вне своей основной тональности Db мажор. 11:26 - Вариация 1. Нежная синкопация 12:52 - Вариация 2. Лирические шестнадцатые, подразумевающие мелодический контур, в то время как левая рука (в начале) просто предоставляет корни аккордов. Более красивая, чем должна быть. 14:09 - Вариация 3. Тема начинает звучать, возможно, немного возвышенно, немного светло. 15:11 - Вариация 4. На самом деле это не вариация. Просто тема повторяется с октавным смещением. Движение заканчивается на уменьшённой септиме. **MVT III** **ЭКСПОЗИЦИЯ** 16:13 - Уменьшенный септимовый аккорд повторяется 16:17 - Шестнадцатые входят, сначала почти деликатно, но нарастают в бурный поток 16:29 - Тема 1. Обратите внимание на расширенное использование канонической имитации и неаполитанской гармонии. **РАЗВИТИЕ** 17:48 - Прежде чем войдёт Тема 2 (!), мы получаем развитие Темы 1. 18:08 - И вот наша Тема 2, резко синкопированный фигура 18:27 - Переход 18:34 - Каденция, очень похожая на ту, что в первом движении - расширенное пребывание на гармонии уменьшённой септимы, начиная с неаполитанского фрагмента. 19:11 - РЕКАПИТУЛЯЦИЯ **КОДА** 23:04 - Гортанная, яростно мускулистая тема, повторяемая сначала в фа миноре, а затем в ля-бемоль мажоре 23:24 - Тема 1, исполняемая на предельной скорости 23:34 - Заключительная каденция
After listening to barenboim's version many times, I came back here and I just realised this performance by Emil Gilels is MUCH better than barenboin's. Wow this is much more powerful and passionate. I am downloading this video!
+Apetecan7 Of course! Gilels is one of the best pianists who ever lived, Barenboim is not. He's much better as a salesman and a "marketing-man", and for this he will not be remembered as a great pianist. If you want to listen very good versions of the Beethoven (and Mozart) sonatas, don't listen Barenboim. There are many huge pianists (Sokolov, Gilels, Brendel, Pollini, Schnabel, Zimerman, Pogorelich and others... even Benedetti Michelangeli recorded some sonatas).
I feel that during the 20th century, pianists were not pressured by showmanship to over interpret the music. Speak as how Beethoven would speak. That'd be sufficient and plenty.
@@KingstonCzajkowski You know what they say... only stupid people never change their opinions! :) In 7 years I've grown up as a person and as a pianist (heck, back then when I wrote that comment I was probably 18 or 19) and I started respecting Barenboim a lot more and seeing the things that actually make him great. I still don't consider him among my very favourite pianists overall, and I still think that some things about him are a little too hyped up, but he indeed is a great pianist without a doubt, and I was genuinely shocked at some renditions of his Mozart and Beethoven sonatas.
Beautifully played. I've heard this piece much faster when played by Vladimir Horowitz but whomever is playing this has mastered it with respect to timing incredibly well.
At the moment, you don't get it, that's why. The Appassionata is a very complex work of Beethoven's. Perhaps if you listened more, you might be a little less inclined to call it boring. Listen to the last movement to Mozart's Jupiter Symphony at least once and see if it doesn't get to you. And don't think of it as wall-paper music. It should be more easily accessible to you. After that, then move to Beethoven's Moonlight Sonata - especially the last movement.
There is so much violence in Beethoven, which perhaps expresses the sufering of the composer. I don't know all the different interpretations but after hearing a few bars of it played by Barenboïm I stopped and looked for another one. I like this one very much..
No, I mean, not as a written interpretation instruction on the sheet music, but in the *spirit* of his music in general. Not all the time but in some places. It used to scare me a lot as a kid. It still raises goose bumps.
Of the "Big Four" - the other three being the Moonlight, Pathetique, and "Funeral March" (#12) sonatas - this was the most "devastating" of all, because of the coda of its final movement.
Два абсолютных гения, восторг и восхищение! Я счастлив тем что ещё студентом геологического факультета в шахтерском городе Горловка где был на практике в 1959 году Слышал там Гилельса и с той поры он мне самый любимый и нужный пианист , как Рахманинов, а Бетховен композитор вся музыка которого особая который создавал без смертные шедевры. которые ПОМОГАЮТ ЖИТЬ в самые трудные моменты жизни.
I'm here because this was used for Berserk movies.... thanks to that I've discovered how good the original stuff is and I'm getting more and more into sonatas
Une fois admis le tempo bien lent de l'Allegro (même assai), l'impressionnante dynamique nous emporte dans l'histoire et nous fait revivre autrement l'œuvre même si c'est la 214° fois qu'on l'écoute; c'est là la performance d'un grand Beethovenien. Le 3° est aussi explosif, sans parler de la coda !!!
Steven..thanx 4 the notes...75yr & still learning...all praise 2 God...this is so beautiful..u have a new subscriber & r obviously well educated in classics.& enjoy teaching..I worked as a custodian for three piano stores in N Va..Md.& l loved 2 listen 2 Shaun Tirrell practice on the nine footers..He & Keith Kermit (fellow pianist) now own their own store in Rockville Md.I just discovered 2nite..Ciao...
"Ludwig van Beethoven's Piano Sonata No. 23 in F minor, Op. 57 (colloquially known as the Appassionata) is a piano sonata."Thanks bro, couldn't have worked that one out
Thank you so much for sharing this! - amazing playing by Emil Gilels. For me, the instructional element of being able to listen and follow Beethoven's composition simultaneously is superb. LL& P x
Essa Sonata mostra bem como Beethoven fazia um jogo extraordinário entre os temas, acordes, harpejos, ritmos e dinâmica. Beethoven é essencialmente clássico mas já se expressa muito da passionalidade romântica.
If I have one nitpick, I personally like the coda of the first movement to be faster, but that's just interpretation differences. This is a fantastic performance - at least what I've heard of it is!
estamos siempre en conflicto con todas las bajezas de la condición humana y los únicos momentos en que sentimos que nos elevamos a la perfección y la belleza nos los regalan los genios del arte. gracias Beethoven por permitirnos disfrutar de estos momentos de pura delicia.
A symphony for piano this definitely is. I mean the piano definitely has that orchestral sonority that I hear in a lot of his sonatas actually. One of the best examples of an orchestral sonority to the piano from early on is the Pathetique Sonata, another sonata I love and want to arrange for orchestra someday.
Do you have to? I know Ravel did a wonderful job with 'Pictures At An Exhibition' by Mussorgsky, but I think of whomever orchestrated Liszt's Hungarian Rhapsody #2, and how much better the piece is as a piano work than it is for a whole orchestra. I don't think any Beethoven piano pieces should be orchestrated, but don't let me stop you.
@@thomassnider6691 I just feel like the orchestra would fit well to Beethoven's sonatas, especially the likes of Appassionata and Pathetique, as Beethoven's pieces tend to have an orchestral approach and sonority, even if they aren't for orchestra.
@@thomassnider6691 there are symphony transcriptions of Beethoven's hammerklavier and a few other sonatas, and what you say is not at all wrong, some passages don't sound as good, a lot of rythmic inaccuracies, but the orchestra definitely gives a more grandier and full sound
@@Trooman20 Perhaps, but I feel if the composer had wanted it to be done by an orchestra, he'd have orchestrated it himself. Liszt's Hungarian Rhapsody #2 is a piece that definitely suffers when performed by an orchestra. But I do like Ravel's orchestration of 'Pictures At An Exhibition' by Mussorgsky; it adds to the piece instead of just painting by numbers. 'Hungarian Dances' by Brahms is also better with an orchestra, but 'Overture on Hebrew Themes' by Prokofiev is so much better as a chamber piece; the full orchestra treatment minimizes the role of the clarinet, which is what makes the piece so much fun in the first place.
It’s crazy to think that Beethoven was writing master piece after master piece. Even if we look at Op. 50 - Op. 60 we have the Waldstein Sonata Op. 53, Eroica Symphony Op. 55, Appassionata Sonata Op. 57 and the 4th Piano Concerto Op. 58. How Beethoven managed to write such great music over and over again consistently throughout his life is a wonder to the world of art.
Ha only at the begining, when he was older he was considered a genius
I agree greatest composer of all time to me. Bach is 2nd.
@@mikhailsungurov2472 Bach-Mozart-Beethoven the holy trinity of classical music.
@Mr. H Definitely not. He kept getting commissions and by the time he was in his 20s, he was already considered to be the best pianist in Vienna
@Mr. H www.quora.com/Was-Beethoven-recognised-during-his-lifetime
Lenin once said: "I know of nothing better than the Appassionata and could listen to it every day. What astonishing, superhuman music! It always makes me proud, perhaps with a childish naiveté, to think that people can work such miracles! … But I can’t listen to music very often, it affects my nerves...If I continue listening to it, I won't be able to carry on with the Revolution." In my opinion, one of the deepest and best examples that music can reach out to everyone.
Rodrigo Manzano Unfortunately Mr Lenin didn't own an i-Pod.It could have saved thounsands lifes.
MarcoGDaz nice one. we are learning about him in History!
MarcoGDaz + iPod wouldn't have helped. Comrade Lenin got STD - syphilis and had brain damage (half his brain is believed to be rotten) - from the years he spent in Western Europe and the prostitutes there.
I Am the Walrus?
Not the bloody walrus
there is something deeply magical and astoundingly beautiful about the 2nd movement.
The 2nd movement brings tears to one's eyes - even though it is written in a major key.
@@anthonyfromsiny Because it's tears of a sweet melancholy, tears which the more they are shed the more they create hope in one's heart.
@@DaviSilva-oc7iv exactly how i feel, it gives me hope and makes me feel Alive again, it makes me weep like a baby
@@DaviSilva-oc7iv Hope that is shattered in the 3rd movement.
🧙🏻♂️✨
Straight up this masterpiece of music is my favorite. It has helped me throughout my darkest points in my life and has influenced me as a person. It will always amazing me how someone 200 years ago can live on through his work and still change peoples lives.
Bless this man Beethoven and all of his works.
Primary theme: 0:00
Transition: 1:10
Secondary theme: 1:36
Extra theme: 2:18
Essential Expositional Closure: 2:40
Development begins: 2:53
Retransition: 5:31
Recapitulation begins: 5:41
Primary theme: 5:41
Transition: 6:17
Secondary theme: 7:17
Extra theme: 7:58
Essential Structural Closure: 8:20
Coda to end: 8:32 - 10:07
Can you do this for the second and third movement?
@micoveliki8729 I know this is like four months late but no one has replied to you so I thought I would.
Movement 2 - Theme and variations - Db Major
11:05 - Theme Part 1.
11:50 - Theme Part 2.
12:42 - Variation 1 Part 1. Theme with syncopation
13:22 - Variation 1 Part 2.
14:06 - Variation 2 Part 1. The theme becomes more melodic and lyrical
14:47 - Variation 2 Part 2.
15:24 - Variation 3. For the first time in the sonata, there is joy. The theme takes on a sense of playfulness and remedy and while the joy isn't overbearing or anything, it does give the slight sense that there is still hope left. There are also no exact repeats in this variation
16:29 - Variation 4. For the most part, with some minor changes such as the melody jumping up an octave at some points and the removal of the repeats, this variation is really just a repeat of the theme. It brings us home and gives a sense of comfort and resolution.
17:19 - As the music winds down, it prepares for a cadence to end the movement in the tonic key of Db Major. But instead, Beethoven pulls one of the best tricks of this sonata. At first it seems the movement will end in a standard ii-V-I progression, perfectly cadencing the movement and ending it peacefully. But the V chord doesn't go to the tonic, instead, a rolled diminished 7th chord is played. The bliss and hope of the second movement is abruptly halted as mystery and tension takes over. The 7th chord is played again, now violently in fortissimo, and without pause, the music transitions into the finale.
Finale - Sonata Form - F minor
INTRODUCTION
17:34 - The diminished 7th chord is repeated
17:39 - A 16th note figure appears as it works its way down to the bass where theme 1 will be presented.
EXPOSITION
17:51 - Theme 1 in F minor. Theme 1 introduces two important motifs. Motif 1 is the change to Neapolitan harmony (using the key a half step above the tonic) at 17:55. And motif 2, is the dotted rhythm, first heard in the bass of the theme but is first heard quasi melodically above the theme at 17:58.
18:05 - Theme 2 in F minor. Note motif 2 in the middle voice and then in the top voice at 18:17.
18:29 - Transition, based on theme 1, going from F minor to C minor
18:39 - Theme 3 (subordinate theme) in C minor. Note how the theme begins on Neapolitan Db (motif 1).
18:55 - Theme 4 (cadential theme) in C minor. The 4th theme begins with using a canon version of theme 1 and then transitions to an echo like phrase at 19:01
DEVELOPMENT
19:14 - Theme 1 built from a diminished 7th chord
19:21 - Theme 1 in Bb minor
19:34 - A new, nervous theme in Bb minor.
19:48 - Theme 1 in a cannon that goes from F minor to F# Major (motif 1), to diminished 7th harmony, to Bb minor.
19:57 - Shift to C minor which sets up the cadenza
20:03 - Cadenza using Neapolitan (motif 1) and diminished 7th harmony
20:31 - The harmony has shifted to a dominant 7th chord preparing us for a return to F minor.
RECAPITULATION
20:37 - Theme 1 back in F minor with theme 2 following suit at 20:51
21:15 - Transition going from F minor to, uh… F minor.
21:24 - Theme 3 in F minor
21:42 - Theme 4 in F minor
21:51 - Here Beethoven does another neat trick. As the momentum and intensity builds you’d expect the movement to reach its climax but instead, it veers off to a different path and repeats the development and recapitulation as the music attempts to maintain control over itself.
24:33 - Finally, after the repeat, the music begins to spin out of control, catalyzing into the coda.
CODA
24:39 - The tempo jumps to presto and a new, violent, dance of death theme is introduced.
24:59 - Theme 1 at rapid speed, crawling up the keyboard.
25:09 - Ending material
25:17 - The music cascades down the keyboard, violently closing out the sonata in the darkness of F minor.
@@1103-g3k God bless you man ❤️
@@1103-g3kdude thank you so much for doing this, im studying appassionata mvmt 3 right now and it's nice to see the different transitions and build ups like this
@@1103-g3kthanks
Anyone completely pissed off that TH-cam ads can interrupt 10+ minute long videos now? It's ridiculous. Especially when they're in the middle of amazing music pieces like this.
meenadaae AdBlock to the rescue!
+meenadaae Seriously. Adblock. I forgot TH-cam even has ads.
+meenadaae AD BLOCK PLUS
+Jake D. Parent TH-cam has ads?
+KK Icons
No, professional youtubers don't monetise their videos and don't make an income doing it.
Emil Gilels performance is magnificent ... one of the greatest pianists of all time.
That coda of the last movement...Just wow, I grew up listening to Beethoven's sonatas but they still shocks me. I always hear and learn something different every time I listen to them.
@@cristinamaiapm Shut
@@cristinamaiapm Get your political garbage off of here.
m.th-cam.com/video/h7XKI2tDdsk/w-d-xo.html
7g8duc.lx
dczm.ox k
x
I cannot express in words how perfect, excellent this sonata is. It makes me Live Beethoven a lot. I mean come on the ending of the second movement gives the perfect start to the third one.
And the best part is that I can understand the musical decisions Beethoven does and makes me feel identified with him.
I guess I will express how much I love this piece when I'll be able to play it...
Since today, Beethoven is my favourite composer ever.
love*
+Apetecan7 TRULY DISGUSTING! ONE OF THE WORST MOST MAINTREAM PIECES OF CLASSICAL MUSIC!!! -.-
SvartHal don't take him seriously please xD.
Btw i loved your comment but I forgot to tell
+SvartHal oh god.you dont understand
+Apetecan7 He is a composer who wants you to hear (see) the decisions made. That's why he starts with small vaporous ideas, not really fully made melodies like Chopin. Because he wants you to see how the material is developed. Like a seamstress who says, Look at this seam, and look and this seam and look at THIS seam. LOOK at how it's made!
That first movement is seriously well play. I felt on edge for the entire piece - the exact emotion you should have.
The first movement conjures up an image of a ship getting tossed by a storm - and at the end, getting wrecked on the shore.
the last movement was absolutely magical. a great masterpiece!
It is similar to Rossini's "Siege of Corinth" overture - the way it threatens to "break through" twice - and then does the third time (into the "presto" coda).
1.Allegro assi 0:00
2.Andante con moto 11:05
3.Allegro, ma non troppo 17:34
thank you.
이 영상에서는 어느분 연주인가요? 바렌보임 인지요...
@@한다됐다 피아니스트의 이름은 에밀 길렐스이에요
2악장만 듣는 사람은 나밖에 없나?
One of my absolute most favorite pieces in all of music just simply because of the presto section about a minute before the end of the piece. It is so powerful.
0:00 1ч головна тема
0:36 1ч тема долі
7:15 1ч побічна тема
11:05 2ч тема варіацій
17:51 3ч головна тема. перший елемент
18:17 3ч головна тема. другий елемент
18:37 3ч побічна тема
19:34 3ч тема епізоду в розробці
24:39 3ч тема коди
The sonata sounds like a galop at 24:39. That is my favorite part of the piece. The second goes to the theme of the variation in the second movement. Beautiful.
Gilels is among the all time greats. This beautifully controlled performance demonstrates just how good he was.
hands down one of the greatest pieces ever writtien
6 years later, still holds up
@@giocosovelasco ... plus about 200 years
In my opinion the finale movement is 1 of Beethoven's greatest works for piano. So ahead of it's time🔥
I love how he kept all that speed for the end 24:30
Beethoven's piano works are my favorite, so soothing to the soul and mind. He was a true genius. Thank you so much for sharing this masterpiece
The best performance of this piece I have ever heard. A dramatically lyrical reading with such dynamic range. Excellent.
Second movement doesnt get enough love. It's such a beautiful theme and variation. Of course its competing with arguably one of the most incredible 1st and 3rd movements ever created. But still haha after listening to both of those so much the 2nd is always nice to hear.
alterI4 someone should have made it into a pop song like Billy Joel did with Pathetique 2nd movement.
@Forty Three tbh i only prefer hammerklavier and sonata 32 over appasionata
It's amazing how good it is, given the melody is, on its own, fairly uninteresting - look at all those repeated notes! But he made it work.
The 2nd movement is reminiscent of the D-flat major trio section of the third movement of Chopin's Piano Sonata #2.
@@Numberonesorabjifan any movement from sonata 26 to sonata 32>>>appasionata
This is truly wonderful. Beethoven was a complete genius. This movement is very like Rachmaninoff in character. It is so completely dark and mesmerizing. .
Agree. I was gonna tell the "it's too dark and violent" commentators that they should listen to Rachmaninoff, especially Opus 32 preludes. Then they'll see Beethoven as tame as a little kitten. Rachmaninoff was the Led Zeppelin of his era.
@@ruthtalley242 but rachmaninoff notes are not beautiful and perfect like Beethoven
His music is technichal but not profound
don t compare masters with shit
One of those genius pieces that keeps getting better the more you listen to it. The raging inspiration and beautiful ideas in this music only keep getting clearer.
This represents the pinnacle of Beethoven’s sonata writing.
No. Rather degradation.
Late sonatas?!
@@alicaramba7680 what u talking about
Emil Gilels. I could speak volumes about this wonderful pianist, how I had a chance to hear him live and never did. I am sure that live would have been even more impressive. The recording only gives us so much. He was great. Impassioned, dramatic, meticulous and just plain great.
He is a great pianist, no doubt
If this piece doesn't prove the insane genius of this man, what else?
No way was Beethoven insane. He was, however, a colossal genius who revolutionised Western music.
인생을 바꿔준 애증의곡이네요.
한 20년 안듣다가 다시 들은지 7ㅡ8년 된듯하네요.
고딩 3년동안 21번.23번을 대입입시로 준비했는데 이걸 선택하고 원하는 학교도 가고 꽃길만 가는줄 알았는데....여기까지만...
난 88학번...
50중반에 들어도 넘 조으네요.
아마 죽을때까지 들어도 좋을꺼 같아요
The best version ever. I love how he doesnt rush 10:25. Epic
Everybody play this in presto
This is such an inspired interpretation. Gilels had everything at his command and the piece is displayed to perfection. Such dynamics and tone. What a remarkable pianist. I am in awe of him. And what he brings out. I can understand how Lenin said, "If I keep listening to Beethoven's Appassionata, I won't be able to finish the revolution." I wonder what was going on for Beethoven at the time of the composition of this piece.
Laurence Esposito I was just reading about this! The chilly quote: " it moves me to stroke the heads of my fellow beings for being able to produce such beautiful things in spite of the abominable hell they are living it. It is necessary to smash those heads, smash them without mercy."
Well, he was losing the ability to hear at the time of composing this, but that's nothing too important, right? Probably not. haha
At the beginning of the first movement, I always thought those random loud measures were Beethoven being pissed about something.
SAME
GamerNRetro maybe he was
Cristina Probably about going deaf.
Cold Soup. Soup should NEVER be cold.
@SalaxAscPhx or just laughing about something
1 ч :
0:00 ГП
1:36 ПП
2:18 связка
2:53 разработка
8:32 кода
2 ч :
11:05 тема
3 ч :
17:35 начало
17:51 ГП
18:39 ПП
19:14 разработка
24:39 кода
For the final third movement of this song, I have only one word to say:
*"GRIIIIFFFFIIIIIITTTTHHHHH!!!!!!!!!!"*
Makes me want to chop my arm off
Okay that left hand at 18:30 is crazy. Great performance.
thomas piskor honestly I thought so at first too and when I tried it I failed miserably, but after like 2 days it really isn’t that hard to me
not really
This is a lifesaver for both my piano skills, and mental status
**MVT I**
**ЭКСПОЗИЦИЯ**
00:00 - Тема 1 (Обратите внимание на её минималистичный характер - арпеджио, разделённое в обеих руках на расстоянии двух октав, и использование неаполитанской гармонии, чтобы сразу же увести вас далеко от основной тональности)
00:27 - Введение мотива судьбы в левой руке (Его основная природа - полутон вниз - подразумевает тональную структуру всей темы и сама по себе происходит от «вздыхающей» второй половины первой фразы темы 1 на 0:06)
00:48 - Повтор темы 1
01:03 - Переход. Обратите внимание на тревожную триоль, а также на заметное разрешение вниз на полутон на 01:06
01:22 - Тема 2. Замечательно, что она основана на инверсии темы 1 - контраст, построенный на органическом единстве.
01:37 - Переход. Обратите внимание на неаполитанскую гармонию на 1:40, которая снова разрешается вниз на полутон, а также на использование трилей (быстрое колебание между двумя нотами на полутон). Напряжение нарастает через продолжительную гамму на 1:50, перед резким переходным мотивом на 1:58, который снова содержит много неаполитанской гармонии и движения на полутон (например, мотив судьбы в левой руке на 2:03).
**РАЗВИТИЕ**
02:27 - Тема 1, с акцентом на второй половине первой фразы
03:05 - Тема 1, получившая особенно драматическую последовательную обработку и модулирующая по большим терциям (E-C-Ab)
03:34 - 2 Переходная тема
04:05 - Тема 3, которая модулирует из Db мажор в Bb минор, Gb мажор, B минор и C мажор
04:43 - Расширенное пребывание на уменьшённом септиме, напоминая о её использовании в начале на 0:38
04:46 - Мотив судьбы, теперь глубоко агрессивный
**РЕКАПИТУЛЯЦИЯ**
04:57 - Тема 1. Никакая не обычная рекапитуляция, и повторение темы 1 здесь сразу показывает, почему: открытие движения было бедным, суровым, зловещим; но сохранение триолей в левой руке полностью меняет ситуацию, придавая теме 1 пульсирующее основание, угрожающее напряжение. И есть ещё одна поразительная особенность: гармония нарушена. Вся идея развития заключается в создании гармонического напряжения до грандиозного возвращения тоники в рекапитуляции: но хотя мы находимся в фа миноре, левая рука отказывается присоединиться к веселью, упорно оставаясь на доминанте.
05:34 - Тема 1, F мажор
05:57 - Переход
06:16 - Тема 2, также в F мажор
06:32 - Переход
**КОДА**
07:19 - Тема 1, модулирующая, пока не приводит непосредственно к
07:31 - Теме 2, которая сама модулирует в драматическую каденцию на 7:48, начинающуюся с неаполитанской.
08:22 - Мотив судьбы, который замедляется и затихает, пока вдруг не превращается в огромную какофонию на 8:54.
08:55 - Необычный пассаж, где тема 2 поглощается настроением темы 1: тональность теперь явно фа минор, тёплые триоли становятся резкими, лирическая мелодия холодной.
09:09 - Драматическая фигурация
09:21 - Тема 1 поднимается и опускается по клавиатуре, затихая в одном из очень редких ppp Бетховена. Это не окончание движения, а скорее своего рода смерть.
**MVT II**
09:45 - Тема. Как и тема первого движения, она тоже довольно минималистична. Несмотря на то, что это, по сути, движение тема и вариации, в течение всего движения эта тема никогда не будет слышна вне своей основной тональности Db мажор.
11:26 - Вариация 1. Нежная синкопация
12:52 - Вариация 2. Лирические шестнадцатые, подразумевающие мелодический контур, в то время как левая рука (в начале) просто предоставляет корни аккордов. Более красивая, чем должна быть.
14:09 - Вариация 3. Тема начинает звучать, возможно, немного возвышенно, немного светло.
15:11 - Вариация 4. На самом деле это не вариация. Просто тема повторяется с октавным смещением. Движение заканчивается на уменьшённой септиме.
**MVT III**
**ЭКСПОЗИЦИЯ**
16:13 - Уменьшенный септимовый аккорд повторяется
16:17 - Шестнадцатые входят, сначала почти деликатно, но нарастают в бурный поток
16:29 - Тема 1. Обратите внимание на расширенное использование канонической имитации и неаполитанской гармонии.
**РАЗВИТИЕ**
17:48 - Прежде чем войдёт Тема 2 (!), мы получаем развитие Темы 1.
18:08 - И вот наша Тема 2, резко синкопированный фигура
18:27 - Переход
18:34 - Каденция, очень похожая на ту, что в первом движении - расширенное пребывание на гармонии уменьшённой септимы, начиная с неаполитанского фрагмента.
19:11 - РЕКАПИТУЛЯЦИЯ
**КОДА**
23:04 - Гортанная, яростно мускулистая тема, повторяемая сначала в фа миноре, а затем в ля-бемоль мажоре
23:24 - Тема 1, исполняемая на предельной скорости
23:34 - Заключительная каденция
After listening to barenboim's version many times, I came back here and I just realised this performance by Emil Gilels is MUCH better than barenboin's. Wow this is much more powerful and passionate. I am downloading this video!
+Apetecan7 Of course! Gilels is one of the best pianists who ever lived, Barenboim is not. He's much better as a salesman and a "marketing-man", and for this he will not be remembered as a great pianist. If you want to listen very good versions of the Beethoven (and Mozart) sonatas, don't listen Barenboim. There are many huge pianists (Sokolov, Gilels, Brendel, Pollini, Schnabel, Zimerman, Pogorelich and others... even Benedetti Michelangeli recorded some sonatas).
I feel that during the 20th century, pianists were not pressured by showmanship to over interpret the music. Speak as how Beethoven would speak. That'd be sufficient and plenty.
@@Makenor13 Barenboim's Mozart sonatas are the best I've heard (other than maybe Uchida)
@@KingstonCzajkowski You know what they say... only stupid people never change their opinions! :) In 7 years I've grown up as a person and as a pianist (heck, back then when I wrote that comment I was probably 18 or 19) and I started respecting Barenboim a lot more and seeing the things that actually make him great. I still don't consider him among my very favourite pianists overall, and I still think that some things about him are a little too hyped up, but he indeed is a great pianist without a doubt, and I was genuinely shocked at some renditions of his Mozart and Beethoven sonatas.
@@Makenor13 Huh, neat! I'm happy you've learned to appreciate his performances.
I LOVE Giles's Beethoven... he might be my favorite Beethoven artist.. his 101 is kind of on steroids amazing!
le deuxième mouvement est une merveille de beauté et de lyrisme...
Oh, so sound and clear ...you can follow every single note! Bravo, Emil Gilels! (And, of course, Bravo Beethoven!) ;-)
25:16 Even Mendelssohn was influenced by Beethoven. He used this in the third movement of his first piano concerto.
Thank you, for allowing the privilege to listen. Phasing is very good, and for this sonata, no easy task.
its madness, trance outburst, Beethoven is all about emotion at its peak. Barenboim is exhausted and everybody playing this will be too.
This isn't Barenboim lol, it's Gilels! A better interpretation than Barenboim in my opinion
Beautifully played. I've heard this piece much faster when played by Vladimir Horowitz but whomever is playing this has mastered it with respect to timing incredibly well.
Paul Zarvis gileles. and he freakin' nails it
The rhythmic motif at 10:05 foreshadows the 5th symphony
No
Third movement, passion and fever......Fantastic music, wonderful.
1 часть
гп 0:01
пп 1:37
з.п. 2:18
придыкт 9:44?
кода 10:06
2 часть
основная тема 11:06
3 часть
гп 17:51
з.п. 18:58
кода 24:40
As someone that loves the sound of piano, there is nothing in the universe compared to this
Fargo, anyone? This show doesn't cease to amaze me, so does Beethoven's music.
This is why I listen to Beethoven.
Project moon is stuck in my head i can't unhear roland battle 3 in this
Classical music is boring
Beethoven : what I dont hear you
*Can't
At the moment, you don't get it, that's why. The Appassionata is a very complex work of Beethoven's. Perhaps if you listened more, you might be a little less inclined to call it boring. Listen to the last movement to Mozart's Jupiter Symphony at least once and see if it doesn't get to you. And don't think of it as wall-paper music. It should be more easily accessible to you. After that, then move to Beethoven's Moonlight Sonata - especially the last movement.
به
kkkkk
I'm sure the joke was intentional, but yeah, he really wouldn't have heard you. And you're comment is definitely right!
There is so much violence in Beethoven, which perhaps expresses the sufering of the composer.
I don't know all the different interpretations but after hearing a few bars of it played by Barenboïm I stopped and looked for another one. I like this one very much..
I believe the word you are looking for is referred as
"Sfozando".
No, I mean, not as a written interpretation instruction on the sheet music, but in the *spirit* of his music in general. Not all the time but in some places. It used to scare me a lot as a kid. It still raises goose bumps.
Khamomil No matter what mode or form he's writing in, Beethoven always gives us at least one great outburst!
Yes. Barenboim's interpretation sucks
@@nathanaelgeorge2940 For me he just doesn't take as much risks when playing. Still n exceptional pianist though.
Of the "Big Four" - the other three being the Moonlight, Pathetique, and "Funeral March" (#12) sonatas - this was the most "devastating" of all, because of the coda of its final movement.
Hammerklavier isn't a big one?
Why are those “the big 4?” Seems like you just pulled that straight out your ass 😅
Два абсолютных гения, восторг и восхищение! Я счастлив тем что ещё студентом геологического факультета в шахтерском городе Горловка где был на практике в 1959 году Слышал там Гилельса и с той поры он мне самый любимый и нужный пианист , как Рахманинов, а Бетховен композитор вся музыка которого особая который создавал без смертные шедевры. которые ПОМОГАЮТ ЖИТЬ в самые трудные моменты жизни.
This is a thrilling performance. What a horrifying and wonderful masterpiece
I'm here because this was used for Berserk movies.... thanks to that I've discovered how good the original stuff is and I'm getting more and more into sonatas
Une fois admis le tempo bien lent de l'Allegro (même assai), l'impressionnante dynamique nous emporte dans l'histoire et nous fait revivre autrement l'œuvre même si c'est la 214° fois qu'on l'écoute; c'est là la performance d'un grand Beethovenien. Le 3° est aussi explosif, sans parler de la coda !!!
One of the best performance of this sonata! Bravo maestro!
What a dynamic performance! Beautiful interpretation.
Absolutely delicious!!
Professor perfeito com um gosto perfeito.
Ja stimmt!
Huh… ok
kkkkk eae prof
Kkk
19:34-19:49 and 22:19-22:33 are my daughter's favorite part!
wow your daughter has taste of music
@@dawlims1334 Thank you!
Steven..thanx 4 the notes...75yr & still learning...all praise 2 God...this is so beautiful..u have a new subscriber & r obviously well educated in classics.& enjoy teaching..I worked as a custodian for three piano stores in N Va..Md.& l loved 2 listen 2 Shaun Tirrell practice on the nine footers..He & Keith Kermit (fellow pianist) now own their own store in Rockville Md.I just discovered 2nite..Ciao...
I'm 16 years old and I'm obsessed with this
Why does your age matter? I'm 12 and I can still appreciate this. Heck, there are 80 year olds who enjoy it!
I am 10 years old and 5'4" and I love it. My sister has curly hair and she loves it also.
Me too, I'm 17 and I hope more young people listen to this
Who's still banging this classic in 2019? Represent!
Me! This is one of the best piano pieces I've ever heard. This is an artwork! (Greetings from Veneto, Italy)
@@francescoc Me too. I agree!
Here always
Now in 2020!
#Beethoven4ever!
it took away my breath, literally. What a great peformance!
Feel like a pianist on the granite kitchen top. I'm hitting all the right notes, too. It's truly amazing.
"Ludwig van Beethoven's Piano Sonata No. 23 in F minor, Op. 57 (colloquially known as the Appassionata) is a piano sonata."Thanks bro, couldn't have worked that one out
Le Spook shut up u arrogant piece of shit
Try with the Hammerklavier. You just need a Hammer and a handful of nails.
@@gwenshirebros4883 calm down troll
I hope one day I can play this masterpiece
Just practice
Sponsored by TwoSetViolin
Imagine being the first audience to ever hear such a thing; popcorn and drinks would have been spilled Everywhere!
best appassionata interpretation ever , by emil gilels
I really like the part begins from 24:33
Thank you so much for sharing this! - amazing playing by Emil Gilels. For me, the instructional element of being able to listen and follow Beethoven's composition simultaneously is superb. LL& P x
Awsome... a great perfomance of one of the most beautiful pieces ever.
One of my favorite versions of this sonata.
Wonderful, thanks for posting. Some day, I'll be attempting this piece.
Essa Sonata mostra bem como Beethoven fazia um jogo extraordinário entre os temas, acordes, harpejos, ritmos e dinâmica. Beethoven é essencialmente clássico mas já se expressa muito da passionalidade romântica.
Beethoven is the god of the musical composition
Bach, Mozart, Chopin?
@Quick Dry No, simply, no
This is marvelous. To describe it any further would be a waste, and if there is one thing in this world I can't abide is waste.
The things you can't imagine to be true is why you love the things. And this is one example of it.
00:01 І ч. ГП f
01:36 І ч. ПП As
11:07 ІІ ч. Des
17:51 ІІІ ч. ГП f
23:22 ІІІ ч. КД f
들을때마다 전율이 느껴지는곡..열정...대학입시때 친구가 이곡으로 시험본다고 정말 수도없이 연습했던기억이..
I am thoroughly impressed at the speed the coda is take and how clear it still is! I personally prefer if the half notes are held a little longer.
Didn't expect thouse last chords in the second movement 😯🤯
17:34 Waw, such rythm, such violence in composition ... and such level of interpretation from the pianist!
Wow, that was a man. These are notes that testify the grandeur and beauty of (classical) music.
People who say Beethoven couldn't write a good melody baffle me to this day
If I have one nitpick, I personally like the coda of the first movement to be faster, but that's just interpretation differences. This is a fantastic performance - at least what I've heard of it is!
Es un ad las mejores sonatas del gran Beethoven...excelente oportunidad para escucharla en todo su expresión....
One of my favorite piano sonatas.
I'm curently working on this and wow I tell ya. It's hard but very rewarding, I already feel like my fingers a much more limber than before :)
Chase Baldwin I just started today, and I’ve only gotten like 3/4 through the first page, and that’s not hard. I’m sure that’s about to change soon.
@@memedreams8558 I know might be little late, but were you "victorious"?
estamos siempre en conflicto con todas las bajezas de la condición humana y los únicos momentos en que sentimos que nos elevamos a la perfección y la belleza nos los regalan los genios del arte. gracias Beethoven por permitirnos disfrutar de estos momentos de pura delicia.
Dios se hace presente por medio de estos artistas les dio un Don maravilloso ❤
Simplemente musica divina ❤️
8:52~
I love this part of first movement
1ч ГП 00:00
1ч ПП 1:38
2ч Тема вариаций 11:05
3ч Осн. тема 17:34
for some reason, the first and the second movement bring the outer space to my mind.
17:34 III movimiento Allegro ma non troppo, es sublime
12:50 would sound great as electronic music imo
My friend is playing this today at a concert!!
A symphony for piano this definitely is. I mean the piano definitely has that orchestral sonority that I hear in a lot of his sonatas actually. One of the best examples of an orchestral sonority to the piano from early on is the Pathetique Sonata, another sonata I love and want to arrange for orchestra someday.
Do you have to? I know Ravel did a wonderful job with 'Pictures At An Exhibition' by Mussorgsky, but I think of whomever orchestrated Liszt's Hungarian Rhapsody #2, and how much better the piece is as a piano work than it is for a whole orchestra. I don't think any Beethoven piano pieces should be orchestrated, but don't let me stop you.
@@thomassnider6691 I just feel like the orchestra would fit well to Beethoven's sonatas, especially the likes of Appassionata and Pathetique, as Beethoven's pieces tend to have an orchestral approach and sonority, even if they aren't for orchestra.
@@caterscarrots3407 I wish you the best on your project. Maybe you should ask yourself 'What would Maurice Ravel do?'
@@thomassnider6691 there are symphony transcriptions of Beethoven's hammerklavier and a few other sonatas, and what you say is not at all wrong, some passages don't sound as good, a lot of rythmic inaccuracies, but the orchestra definitely gives a more grandier and full sound
@@Trooman20 Perhaps, but I feel if the composer had wanted it to be done by an orchestra, he'd have orchestrated it himself. Liszt's Hungarian Rhapsody #2 is a piece that definitely suffers when performed by an orchestra. But I do like Ravel's orchestration of 'Pictures At An Exhibition' by Mussorgsky; it adds to the piece instead of just painting by numbers. 'Hungarian Dances' by Brahms is also better with an orchestra, but 'Overture on Hebrew Themes' by Prokofiev is so much better as a chamber piece; the full orchestra treatment minimizes the role of the clarinet, which is what makes the piece so much fun in the first place.