LECTURE NOTES: First piano sonata with 3 movements, instead of 4. A little more accessible to the amateurs and easier to sell. -----------1st movt: sonata--------------- 1. starts with a Mannheim rocket: Mozart's C minor sonata starts with a Mannheim rocket in unison. Beethoven starts with a thick cord, 7 voices. Dotted rhythm for more dramatic effect. 2. @7:14 Shubert homage (if anyone could kindly tell me the name of the piece) 3. following the Mannheim rocket is a sighing motif: sospiro 4. dramatic silences: not fermatas, can't wait as long as you wish. Have to count time. 5. another sign of dramatic tension are intervals 6. Beethoven is the first composer who's quite meticulous in his notation. 7. as a wonderful pianist, Beethoven seldom thinks in terms of the piano. He imitates the orchestra. @19:50 4-part writing, string quartet texture. 8. @23:34 the 1st & 3td subject are united by the dotted rhythm 9. @24:03 closing subject, chromatic line in the baritone. 10. repeat sign for the exposition. Beethoven, especially from Op.10 on, repeats certain sessions and omits others. 11. @27:26 two symmetrical phrases with different dynamics 12. @28:02 raised to D flat major, Neapolitan tonality. Beethoven knows its strangeness, so he writes pianissimo, and it's without color. 13.@28:55 looking for the exit, then finds it. 14. @31:24 NO! NO! --------------2nd movt: sonatina----------------- 15. tempo ordinario: Adagio, Allegro, Allegretto 16. @34:27 rhythmically similar to Bach's 6 partitas @35:33. 17. @36:54 all the 64th & 128th notes with 5 or 6 stems.. Beethoven is not a lazy man. 😉 18. @37:57 Beethoven always complains that the piano doesn't sing enough. 19. sonata form with no development section, only a single bar of a rolled V7 chord (E♭7) leading back to the tonic key. Only difference is the 2nd & 3rd subject in tonic key as opposed to the dominant. 20. @39:57 coda with variation. 21. ends the movement in the lowest register. --------------3rd movt: sonata------------ 22. starts in presstossimo, pianissimo and in unison. Similar to The Emperor concerto, Op.1, No.3. starts in fortissimo, in unison: the 5th Symphony. this movement contains the 1st appearance of the fate motif from the 5th Symphony. 23. @45:13 Viennese street song. 24. @46:48 The short development section contains an unmistakable foreshadow of the theme from Beethoven's Symphony No. 5. 25. @48:11 unconventional coda 26. @48:57 Hello, The tempest. 27. Beethoven combines the 2 themes.
The quote regarding Haydn is misinterpreted : it's not that Haydn had nothing to teach, the problem was he was never there to do it. That's why "from Haydn, you couldn't learn a thing"
@@cwardpiano yes maybe - but then why didn't he say false prophets, I wonder. There's a big difference between the two and I can't think of there being any false witnesses. Except in the part where people say 'he is here or here is there' (Matthew 24:23). So that must be it, I suppose...
students: Eb major is not the "parallel" of c minor; C major is the "parallel" of c minor--Eb major is the "relative" major of c minor--throughout these lectures the maestro is strangely confused about the difference between "parallel" and "relative" keys
@@okb0ss336 no, dear, you and the maestro are wrong: "parallel" keys are those with the same tonic but different modes; "relative" keys are those with the same key signature but different modes
As you say, he seems to make this mistake repeatedly, to the point where I was beginning to doubt my own understanding of the terms, so I looked it up in German. It seems that what we call the parallel key in English is called the “Varianttonart”, or variant key in German. And what in English is called the relative key is called the “Paralleltonart” in German. So, Schiff’s mistake is one of translation, not of understanding.
@@matttondr9282 but that's the question: what does he mean when he says "parallel?" and he's lecturing in english, so what is he saying to english-speaking students--(matt, we all settled this a while ago, with manosticks, but welcome aboard and try to keep up)
I enjoy so much to listen to these lectures.
LECTURE NOTES:
First piano sonata with 3 movements, instead of 4. A little more accessible to the amateurs and easier to sell.
-----------1st movt: sonata---------------
1. starts with a Mannheim rocket: Mozart's C minor sonata starts with a Mannheim rocket in unison.
Beethoven starts with a thick cord, 7 voices.
Dotted rhythm for more dramatic effect.
2. @7:14 Shubert homage (if anyone could kindly tell me the name of the piece)
3. following the Mannheim rocket is a sighing motif: sospiro
4. dramatic silences: not fermatas, can't wait as long as you wish. Have to count time.
5. another sign of dramatic tension are intervals
6. Beethoven is the first composer who's quite meticulous in his notation.
7. as a wonderful pianist, Beethoven seldom thinks in terms of the piano. He imitates the orchestra. @19:50 4-part writing, string quartet texture.
8. @23:34 the 1st & 3td subject are united by the dotted rhythm
9. @24:03 closing subject, chromatic line in the baritone.
10. repeat sign for the exposition. Beethoven, especially from Op.10 on, repeats certain sessions and omits others.
11. @27:26 two symmetrical phrases with different dynamics
12. @28:02 raised to D flat major, Neapolitan tonality. Beethoven knows its strangeness, so he writes pianissimo, and it's without color.
13.@28:55 looking for the exit, then finds it.
14. @31:24 NO! NO!
--------------2nd movt: sonatina-----------------
15. tempo ordinario: Adagio, Allegro, Allegretto
16. @34:27 rhythmically similar to Bach's 6 partitas @35:33.
17. @36:54 all the 64th & 128th notes with 5 or 6 stems.. Beethoven is not a lazy man. 😉
18. @37:57 Beethoven always complains that the piano doesn't sing enough.
19. sonata form with no development section, only a single bar of a rolled V7 chord (E♭7) leading back to the tonic key. Only difference is the 2nd & 3rd subject in tonic key as opposed to the dominant.
20. @39:57 coda with variation.
21. ends the movement in the lowest register.
--------------3rd movt: sonata------------
22. starts in presstossimo, pianissimo and in unison. Similar to The Emperor concerto, Op.1, No.3.
starts in fortissimo, in unison: the 5th Symphony.
this movement contains the 1st appearance of the fate motif from the 5th Symphony.
23. @45:13 Viennese street song.
24. @46:48 The short development section contains an unmistakable foreshadow of the theme from Beethoven's Symphony No. 5.
25. @48:11 unconventional coda
26. @48:57 Hello, The tempest.
27. Beethoven combines the 2 themes.
So glad these are finally on youtube
1.
21:55
❤
The quote regarding Haydn is misinterpreted : it's not that Haydn had nothing to teach, the problem was he was never there to do it. That's why "from Haydn, you couldn't learn a thing"
0:09 - Allegro molto e con brio
31:41
16:06 - I wonder what he means by 'false witnesses' 'like in the Bible'? 2 Timothy says ALL scripture is inspired.
He's referring to when Jesus says to "beware false prophets" (Matt. 7:15) who say there is another way to salvation besides through Christ.
@@cwardpiano yes maybe - but then why didn't he say false prophets, I wonder. There's a big difference between the two and I can't think of there being any false witnesses. Except in the part where people say 'he is here or here is there' (Matthew 24:23). So that must be it, I suppose...
@@militaryandemergencyservic3286 Matthew 26:60
@@swuford oh yes -thats the one - thanks
I believe he is simply referring to the 9th commandment -- "Thou shall not bear false witness against your neighbor"
Some good witnesses and some false witnesses, like in the bible
What?
@@joelmacinnes2391 it's a direct quote from the video
students: Eb major is not the "parallel" of c minor; C major is the "parallel" of c minor--Eb major is the "relative" major of c minor--throughout these lectures the maestro is strangely confused about the difference between "parallel" and "relative" keys
@@okb0ss336 no, dear, you and the maestro are wrong: "parallel" keys are those with the same tonic but different modes; "relative" keys are those with the same key signature but different modes
@@foljamb i googled it and ur right im sorry
As you say, he seems to make this mistake repeatedly, to the point where I was beginning to doubt my own understanding of the terms, so I looked it up in German. It seems that what we call the parallel key in English is called the “Varianttonart”, or variant key in German. And what in English is called the relative key is called the “Paralleltonart” in German. So, Schiff’s mistake is one of translation, not of understanding.
What matters is that you know what he meant.
@@matttondr9282 but that's the question: what does he mean when he says "parallel?" and he's lecturing in english, so what is he saying to english-speaking students--(matt, we all settled this a while ago, with manosticks, but welcome aboard and try to keep up)