This sent chills down my spine. It's like he knew he was going deaf, and his breaking the norm by modifying this piece in an unusal way resembles a breakdown of sanity and on verge of cracking (exemplified by the eccentric triplets). And crying in the void while playing this piece. But at the end, he still maintains control of his skill.
I have always wondered the original Fur Elise before Elise and Beethoven separated. And who would have thought that Beethoven almost foreshadowed Chopin's well-known nocturne style writing!
This definitely sounds more like the classical beginnings of a romantic era of music. It sounds almost like Bach infused with Chopin. Really beautiful piece!
Beautiful and .mysterious. I love playing the "original" as it's the only piece so far I can play by memory. Now I most certainly will learn to play this version. Thank you ❤
Hi. Love this video and its precursor. I am reminded of this thing. I was wondering if you could maybe talk to us some time about the 6th Symphony, 1st movement. I heard BBC Proms playing it with embellishments I had never heard before in any recording, and maybe you could shine some light on this if there is anything to it be it creative license or some more direct less known manuscript like the Fur Elise explanation video. Contact me if you would like to know about what I'm talking about lol.
@@themusicprofessor It was the Symphony 6 Movement 1 from the 2014 proms. The original video has been removed, and they have uploaded only the third movement from that performance. I have the video saved however and have clipped the section for you here -> th-cam.com/video/vWnPOFIrW9c/w-d-xo.html
Thank you. And I see that the whole prom (Zinmann and the Zurich Tonhalle) is there: th-cam.com/video/Lo0CWOtYGYU/w-d-xo.htmlsi=fY3ejkOWTmH-EPqZ. I believe the orchestra were playing from the new Bärenreiter edition of the symphony which has some details and modifications that earlier editions don't have. But I also believe that Zinmann and the orchestra added some embellishments of their own. I've just watched the performance and think it's rather good. In answer to your question, the late classical era was a period when performers regularly embellished scores. Nowadays, tasteful ornamentation in Mozart and Haydn would be considered good practice. In Beethoven, it's a bit more controversial because Beethoven himself often got cross about performers embellishing his work. Consequently, he tends to embellish it himself - I believe Beethoven has more trills in his music than any other major composer. However, I don't think this should necessarily prevent performers from embellishing if it makes sense to do so. The Tonhalle embellishments make sense to me - the simple melodies in the Pastoral symphony can certainly bear some tasteful ornamentation, and the whole performance is highly refined and intelligent.
wow@@themusicprofessor Thank you so much for your insight and information on this! Yeah it's such a great performance of what is maybe my favorite piece. I look forward to many more of your videos!
1:18 I know It's probably useless to create many comment sections but I gotta note that in the book there is actually a 16th note rest, they are not a quarter beat and a half.
I got the book for it finally! Now I can learn how to play it. The weird thing is you said Beethoven had no dynamic but on page 7 of the book itself, it had pp. why's that?
@@themusicprofessor Hmm, then why there were no Dynamics on the video? Also on the triplet cadenza, you've added 2 Am chords before it reaches the una corda. Is that a mistake?
I felt the same thing to begin with, that the first one is so Hardwired into our brain. But now on second listen I am started to be able to listen to this version for wha it is. There are still some part in this second part, which I find a bit clumsy.
Bärenreiter Urtext recently published an excellent new edition of the Bagatelle in A minor (Für Elise) containing the original version, a printed version of Beethoven’s draft of the piece with his 1822 alterations, and a completion (from the revised draft) of the 1822 version by Mario Aschauer, which closely resembles the version performed in this video. The notated version here was created for this video and there a couple of minor errors.
Could you phrase/syncopate it in a way that it becomes a waltz? This is the kind of melody that a mother with her baby on her arm might hum, and rhythmically move to. I'm very well familiar with the conventional, well-known, versions/renditions, by the way.
You coulf turn it into a waltz by adding a waltz-style accompaniment. Waltzes hadn't really taken off when Beethoven was in his prime although he did write a couple late in his career: th-cam.com/video/qomUEEkZhBQ/w-d-xo.htmlsi=2dj22X-YJwwtaUSp&t=1348
Maybe it is just familiarity (or the lack of it - I have known the "normal" version since I was little, so nearly 50 years) but I really do not like this. I think the little extra bits are clumsy and unpleasant on the ear, and I dislike the shifting of the arpeggiated left-hand motifs away from the beat. As for the extra section, and the rearrangement of bits...nope. Not for me. Fascinating, nevertheless...
Thank you for helping preserve and highlight this Beethoven treasure.
Beethoven snuck a blues lick in there (the triplets), realized it was 150 yrs too soon, removed for the final draft
This sent chills down my spine. It's like he knew he was going deaf, and his breaking the norm by modifying this piece in an unusal way resembles a breakdown of sanity and on verge of cracking (exemplified by the eccentric triplets). And crying in the void while playing this piece. But at the end, he still maintains control of his skill.
What a fascinating version - I confess I prefer the well-known version. But this shows a compelling window into the composer's thought process.
I have always wondered the original Fur Elise before Elise and Beethoven separated.
And who would have thought that Beethoven almost foreshadowed Chopin's well-known nocturne style writing!
Yes. Beethoven's influence on Chopin was profound (although Chopin was reluctant to admit it!).
Thanks for doing this, Sounds more elegant, refined, and Chopin-ish , and melancholy, hard to not keep listening over and over
Feel free to keep listening!
One must wonder… he is bending a bit… absinthe a flowing… one never knows Tah rah
Perhaps because I’ve heard the one we think of as the original for so long, I like that one better than the actual original.
This definitely sounds more like the classical beginnings of a romantic era of music. It sounds almost like Bach infused with Chopin. Really beautiful piece!
Beautiful and .mysterious. I love playing the "original" as it's the only piece so far I can play by memory. Now I most certainly will learn to play this version. Thank you ❤
Remarkable! Very distinct.
0:36 and 0:44 sound more romantic/jazzy lol. 1:12 is the typical Beethoven Bagatelle style
It's like the guy is spinning plates with the melody.
radiohead joke in beethoven comment section?!
@@JacobieHumphrey It's been a little over a year so I cannot recall - so feel free to call me an Amnesiac.
One of my all time favorite pieces, this was delighful.
Thank you 🙏
Amazing!!
It takes some getting used to.... this new version but after a few lessons I really like it especially those added triplets...
Speaking of Chopin, you should do a video about a nocturne or mazurka of his maybe! Might be interesting.
Yes. I will!
Hi. Love this video and its precursor. I am reminded of this thing. I was wondering if you could maybe talk to us some time about the 6th Symphony, 1st movement. I heard BBC Proms playing it with embellishments I had never heard before in any recording, and maybe you could shine some light on this if there is anything to it be it creative license or some more direct less known manuscript like the Fur Elise explanation video. Contact me if you would like to know about what I'm talking about lol.
Which recording of Beethoven 6?
@@themusicprofessor It was the Symphony 6 Movement 1 from the 2014 proms. The original video has been removed, and they have uploaded only the third movement from that performance. I have the video saved however and have clipped the section for you here -> th-cam.com/video/vWnPOFIrW9c/w-d-xo.html
Thank you. And I see that the whole prom (Zinmann and the Zurich Tonhalle) is there: th-cam.com/video/Lo0CWOtYGYU/w-d-xo.htmlsi=fY3ejkOWTmH-EPqZ. I believe the orchestra were playing from the new Bärenreiter edition of the symphony which has some details and modifications that earlier editions don't have. But I also believe that Zinmann and the orchestra added some embellishments of their own. I've just watched the performance and think it's rather good. In answer to your question, the late classical era was a period when performers regularly embellished scores. Nowadays, tasteful ornamentation in Mozart and Haydn would be considered good practice. In Beethoven, it's a bit more controversial because Beethoven himself often got cross about performers embellishing his work. Consequently, he tends to embellish it himself - I believe Beethoven has more trills in his music than any other major composer. However, I don't think this should necessarily prevent performers from embellishing if it makes sense to do so. The Tonhalle embellishments make sense to me - the simple melodies in the Pastoral symphony can certainly bear some tasteful ornamentation, and the whole performance is highly refined and intelligent.
wow@@themusicprofessor Thank you so much for your insight and information on this! Yeah it's such a great performance of what is maybe my favorite piece. I look forward to many more of your videos!
1:18 I know It's probably useless to create many comment sections but I gotta note that in the book there is actually a 16th note rest, they are not a quarter beat and a half.
Correct.
I got the book for it finally! Now I can learn how to play it. The weird thing is you said Beethoven had no dynamic but on page 7 of the book itself, it had pp. why's that?
He did write in occasional dynamics into the sketch. This is one of them.
@@themusicprofessor Hmm, then why there were no Dynamics on the video? Also on the triplet cadenza, you've added 2 Am chords before it reaches the una corda. Is that a mistake?
Hard to listen to this objectively because the original is so hardwired into one's brain but the additions all feel pretty superfluous to me
I felt the same thing to begin with, that the first one is so Hardwired into our brain. But now on second listen I am started to be able to listen to this version for wha it is. There are still some part in this second part, which I find a bit clumsy.
A new bridge, a restructure of the broken chord section, and new rhythm for the LH accompaniment figure is hardly superfluous.
Any chance you could make a pdf of the sheets available?
www.baerenreiter.com/en/shop/product/details/BA11839/
@@themusicprofessor Thank you!
3:19 In measures 105-106 there are 2 A minor chords which are not being played but are shown here. Is that a mistake?
Well spotted. Actually it's a mistake in the printed music, not in the performance.
@@themusicprofessor Really? How so?
Bärenreiter Urtext recently published an excellent new edition of the Bagatelle in A minor (Für Elise) containing the original version, a printed version of Beethoven’s draft of the piece with his 1822 alterations, and a completion (from the revised draft) of the 1822 version by Mario Aschauer, which closely resembles the version performed in this video. The notated version here was created for this video and there a couple of minor errors.
Isn't the fur elise we all know some random half transcribed old sheet music and this version is the properly cataloged released version?
The full story is here: th-cam.com/video/jblFQ1whX5s/w-d-xo.htmlsi=GqFZkh26MqTjkBlg
Could you phrase/syncopate it in a way that it becomes a waltz? This is the kind of melody that a mother with her baby on her arm might hum, and rhythmically move to.
I'm very well familiar with the conventional, well-known, versions/renditions, by the way.
You coulf turn it into a waltz by adding a waltz-style accompaniment. Waltzes hadn't really taken off when Beethoven was in his prime although he did write a couple late in his career: th-cam.com/video/qomUEEkZhBQ/w-d-xo.htmlsi=2dj22X-YJwwtaUSp&t=1348
Niiiice
🤣 it sounds like ‘Elise’ often struggled to find the right note/key and he wrote her fumbles into the melody
My Priv teacher would have told me MÓ ÉMOSION PRÉFORMANCE IS ÍN TWO WEEKS
I have heard it before. This is the original.
No it's not. It's the revised version.
@@andrewgreaves56 I think you think you know what I meant to say.
Where on the Internet can one find a pdf score for this version?
www.baerenreiter.com/en/shop/product/details/BA11839/#:~:text=%E2%80%9CB%C3%A4renreiter's%20new%20urtext%20edition%20of,%E2%80%9C
I've always found the other version somewhat unsatisfying to play. I'll give this version a shot.
its like Elise played the wrong rhythm😂😂😂
Maybe it is just familiarity (or the lack of it - I have known the "normal" version since I was little, so nearly 50 years) but I really do not like this. I think the little extra bits are clumsy and unpleasant on the ear, and I dislike the shifting of the arpeggiated left-hand motifs away from the beat. As for the extra section, and the rearrangement of bits...nope. Not for me.
Fascinating, nevertheless...