Beethoven Sonata No.6 - Paul Barton, FEURICH piano

[@dibaldgyfm9933]

Wonderful music, talking like Beethoven does, expressing life's joy. ❤

[@JaySuryavanshiMusic]

Here is an analysis of the entire sonata!
(Source: TonicChord)
First Movement (Allegro)
Form: Sonata Form
EXPOSITION:
Bars 1-13: First Subject in F major (tonic). The first subject consists of twelve bars divided into three sections of four bars each.
Bars 13-19: Connecting Episode. The connecting episode begins with the first two bars of the first subject, which are repeated with the addition of D sharp (enharmonic modulation E flat to D sharp) to the harmony, producing the chord of the augmented sixth resolving on dominant A (this resolution takes place three times), an unusual chord to precede the key of C major (See Bars 17-18, third movement, Sonata No. 5).
Bars 19-56: Second Subject in C major. The second subject commences, in C major, with three four-bar phrases, the last modulating to G major, in which key there is a passage, Bars 31-37, consisting of tonic and dominant harmony, leading to a new phrase of four bars which is repeated (varied) in C minor. A chord of the diminished seventh on F sharp, Bar 47, is followed by another new four-bar phrase, Bars 48-51, after which two bars of the triplet figure (Bar 2) lead to a full close in C major.
Bars 56-67: Coda. The Coda consists of a four-bar phrase repeated with slight variations and elongations, at Bar 64 there is a curious harmonic combination of the chord of the diminished seventh (supertonic root) on inverted dominant pedal.
Double bar and repeat
DEVELOPMENT:
Bars 69-79: The last two bars of the Coda are developed, Bars 69-79.
Bars 79-97: Episode. Bars 85-89 resemble Bars 79-83 transposed into G minor; the same four bars are transposed into B flat major, Bars 93-97.
Bars 97-119: A development of the last two bars of the Coda in B flat major and B flat minor, Bar 97, and some episodal modulation, lead to the chord of the dominant of the key of D
RECAPITULATION:
Bars 120-132: First Subject in D major. The first subject is in D major instead of being in the tonic key.
Bars 133-148: Connecting Episode. The connecting episode re-appears with some modulating bats based upon the first subject, followed by the second and third sections of the first subject in the key of the tonic, Bars 140-148.
Bars 148-193: Second Subject in F major. A sequential passage formed upon the first phrase of the second subject, Bars 157-166, does not appear in the enunciation.
Bars 193-End: Coda. The final cadence of the Coda is repeated.
Double bar and repeat from Bar 69. The repetition of development and recapitulation is unusual.
Second Movement (Menuetto. Allegretto)
Form: Ternary Form
FIRST PART:
The First Part is in Simple Binary form.
Bars 1-9: First subject in F minor (tonic) ending in A flat major.
Double bar and repeat.
Bars 10-18: Sequential passage.
Bars 18-32: First subject in original key so altered as to end in F minor (tonic).
Bars 32-40: Coda.
Double bar and repeat from Bar 10.
SECOND PART:
The Second Part is in Simple Binary form.
Bars 41-57: First subject in D flat major (tonic), ending in A flat major.
Bars 57-73: Repeated (varied).
Bars 73-82: Developmental. The development is very short; it is based on the first subject.
Bars 82-96: First subject in original key altered so as to end in D flat major (tonic).
Bars 97-121: Repeat from Bar 73.
Bars 121-127: Connecting Passage. After the second part there is a passage of six bars, Bars 122-127, leading back to the key of the Tonic.
THIRD PART:
Bars 128-End: Repetition of First Part. The First Part is repeated considerably varied. The bass of the episode, Bar 141-151, is written in quavers (eighth notes), and on the recurrence of the first subject syncopation is freely employed.
Third Movement (Presto)
Form: Sonata Form
EXPOSITION:
Bars 1-9: First Subject in F major (tonic). The first subject, consisting of four bars, leads off (in the bass) in fugal style answered at the eighth, Bar 5 (in the treble).
Bars 9-24: Connecting episode. The connecting episode, which is in the key of the dominant, begins with the first subject, upon which it is founded.
Bars 24-33: Second Subject in C major. The second subject is written upon a pedal point.
Double bar and repeat.
DEVELOPMENT:
Bars 34-87: The development refers to the first subject principally. Note the appearance of the second subject (varied) in the key of D major, Bar 71. The development ends on dominant 7th, Bar 87, succeeded by a scale passage which overlaps the entry of the first subject.
RECAPITULATION:
Bars 88-96: First Subject in original key. The first subject re-appears accompanied by a scale passage.
Bars 96-127: Connecting Episode. The connecting episode re-appears beginning with a passage of four bars (Bars 96-100) in G minor. This passage is repeated In G minor and B flat major, Bars 100-108. A brilliant variation of the first subject, beginning in B flat minor and ending on the dominant chord, leads to the re-entry of the second subject in the tonic key.
Bars 127-End: Second Subject in F major (tonic). The second subject re-appears extended, forming a short Coda.
Double bar and repeat from Bar 34. The repetition of development and recapitulation is unusual.
Bravo, Paul! 👏🏻👏🏻👏🏻

[@ML-ne9fr]

Wow

[@puffin463]

I'm going to have to buy a keyboard. I miss playing piano so much.

[@canman5060]

Thanks very much indeed for this.

[@canman5060]

Where can I find the Hammerklavier analysis ?

[@maximillanmoseskawotjo3385]

Please writee more of this i need this in other piano of beethoven , is verry useful to undertsand the comcept of lvb piano piece

[@upside_you_mop]

I'm playing this sonata today for district and this is my favorite interpretation

[@jordanthukkaram]

It's funny that I looked for a Beethoven Sonata 6 video from you two days ago because I started playing it recently and low and behold I get a notification for Beethoven Sonata 6 lol

[@manuelkennstick5478]

I don‘t know what it is about Beethoven but his music gives me joy so deep inside I think I feel the Orm that flowed through his genius (anyone knows Walter Moers?) wonderful performance as always, looking forward to all the other sonatas

[@canman5060]

I just can't resist the octaves from 3:02 , absolutely ingenius !

[@pianisticlove6915]

I can't even come to imagine hammerklavier with the harmonic pedal. I'm sure your rendition will be amazing. Looking forward to that. Good luck in your project.

[@PaulBartonPiano]

I was thinking of trying to record the Hammerklavier next. However, I am in so much awe of this sonata I hardly dare go near it. I have the score on the piano and began practicing the fugue last night. I play it a lot differently to when I was younger. I am interested in knowing what happens when you aim for the extremes of everything and contrast them side by side. There will be little left of the mechanism of my piano :)

[@normangensler7380]

@@PaulBartonPiano aiming for extremes sounds "Gouldian" - not a bad approach, since it worked so well for him! As he once quipped regarding his doing the second Goldberg recording, "Pray for us"!

[@pianisticlove6915]

@@PaulBartonPiano who wouldn't be in awe of this gargantuan beautiful sonata.

[@jacobsimonson9040]

My favourite sonata!!
P.s. I’m actually learning this

[@PaulBartonPiano]

How is it going?

[@jacobsimonson9040]

Paul Barton pretty good but I’m having a little trouble getting the 3rd movement up to speed, as my left hand is pretty weak.😊

[@apostolismoschopoulos1876]

Congratulations Mr Barton!! I sincerely hope you will achieve your goal of mastering all of the new testament before the end of 2020!

[@analedesma3067]

Beautiful and Amazing❤

[@umovilac]

So beautiful... thanks Paul.!!!

[@bilindalaw-morley161]

Wow!
That’s it.
Just,
Wow!
.........

[@dhpstudios2009]

What a great man .Beethoven !!

[@JohnHarmer]

crisp and joyful

[@alexanderjefferies7740]

I’m doing this sonata as part of my 2nd year classical performance end of year recital at university.

[@euomu]

ok

[@PaulBartonPiano]

How is it coming along?

[@alexanderjefferies7740]

Paul Barton I’ve recently finished learning the last movement. I’ve really enjoyed learning this sonata, it’s full of so many fun and unique surprises, particularly in the 1st movement.
The primary challenge I’ve faced in learning this sonata, is really bringing out the smaller and larger contrasts, in dynamics, articulation and colour in each movement.
You’re recording of this sonata is so delicate and lovely, I really enjoyed listening to it.

[@Burntshmallow]

So Mr. Barton, are you are excited for the 29th Sonata?

[@declarkson]

Big WOW, hats off!

[@oidjhgslsnbdv515]

que maravilla
la toque con mi piano sin audio me salio como debe ser
yo soy el unico que a esta hora aun sigue perfecionando las tecnicas.

[@angelinamaria9437]

LINDÍSSIMO maravilhoso5️⃣🌟🌟🌟🌟🌟 magnífico parabéns obrigada por partilhar saudades 🇵🇹

[@leviathanyt4399]

Amazing

[@Bruce.-Wayne]

2nd movement usually plays at a faster tempo

[@pomeeelo92]

Yes, but I liked his approach. The score says Allegretto, not Allegro.

[@senoreunicornio3227]

I loviuuu

[@Potekameko]

ちょうどこの曲やってました

[@20alphabet]

Pedal piano? You mean he's doing this with his toes? Phenomenal _!_

[@PaulBartonPiano]

?

[@20alphabet]

@@PaulBartonPiano
Very talented, sir!

[@peterkovacs9951]

I would love to see the beast Hammerklavier.

[@j.grimes4420]

He's recording all of Beethoven's sonatas.

[@Danaani]

Nice adds.

[@PaulBartonPiano]

totally lost.