Your tutorials are seriously good, I can't thank you enough. It's a pity that there have not been more views. If I may boldly make a suggestion, perhaps in the future you could name your videos with the piece's name at the beginning, using the keywords (or stylised title) that usually come with the piece, that it may pop up in people's search more easily (or rename past videos if possible). Thank you.
Love your tutorials on this sonata; wonderful balance between musical intent and technique. I will try your recommended fingering (slowly, at first!!) on the chromatic run in Bar 10. Thank you.
I "think" that step is part of the escapement mechanism...a feature that all grands have but SW & Yam pianos articulate more, um, in an aggregate way than smoothing that key travel out no matter the speed. I assume it's to allow the pianist to do exactly as you describe.
Hi tutorials are awesome!!!…but At minute 2:47 you describe that mechanism that the keys make like a “click” when you play. I have a Sojin baby grand that has that mechanism but being my first piano I’m not sure exactly what it does. I thought they keys got damaged by the moving. So why does my piano has that feature? Thank you!
Depress the pedal and play the opening chord, then, holding the fingers down, change the pedal. This cuts out the sympathetic vibrations from the other strings and lowers the volume of the chord, and thus helps with Beethoven's fp indication, but it is not absolutely necessary. The chord is quite long and will diminish on its own to the p for the next phrase.
This is a fantastic tutorial. One question. Why do all interpreters slow down at the end of bar 4, when Beethoven wrote to speed up and land into the next bar? Thanks... PS - BTW, I love those paintings. Are they your work?
Thanks. I think that after the scale tumbles downward accelerando, the last five notes sound great with a rit. The scale doubles back on itself and does a kind of rebound, which knocks the energy out of it. Therefore I think a rit. sounds much better than cascading into the E flat section at full tilt. Beethoven didn't mark rits very much. He leaves us to figure out where to put them. Thanks for noticing the paintings, which are by the Cuban American artist, and my friend, Julio Crews.
@@pianoinsights6092 First, thank you for your reply. Of course, the ritardando does sound good but I still have some reservations about it. Namely because I have a different musical experience when it just accelerates and plunges into the next bar. In that case it sounds more temperamental, while the ritardando interpretation makes it sound like a soft landing, so it's a completely different musical experience. I'm not saying one interpretation is better than the other. They are both good but different. Beethoven was known to be temperamental and I wonder if the accelerated interpretation is more in line with Beethoven's character. I also know that Czerny wrote a lot about how to correctly play all of Beethoven's sonatas (and of course he learned straight from Beethoven himself). Do you know of Czerny might have written anything about this particular passage? While I do understand that Beethoven didn't write down ritardandos it is logical that those would be left to the interpreters. But I wonder if the same approach should be used for a passage like this one, where Beethoven did go through the extra step to write an acceleration. I don't know enough about music to state an opinion. I just know enough to ask questions. Hopefully not annoying questions. This passage is just a detail that I've been wondering about for some time. Thank you...
It comes down to a matter of taste in the end. Beethoven's accelerating notes at the end of the scale seem to suggest no rit., and he was indeed temperamental, but I hear the scale as a release of the tension built up and relaxing into the major key. Beethoven was temperamental but always quick to laugh at his bad temper and apologize etc. If you can make a case, especially for yourself, of cascading into the E flat major section without a rit., there is no reason why you shouldn't choose to do so. Interpretation is all about making choices among many, not following rules and instructions by the letter. You may find that later on you find a different way that you prefer. You are obviously thoughtful about these things. I say bravo and stay that way!
@@pianoinsights6092 Thank you for sharing your thoughts. BTW, my kid who just turned 10 is really liking your Pathetique tutorials. He is trying to learn this sonata (he's been a fan of this work for quite many years) and I think your tutorials on it are going to make a difference. Thank you very much.
this makes the piece way more interesting but also way harder
This channel is priceless
What do you medn?
What Do U Mean?
You do the best teaching technic on youtube because it gets to those who know very lityle about piano and to those who know much more.
I can’t thank enough Clive! I’ve looked all over the world for Pathetique chromatics and you’re the only one showing it for this particular piece. 😊
I like your style und your passion for classic pieces. One of my favorites here on yt. Thumbs up!!!
Thanks so much! I found this video so helpful and thought-provoking. It's given me lots of great ideas for both interpretation and technique.
This is a great tutorial. I am practicing this piece for my performance diploma. Watching this almost feels like cheating!
I feel that I should rightly be paying to watch this wonderful video. What a lovely teacher.
Really fantastic tutorials. Looking forward to the next one!
Thanks, I appreciate that!
Fantastic!
Your tutorials are seriously good, I can't thank you enough. It's a pity that there have not been more views. If I may boldly make a suggestion, perhaps in the future you could name your videos with the piece's name at the beginning, using the keywords (or stylised title) that usually come with the piece, that it may pop up in people's search more easily (or rename past videos if possible). Thank you.
Thanks. The views are accelerating, which is a good sign, and I am planning to start making more videos soon, which is an even better one!
Love your tutorials on this sonata; wonderful balance between musical intent and technique. I will try your recommended fingering (slowly, at first!!) on the chromatic run in Bar 10. Thank you.
Thanks Mary Lou, and best wishes with your progress.
1:01 "We can't allow it to die wel, it would be until next christmas"
Hahaha I subscribed for that joke (and for the awesome content)
I "think" that step is part of the escapement mechanism...a feature that all grands have but SW & Yam pianos articulate more, um, in an aggregate way than smoothing that key travel out no matter the speed. I assume it's to allow the pianist to do exactly as you describe.
Hi tutorials are awesome!!!…but At minute 2:47 you describe that mechanism that the keys make like a “click” when you play. I have a Sojin baby grand that has that mechanism but being my first piano I’m not sure exactly what it does. I thought they keys got damaged by the moving. So why does my piano has that feature? Thank you!
有个建议 加上op13 这样比较好搜索 讲的非常棒
Could u mind to teach me how to use the pedal in the chords section? I am so confused about that
Depress the pedal and play the opening chord, then, holding the fingers down, change the pedal. This cuts out the sympathetic vibrations from the other strings and lowers the volume of the chord, and thus helps with Beethoven's fp indication, but it is not absolutely necessary. The chord is quite long and will diminish on its own to the p for the next phrase.
H
工
Pedal 对我很简单！
踏板对我很简单！
This is a fantastic tutorial. One question. Why do all interpreters slow down at the end of bar 4, when Beethoven wrote to speed up and land into the next bar? Thanks... PS - BTW, I love those paintings. Are they your work?
Thanks. I think that after the scale tumbles downward accelerando, the last five notes sound great with a rit. The scale doubles back on itself and does a kind of rebound, which knocks the energy out of it. Therefore I think a rit. sounds much better than cascading into the E flat section at full tilt. Beethoven didn't mark rits very much. He leaves us to figure out where to put them. Thanks for noticing the paintings, which are by the Cuban American artist, and my friend, Julio Crews.
@@pianoinsights6092 First, thank you for your reply. Of course, the ritardando does sound good but I still have some reservations about it. Namely because I have a different musical experience when it just accelerates and plunges into the next bar. In that case it sounds more temperamental, while the ritardando interpretation makes it sound like a soft landing, so it's a completely different musical experience. I'm not saying one interpretation is better than the other. They are both good but different.
Beethoven was known to be temperamental and I wonder if the accelerated interpretation is more in line with Beethoven's character.
I also know that Czerny wrote a lot about how to correctly play all of Beethoven's sonatas (and of course he learned straight from Beethoven himself). Do you know of Czerny might have written anything about this particular passage?
While I do understand that Beethoven didn't write down ritardandos it is logical that those would be left to the interpreters. But I wonder if the same approach should be used for a passage like this one, where Beethoven did go through the extra step to write an acceleration. I don't know enough about music to state an opinion. I just know enough to ask questions. Hopefully not annoying questions. This passage is just a detail that I've been wondering about for some time.
Thank you...
It comes down to a matter of taste in the end. Beethoven's accelerating notes at the end of the scale seem to suggest no rit., and he was indeed temperamental, but I hear the scale as a release of the tension built up and relaxing into the major key. Beethoven was temperamental but always quick to laugh at his bad temper and apologize etc. If you can make a case, especially for yourself, of cascading into the E flat major section without a rit., there is no reason why you shouldn't choose to do so. Interpretation is all about making choices among many, not following rules and instructions by the letter. You may find that later on you find a different way that you prefer. You are obviously thoughtful about these things. I say bravo and stay that way!
@@pianoinsights6092 Thank you for sharing your thoughts. BTW, my kid who just turned 10 is really liking your Pathetique tutorials. He is trying to learn this sonata (he's been a fan of this work for quite many years) and I think your tutorials on it are going to make a difference. Thank you very much.
For me, your opening chord is too weak. I did not hear the agony...just blah.