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Loved your analysis of this movement. I've also always felt that 9:23 is the most beautiful part of the movement. Thank you for sharing!! Keep it coming!!
It’s so refreshing to see someone dig into the music and try to decipher the emotion in each part. So many people just hear the notes without feeling them. You can actually feel his love, hope, sadness, despair. It’s all there. It’s breathtaking in complexity. I mean It’s no “Große Fuge” which is incredible in its raw power and anger but it’s beautiful none the less
Thanks sugarcat, I'm glad you enjoyed it! :) It really is a language of emotions, it's just hard to find the translation into words (which is what I'm doing) - because the complexity is always there. Every musical moment has many properties in itself, and then every moment is connected to what happens before, and after it in retrospect. Language is very linear in comparison. However, I believe there is more to be won by providing this kind of rudimentary guides, for listeners who don't yet have the tools to do all the deciphering on just hearing it.
one of the interesting aspects here is that while this piece is quite easy technically and can be played by a late beginner/early intermediate student, it has a lot of subtle nuances, and the deeper you dive into it, the more of them you encounter. it also offers a broad possibility for varying interpretations, which greatly affect the outcome in terms of the emotions and aftertaste that it leaves.
Henrik, you do an excellent job in explaining the musicality of the composer's writing. My favorite part of your videos is watching you play. You do so with such finesse and beauty that you make it look so effortless as your fingers just "float" over the keys, something I admire. I love watching you play these beautiful classical pieces. Thank you.
For me, the most emotional chord change is the {surprisingly simple} IIm-V7 at 9:11 (from f#m to B7), just before what you assume to be the most beautiful one...
There was this amazing analysis of this piece on some classical musical blog which I can't find - he found the connections between Don Giovanni's murder scene in act one and the dotted eighth note over triplets which comprise the basis of the entire piece. Look up youtube video titled Don Giovanni, K. 527, Act I: "Ah soccorso!... " You'll see the genesis of the triplet and dotted eighth motif. Of course that dotted eighth is famously the main rhythmic motif of Chopin's funeral march. It seems to be very effective in musical ruminations on death. Perhaps all these were all evocative of a tolling bell, signifying fate, and the inevitability of death.
That's interesting! It's a march rhythm to begin with, so in a slow setting it gives that solemn impression. Some Schubert pieces in the same vein come to mind as well: Piano sonata in Bb, 2nd mvt; Piano trio in Eb, 2nd mvt.
@@SonataSecrets Yes! That would be the Great and Only Daniel Barenboim and the video is 5 minutes with Daniel Barenboim, and totally agree, his analysis totally changed the way I looked at this piece.
I managed to play the whole piece after watching your analysis. It is really helpful. Before it, I always get lost In the middle of the piece. Thanks a lot for your comprehensive explanation. Love it.
Learning this on guitar right now (transposed to Am) such a beautiful piece, it honestly sounds just as amazing on guitar as it does on piano, and I'm sure many other instruments. Thank you!
This is one of my most favourite pieces ever! It is so soulfilling and moves me to tears everytime I hear or play it. The chords sound perfect for my ears and this 1sr movement is pure perfection to me Thank you so much for this awesome video
Many thanks for another wonderful analysis Henrik. I have been playing this piece for 40 years but youstill managed to give me a few new insights into this extraordinary music.
"...Art and Music can express tragedy, and we can experience tragedy in the music instead of our own lives..." You are not only blessed with talent with an instrument, but have wisdom as well! When I learned this piece 40 something years ago, I found at least two instances of the symbol X in the place of where a sharp would be. It would be many years later I found it to be a DOUBLE SHARP, and even more years later to understand why, in the chromatic scale, such an invention is required. Thank you again, Henrik, I look forward to spending too much time on your channel hahaha!
Yes, X marks the spot ;) I have a vague memory a similar confusion, but I think I had a teacher who explained it shortly. Today it's second nature after so many hours in front of music... You're very welcome to watch as much as you want!
I'm learning to improvise from John Mortensen's book. It's very helpful to see many of the building blocks John describes in the music. Your analysis really brings them out. Lots of your videos to watch. Nice playing as well. Thankyou.
New subscriber here, Thanks so much for these videos, enjoying your playing through and analysis of the music. This sonata is one of my absolute favourites. Never tire of hearing it or playing it. The fact that it is so widely known and stood the test of time is testimony to how Beethoven's musical genius can touch the human heart. Without words, without pictures, it can move one to tears.
@@SonataSecrets Thank you for your reply! And as much as I do love many songs with lyrics(!) I wholeheartedly agree with you. Having said that, it is more often than not that the *best* part of those lyrical songs is/ are the instrumental sections!!😊
So interesting analysis as always… with the difference that I’m currently working on this piece and your explanations are useful to “feel” the piece more deeply and certainly help me to play better.
I have recently started arranging Beethoven sonatas. Actually, I started doing it 2 years back, arranging the Pathetique Sonata for an orchestra. But I lost my previous drafts of it. I am working on it for the third time now, and I have a pretty good idea of where I want to have the brass instruments enter and what I want to do for each of the themes of the first movement. And after a few Mozart arrangements(including arranging Eine Kleine Nachtmusik for orchestra) and arranging Beethoven's Fifth Symphony for a chamber ensemble(which wasn't as hard as I expected it to be), I feel much more confident that I can go from piano score to orchestra than I did 2 years back. Here is the orchestra that I plan to arrange the Pathetique Sonata for: Piccolo Flutes Oboes English horn?(all the other woodwinds come in family pairs, so should I do the same for the oboe?) Bb Clarinets Bass Clarinet(I added this in the case that the orchestra only has 3 bassoons, but I still need the 4 note bass chords) Bassoons Contrabassoon ------------------------------ Horns in F(They will get the whole note bass line in the second theme of the exposition, where the left hand goes into the treble clef) C trumpets(standard orchestral trumpet) Alto, Tenor, and Bass trombones?(I have been told to just do 2 tenors and a bass if I am writing for 3 trombones, but would Beethoven approve that or would he prefer I use Alto, Tenor, and Bass trombones?) Tuba ------------------------------ Tympani ------------------------------- First Violins Second Violins Violas(sometimes supporting the melody in the violins, sometimes acting as a high bass instrument) Cellos(Both the cellos and the bassoons would sometimes be divisi) Double Basses(notating an octave above what Beethoven wrote to make sure it isn't out of range and still get that deep bass) ------------------------------- What do you think of my plans here? And would you want to hear my orchestration of the Pathetique Sonata once I am finished with it?
I say go for it! I think the music survives being put in other forms. I arranged a lot for a music for a chamber trio I was part in 8 year ago - violin, piano and clarinet, and we played on cruise ships. It's not the optimal setting with two treble instrument and no bass, so I had to play a lot of bass on the piano, but it definately works (and some pieces better than others of course). Come to think of it, we did the Pathetique 2nd movement, I basically played only the left hand and divided the right between the other instruments. I have never done for orchestra though, it's seems like a lot of work, but also a more powerful result of course. Good luck with it!
great analysis - hadn't thought of the 'looking around' bit with the steady bass. Even though I've played it for 20 years. Your score doesn't have the una corda bit - that's the only really interesting part of the whole thing for me. However, your comment abut the 'looking around' bit might just change my mind! Thanks!
Thank you... You're good! Your enthusiasm is very nice... Every teacher should be like you in this manner. Thanks for your time and effort for sharing all of your videos. (I am writing this after watching 4 videos)... P.S.: How I would wish you could prepare some Clementi and Kuhlau sonatinas for beginners. 🤔
Thanks, I'm glad you enjoy my videos! :) Clementi and Kuhlau is a good idea, maybe some time in the future. I played several Sonatinas as part of the Suzuki method when I was a young piano student. They help lay a really good foundation for piano technique of the classical period, that you can build on for later music as well.
G sharp may have some meaning or symbol. if it is absolute music, left hand G sharp doesn't need to be inserted but he put it in when return to beginning.
It's the fifth o C# minor, and what I believe is that the first movement is actually in supercompressed sonata form and the G# being the melody of the first theme.
did you see the video where Seymour Bernstein shares his findings and thoughts about the usage of the hairpin signs in the Romantic period music? It's quite interesting, basically they are not necessarily equivalent to cresc/decresc. He was explaining this in his video about the E minor Prelude by Chopin, should be easily searchable on YT. I wonder what you would say about this, since the Moonglight sonata's Adagio sostenuto has a lot of hairpins, and at the same time it has cresc/decresc as well.
Moonlight is a word that distorts the feeling of the movement, imho the music is about something very dark and not in the sense of a cloud obstructing the moon.
I LOVE all your analyses! Maybe my ear is off, but in both this one and the 3rd mvt, which also centers on the G# octaves, I feel like the lower register of the instrument is out of tune.
Hi! I am also learning this sonata, and my application to your analysis. I am heartbroken 💔 because my piano mentor quit his assignment in my area, moving away.
Hi, seeking help in analyzing the G#sus in 4th measure. Why is the 5th also sharped? Need to know what's it called/reason behind it (music theory). Thank you.
my personal feeling is that it should be slower... the ones on iTunes... I feel if they are 6 minutes and 30 seconds or slightly longer, that's the speed I was thinking about... but that's my personal interpretation and feeling
Introspective? Thats how u would describe that ? I mean from the start you can can understand that what he feels is that the world has ended the damage has been done and he cant do anything about it and there so many things into this piece its amazing.he was really hurt poor guy ehhh what can you say at least he gave the world this amazing piece of music
Very good but you ignored the most obvious anomaly of this piece, which is triplets and 4 beats combined, making is a bit hard to think of 3 measure and 4 measure simultaneously. That was the first thing I noticed when I first save the score
I don't hear it as unrequited love. I think it's very important that we do not take the nickname "Moonlight" seriously, as Beethoven did not name it that himself. To me, the piece sounds like the slow acceptance of the knowledge that he (Beethoven) is going deaf. It is much, much too dark to simply be about unrequited love, imo. Great analysis, nonetheless.
I don't think I agree with the emotional interpretation - after all, it's not uncommon for a piece in a minor key to return to the minor key - but the musical interpretation is perfection - I would love to hear you preform it all the way through. A lot of the dissonance may just be Beethoven being "metal" - he loved his Neapolitans, and this movement is loaded with them. To me it's more of a reflection (not of moonlight!) than an essay about romantic disappointment. Perhaps reflection on mortality and acceptance of death.
I love your analysis very much also your emojis. Your upright piano sounds great, although it is a little bit out of tune. Please avoid making any arpeggio like - during your analysis - in bars [18], 49 (twice) and 58. Sounding out of tune is romantic enough ;) The last two bars you play very different compared with your colleagues like Barenboim, Lesitsa, Arrau ...
Why not just play it as you like it, or if you (not really) can't, just listen to recordings or fiddle with MIDI, a player piano... No deep analyses needed ;-)
![5 Minutes On... Beethoven - The Moonlight Sonata (C# minor) | Daniel Barenboim [subtitulado]](/img/n.gif)
Check out my EASY ARRANGEMENT of this piece:
sonatasecrets.gumroad.com/l/beethoven-moonlight
💲 Get 15% off with the discount code: "secretseeker"
More SIMPLE SOLUTIONS arrangements: sonatasecrets.gumroad.com/
Loved your analysis of this movement.
I've also always felt that 9:23 is the most beautiful part of the movement.
Thank you for sharing!!
Keep it coming!!
It’s so refreshing to see someone dig into the music and try to decipher the emotion in each part. So many people just hear the notes without feeling them. You can actually feel his love, hope, sadness, despair. It’s all there. It’s breathtaking in complexity. I mean It’s no “Große Fuge” which is incredible in its raw power and anger but it’s beautiful none the less
Thanks sugarcat, I'm glad you enjoyed it! :) It really is a language of emotions, it's just hard to find the translation into words (which is what I'm doing) - because the complexity is always there. Every musical moment has many properties in itself, and then every moment is connected to what happens before, and after it in retrospect. Language is very linear in comparison. However, I believe there is more to be won by providing this kind of rudimentary guides, for listeners who don't yet have the tools to do all the deciphering on just hearing it.
one of the interesting aspects here is that while this piece is quite easy technically and can be played by a late beginner/early intermediate student, it has a lot of subtle nuances, and the deeper you dive into it, the more of them you encounter. it also offers a broad possibility for varying interpretations, which greatly affect the outcome in terms of the emotions and aftertaste that it leaves.
7:17 has ALWAYS been my favourite part of the piece. It’s like his heart shatters on that one note
Yes - best note of the piece!!
Henrik, you do an excellent job in explaining the musicality of the composer's writing. My favorite part of your videos is watching you play. You do so with such finesse and beauty that you make it look so effortless as your fingers just "float" over the keys, something I admire. I love watching you play these beautiful classical pieces. Thank you.
Thank you so much Roni, it's my pleasure!
For me, the most emotional chord change is the {surprisingly simple} IIm-V7 at 9:11 (from f#m to B7), just before what you assume to be the most beautiful one...
Moonlight Sonata is my favourite piece.
I got so immersed in the piece when you played it !
Loved it 🤍
Outstanding analysis - such lovely playing - I really appreciated this!!
Thank you Angela!
There was this amazing analysis of this piece on some classical musical blog which I can't find - he found the connections between Don Giovanni's murder scene in act one and the dotted eighth note over triplets which comprise the basis of the entire piece. Look up youtube video titled Don Giovanni, K. 527, Act I: "Ah soccorso!... " You'll see the genesis of the triplet and dotted eighth motif.
Of course that dotted eighth is famously the main rhythmic motif of Chopin's funeral march. It seems to be very effective in musical ruminations on death. Perhaps all these were all evocative of a tolling bell, signifying fate, and the inevitability of death.
That's interesting! It's a march rhythm to begin with, so in a slow setting it gives that solemn impression. Some Schubert pieces in the same vein come to mind as well: Piano sonata in Bb, 2nd mvt; Piano trio in Eb, 2nd mvt.
search youtube daniel baremboin moonlight sonata.
@@SonataSecrets Yes! That would be the Great and Only Daniel Barenboim and the video is 5 minutes with Daniel Barenboim, and totally agree, his analysis totally changed the way I looked at this piece.
Henrik I love your analysis of this one. Quite amusing but true. You sound like you speak from experience :)
Very helpful for students, great job making this!
Thank you Pianoview!
I managed to play the whole piece after watching your analysis. It is really helpful. Before it, I always get lost In the middle of the piece. Thanks a lot for your comprehensive explanation. Love it.
Thanks for sharing! The music itself gets a little lost in the middle there, but I'm glad it helped!
Learning this on guitar right now (transposed to Am) such a beautiful piece, it honestly sounds just as amazing on guitar as it does on piano, and I'm sure many other instruments. Thank you!
Really a wonderful analysis. Captured my feelings perfectly. Thank you!
This is one of my most favourite pieces ever!
It is so soulfilling and moves me to tears everytime I hear or play it.
The chords sound perfect for my ears and this 1sr movement is pure perfection to me
Thank you so much for this awesome video
I love the way you explain and give the examples and the relation with the feelings of the author. Man: You are amazing 💖👏👍
Many thanks for another wonderful analysis Henrik. I have been playing this piece for 40 years but youstill managed to give me a few new insights into this extraordinary music.
Thank you Henrik for this lecture of explaning how the emotions of such beatiful music is written !!
Thank you Renato!
"...Art and Music can express tragedy, and we can experience tragedy in the music instead of our own lives..."
You are not only blessed with talent with an instrument, but have wisdom as well!
When I learned this piece 40 something years ago, I found at least two instances of the symbol X in the place of where a sharp would be. It would be many years later I found it to be a DOUBLE SHARP, and even more years later to understand why, in the chromatic scale, such an invention is required. Thank you again, Henrik, I look forward to spending too much time on your channel hahaha!
Yes, X marks the spot ;) I have a vague memory a similar confusion, but I think I had a teacher who explained it shortly. Today it's second nature after so many hours in front of music... You're very welcome to watch as much as you want!
I am a heavily blues inspired guitar player but I love your videos immensely.
I'm learning to improvise from John Mortensen's book. It's very helpful to see many of the building blocks John describes in the music. Your analysis really brings them out. Lots of your videos to watch. Nice playing as well. Thankyou.
Excellent job! This is exactly what I wanted to watch! Thank you so much ..
Henrik Kilhamn,vielen Dank für die hervorragende , professionelle und emotionale Erklärung von Beethovens Sonate.
Very nice emotional job. I am learning by ear. Very nice piano sound. Thank you
Execellent! Thank you so much. I now understand more about this sonata.
Absolutely great interpretation, thank you
New subscriber here,
Thanks so much for these videos, enjoying your playing through and analysis of the music.
This sonata is one of my absolute favourites. Never tire of hearing it or playing it.
The fact that it is so widely known and stood the test of time is testimony to how Beethoven's musical genius can touch the human heart. Without words, without pictures, it can move one to tears.
Thank you, I'm happy you like the videos!
Absolutely, the music speaks best without words too.
@@SonataSecrets Thank you for your reply!
And as much as I do love many songs with lyrics(!) I wholeheartedly agree with you.
Having said that, it is more often than not that the *best* part of those lyrical songs is/ are the instrumental sections!!😊
same here, love the piece so much.
just found this video and it helped a lot with my gcse work on the piece. thank you this video was really good!!!
Great analysis and explanation Henrik! Your channel is very unique. Thanks 🙏
Fascinating analysis plus virtuosic demonstration.
It literally joys my heart to see I’m not the only one thinking so deeply into pieces like this one I thought I was weird aha
Really like the format you analyze the music first and perform it in its entities. Well done!!
So interesting analysis as always… with the difference that I’m currently working on this piece and your explanations are useful to “feel” the piece more deeply and certainly help me to play better.
This is brilliant. I need to finish off watching it tomorrow...
I have recently started arranging Beethoven sonatas. Actually, I started doing it 2 years back, arranging the Pathetique Sonata for an orchestra. But I lost my previous drafts of it. I am working on it for the third time now, and I have a pretty good idea of where I want to have the brass instruments enter and what I want to do for each of the themes of the first movement. And after a few Mozart arrangements(including arranging Eine Kleine Nachtmusik for orchestra) and arranging Beethoven's Fifth Symphony for a chamber ensemble(which wasn't as hard as I expected it to be), I feel much more confident that I can go from piano score to orchestra than I did 2 years back. Here is the orchestra that I plan to arrange the Pathetique Sonata for:
Piccolo
Flutes
Oboes
English horn?(all the other woodwinds come in family pairs, so should I do the same for the oboe?)
Bb Clarinets
Bass Clarinet(I added this in the case that the orchestra only has 3 bassoons, but I still need the 4 note bass chords)
Bassoons
Contrabassoon
------------------------------
Horns in F(They will get the whole note bass line in the second theme of the exposition, where the left hand goes into the treble clef)
C trumpets(standard orchestral trumpet)
Alto, Tenor, and Bass trombones?(I have been told to just do 2 tenors and a bass if I am writing for 3 trombones, but would Beethoven approve that or would he prefer I use Alto, Tenor, and Bass trombones?)
Tuba
------------------------------
Tympani
-------------------------------
First Violins
Second Violins
Violas(sometimes supporting the melody in the violins, sometimes acting as a high bass instrument)
Cellos(Both the cellos and the bassoons would sometimes be divisi)
Double Basses(notating an octave above what Beethoven wrote to make sure it isn't out of range and still get that deep bass)
-------------------------------
What do you think of my plans here? And would you want to hear my orchestration of the Pathetique Sonata once I am finished with it?
I say go for it! I think the music survives being put in other forms. I arranged a lot for a music for a chamber trio I was part in 8 year ago - violin, piano and clarinet, and we played on cruise ships. It's not the optimal setting with two treble instrument and no bass, so I had to play a lot of bass on the piano, but it definately works (and some pieces better than others of course). Come to think of it, we did the Pathetique 2nd movement, I basically played only the left hand and divided the right between the other instruments. I have never done for orchestra though, it's seems like a lot of work, but also a more powerful result of course. Good luck with it!
great analysis - hadn't thought of the 'looking around' bit with the steady bass. Even though I've played it for 20 years. Your score doesn't have the una corda bit - that's the only really interesting part of the whole thing for me. However, your comment abut the 'looking around' bit might just change my mind! Thanks!
My favorite piece in the world.
Those suspensions are also the most beautiful part of the piece for me as well.
Your insight and interpretation is incredible. Very enjoyable watch, thank you.
Thank you... You're good! Your enthusiasm is very nice... Every teacher should be like you in this manner.
Thanks for your time and effort for sharing all of your videos. (I am writing this after watching 4 videos)...
P.S.: How I would wish you could prepare some Clementi and Kuhlau sonatinas for beginners. 🤔
Thanks, I'm glad you enjoy my videos! :)
Clementi and Kuhlau is a good idea, maybe some time in the future. I played several Sonatinas as part of the Suzuki method when I was a young piano student. They help lay a really good foundation for piano technique of the classical period, that you can build on for later music as well.
Thank you. Please keep doing this job for us!!!!!!!
Thanks! :)
this is a great analysis. thank you
Great interpretation
Thanks 🎼❤️
Your technique is perfect 👌
Another fabulous vid. Thanks so much more these inspirational pieces.
BTW. Who is the little guy who always sits in the corner of the keyboard?
Thanks! It's Beethoven himself watching over :)
Great vidéo ! Beethoven was really a genuis !
Hi - can you please do one for Schubert;s op 142 (d935) no 1 in f minor.? thanks! Great channel!
G sharp may have some meaning or symbol. if it is absolute music, left hand G sharp doesn't need to be inserted but he put it in when return to beginning.
It's the fifth o C# minor, and what I believe is that the first movement is actually in supercompressed sonata form and the G# being the melody of the first theme.
did you see the video where Seymour Bernstein shares his findings and thoughts about the usage of the hairpin signs in the Romantic period music? It's quite interesting, basically they are not necessarily equivalent to cresc/decresc.
He was explaining this in his video about the E minor Prelude by Chopin, should be easily searchable on YT.
I wonder what you would say about this, since the Moonglight sonata's Adagio sostenuto has a lot of hairpins, and at the same time it has cresc/decresc as well.
Super!!
Brilliant channel. You deserve more subscribers.
Thanks Jonas! I'm still quite new on youtube so they will come :)
I love this channel
Moonlight is a word that distorts the feeling of the movement, imho the music is about something very dark and not in the sense of a cloud obstructing the moon.
Lake Lucerne is Swiss countryside ;) but that doesn't change anything about the video, so just #caryon.
I was too reductionist there, good correction!
Great channel 👌
Gracias
Beautiful.
Amazing!
I LOVE all your analyses! Maybe my ear is off, but in both this one and the 3rd mvt, which also centers on the G# octaves, I feel like the lower register of the instrument is out of tune.
just discovered this channel, great job but as for the piano have the same feeling not only in this video...
Hello mr Snowden , your loyal fan again. Is lake Lucerne in Germany ? What happened ?
Hi Henrik, how do you manage to bring out the voice when you play so many notes together. What technical exercises do you recommend for this.
Hi! I am also learning this sonata, and my application to your analysis. I am heartbroken 💔 because my piano mentor quit his assignment in my area, moving away.
I'm learning this piece so thanks for this explanation‼
(-:
I'm glad you liked it! :)
Love it
Hi, seeking help in analyzing the G#sus in 4th measure. Why is the 5th also sharped? Need to know what's it called/reason behind it (music theory). Thank you.
Very nice
my personal feeling is that it should be slower... the ones on iTunes... I feel if they are 6 minutes and 30 seconds or slightly longer, that's the speed I was thinking about... but that's my personal interpretation and feeling
it was originally named, "Fantasy for Harpsichord Sonata"
Introspective? Thats how u would describe that ? I mean from the start you can can understand that what he feels is that the world has ended the damage has been done and he cant do anything about it and there so many things into this piece its amazing.he was really hurt poor guy ehhh what can you say at least he gave the world this amazing piece of music
Lake Lucerne is NOT in the German country side but in SWITZERLAND!
🔥🔥🔥
Very good but you ignored the most obvious anomaly of this piece, which is triplets and 4 beats combined, making is a bit hard to think of 3 measure and 4 measure simultaneously. That was the first thing I noticed when I first save the score
👏👏👏❤❤❤
Sidenote:
Lake Lucerne is in Switzerland and not in Germany
It's a prayer ...
I don't hear it as unrequited love. I think it's very important that we do not take the nickname "Moonlight" seriously, as Beethoven did not name it that himself. To me, the piece sounds like the slow acceptance of the knowledge that he (Beethoven) is going deaf. It is much, much too dark to simply be about unrequited love, imo. Great analysis, nonetheless.
I don't think I agree with the emotional interpretation - after all, it's not uncommon for a piece in a minor key to return to the minor key - but the musical interpretation is perfection - I would love to hear you preform it all the way through. A lot of the dissonance may just be Beethoven being "metal" - he loved his Neapolitans, and this movement is loaded with them. To me it's more of a reflection (not of moonlight!) than an essay about romantic disappointment. Perhaps reflection on mortality and acceptance of death.
Hmmm. Was expecting an analysis. Sounds more like review.
🇹🇷🌹
You know everyone in my house hates this Sonata because of the somberness
I do not hear the time difference when a dotted eighth - sixteenth is played on top of the triplet. Are my ears just too slow?
This is everything. But why have you played so fast...
I love your analysis very much also your emojis. Your upright piano sounds great, although it is a little bit out of tune. Please avoid making any arpeggio like - during your analysis - in bars [18], 49 (twice) and 58. Sounding out of tune is romantic enough ;)
The last two bars you play very different compared with your colleagues like Barenboim, Lesitsa, Arrau ...
Well My fam hates it because of the heavy bass and sadness
Or maybe...nah...not really... :) rofl
Why not just play it as you like it, or if you (not really) can't, just listen to recordings or fiddle with MIDI, a player piano... No deep analyses needed ;-)
learning it on the classical guitar i really wish I had been a pianist but the classical guitar comes very close to the piano
Gracias