I'm sure you play it good; but I think Barenboim is absolutely top top level. So almost every player can learn from him or get inspired by his playing 😊
A template for piano students to study, of course starting in slow tempo. Barenboim makes this little but charming piece breathe life. It was composed by the younger Beethoven before the turn to the 19th century. And then Beethoven had fun improvising at lot when performing. He still had the ability to hear.
1:28 damn those different phrasing in the lower octave is insane, AND THOSE STACCATO TRIPLETS HOW DID HE DO THAT (1:31 and 1:36 HOWOWO AND HE DID THAT IN LIKE 10 SECONDS TIME) 1:19 how did he make that sound I CANT DO IT
Qué decir... Es barenboim y entiende a beethoven como nadie. En realidad creo que barenboim lo entiende todo, en cuanto a música se refiere. Un maestro de pies a cabeza.❤
yes, i cant do the the triplets even :(((((( and my voicing is so BAD during the left hand triplets (well but i blame the piano (lol) because when i play it soft, it doesnt make sound so i have to press it loud, pedal also so loud and bangy when i use it thats why i prefer to not use it eventhough it might be better on other pianos
@@apostolismoschopoulos1876 that happens when musicians, be it consciously or unconsciously, compare themselves to other musicians, known or unknown, that might be more skilled or "pro". In this case the best they (we all) can do is look at them as inspiration and not a baseline in which to judge our own performance or (musical) growth. Easier said than done sometimes but I believe it's better than stay in the "comparing zone", which more often than not, makes you think in a not-so-nice way about yourself and the way you play your instrument.
I was using another famous beethoven interpreter as a model for this, and I got very tired very quickly of his random tempo changes and baffling tempo phrashing, which I felt really had no place in this type of beethoven work. I've now found this and it's just better in every way. More graceful, more dignified, unfussy in it's execution, and is letting the music come out without any feeling of the performer's ego intruding unecessarily. A brilliant, clear, and authentic feeling performance. I will now be using this version as my go to model for performance practice. Thankyou.
Wonderful !! I am practicing the second movement now, and I can't wait to play it ! Barenboim does an amazing job as ALWAYS ! Love the first movement the best. Such a playful sonata by Beethoven ^^ P.S. : any tips on the Alberti bass at 5:51 / 5:52 ? How to get it chromatically correct ? Any help is welcome. Thank you !
Yeah, it's gorgeous, I think... Such a legendary composer and a wonderful performance! It's really difficult and interesting! I wish it had a classical guitar "version"!
Neither the sonata numbers nor the Opus number is helpful other than for identification; these two ‘Sonates faciles’ are much earlier works than suggested being written in 1795/96, so are preceded only by the three sonatas Opus 2 of 1795 dedicated to Haydn. The Opus 49 confusion arises as Beethoven discarded these trivial works, but his brother sold them to a publisher ten years later in 1805, hence the sonata numbers ‘19’ and ‘20’, and the Opus number being far too high. Both Opus 49 sonatas should be eliminated from the list of 32 sonatas, put in the Appendix along with the three juvenile sonatas WoO 47 and the unfinished WoO 51, and the canon reduced to 30 - which was actually Beethoven’s wish.
This is just about as much as anyone could possibly make with this trivial piece, unworthy of Beethoven’s name, which in truth, should not even have been published. Before anyone rushes to reply in a state of rare indignation, the three of the points made above are in fact, not entirely original views, though I do share them; they were reported by Beethoven’s former pupil and later biographer Ferdinand Ries and were in fact the opinions of .....Beethoven himself!
Even though it is an technically an easier piece, I completely disagree with your comment. What means "easy"? It is easier to play the notes even for a little advanced student. But to play them well "a tempo" I already doubt it. It is not "easy" at all to play even simple passages in a way that are musically characteristic of the time period, and to play this piece in a lively, musically correct and fine-tuned way. It is a small but beautiful little Sonata. There is nothing trvial or unworthy of Beethoven. Check out what Andras Schiff is commenting in his lecture about this piece: www.theguardian.com/arts/audio/2006/nov/16/culture1408. It may be a first step into playing Beethoven sonatas of higher grades, or in fact, any kind of piano music -- whatever the genre. Musicially it does not have to hide at all. And it also means: No single note can be left unattended and each note must be made conscious. I play this piece with deep respect. And even though I am advanced, I still find it not easy to express the simplicity of some phrases in a way that is not simplistic at all. In this piece, the play must be absolutely precise in keeping the length of notes in both hands relative to each-other. And so many times, there is no legato even though many play it. Most students, even some professionals, tend to play it sloppy, uninspired. Then they think that they can play it. That is far from truth. For example, look at the "simple" three notes in measure 20: How do you play three A notes to not sound boring or careless? Give more stress to the second note and then do not push the D in measure 21, but end the whole phrase as if it naturally flows opening the idea up to the next level. Easy? I am not sure it is "easy" to play even one note on the piano in such a controlled way that it exactly creates the effect imagined. If someone can play this piece really well then that is a person who can play technically much more difficult pieces also well. If somone cannot play this as it should or could be, I doubt the ability to play anything more advanced well.
Roland Huettmann I think you may have missed the point of my original comment; the words were not my own but those of Beethoven himself as reported by Ferdinand Ries his former pupil and later biographer. I believe that the pair of Opus 49 sonatas, along with the three juvenile efforts WoO 47 (1783), should be excluded from the list of Beethoven sonatas; the remaining thirty represent one of the greatest achievements in western classical music - these five sonatas mentioned are not fit company. This sonata is inadmissible as an audition piece in to any reputable music institution anywhere in the world, nor is it acceptable as a competition piece - for good reasons. Players such as Barenboim or Brendel make about as much as can be made out of Opus 49 and whilst I appreciate your thoughts on these sonatas, I do not think they deserve the time and effort you have spent on their defence. Thank you for your reply.
@@elaineblackhurst1509 Well, thank you for also taking your time to reply. If it is a question of categorization then ok. Maybe you can accept it as a Sonatina? But since it is labeled "Sonata" -- that will not change in the taxonomy of musical works. Most people enjoying classical music also enjoy this piece, especially when played as brilliantly as Bahrenboim is playing, no matter what Beethoven himself or his friend were commenting in whatever circumstances -- and all that is just more or less speculation. Sure -- it is not the Pathetique, but it is also not trivial. This piece here was probably written for educational purposes and as such it is a very fine one. Personally I do not really care so much how it is categorized.
Roland Huettmann Thanks again for your comment. Beethoven’s thoughts on Opus 49 and the story about his brother’s selling them to a publisher behind his back, and against his wishes, are not speculation; Ferdinand Ries knew Beethoven better than most and is a crucial and reliable source for Beethoven scholars. I’ve absolutely no problem with anyone enjoying the works, it’s just that compared to the other thirty, they are just so far short, and I think Beethoven was right; Opus 2 No 1 is the first one, followed by everything except these two inexplicably ugly ducklings - No 2 especially!
@@elaineblackhurst1509 Well, Thank you again for replying. I think there is no point in discussing personal taste. It is different for everyone of us...) Nevertheless, even the greatest pianists feel no shame in playing this "duckling". Watch another great Beethoven interpreter: Igor Levit: th-cam.com/video/h9ME7TR_0zg/w-d-xo.html
i thought i was good at playing this piece but this just humbled me
Str
LoL
I'm sure you play it good; but I think Barenboim is absolutely top top level. So almost every player can learn from him or get inspired by his playing 😊
😊
この動画を手本にして毎日練習に励んでいます😊
Soft and sweet as this piece must be. Thank you, Maestro Barenboim!
Beethoven in his sweetest mood!
Actually, it’s Beethoven can’t be bothered.
Послушайте Клаудио Аррау , он Гениальный Исполнитель , это Небо и земля!!!
A template for piano students to study, of course starting in slow tempo. Barenboim makes this little but charming piece breathe life. It was composed by the younger Beethoven before the turn to the 19th century. And then Beethoven had fun improvising at lot when performing. He still had the ability to hear.
1:28 damn those different phrasing in the lower octave is insane, AND THOSE STACCATO TRIPLETS HOW DID HE DO THAT (1:31 and 1:36 HOWOWO AND HE DID THAT IN LIKE 10 SECONDS TIME)
1:19 how did he make that sound I CANT DO IT
Don´t use the hard, bony tip of the finger, but rather the soft pad.
@@metteholm4833 and use gravity rather than pressing into the key
very nice a very good performance of a very good piece
Wonderful!
この小さくまとまったある意味単純な曲で、これだけの躍動感や美しさ。さりげない細やかな配慮。平易な曲も手抜きや妥協がなく、名演の域にしてしまう。脱帽。
What 🤣🤣👍
3:07 HOLY SH- THAT DYNAMIC CHANGE AND THE LEFT HAND PHRASING HOWOWOWHOWHWOWHHWOHWOH
벤쌤 곡은 진짜 버릴 거 없음....
muy bonito . Me ha servido para estudiarla mejor . esos matices , la digitacion , la fluidez ... ¡Increíble!
It’s so amazing and so wonderful I loved it,I think this tempo is just right!
Qué decir... Es barenboim y entiende a beethoven como nadie. En realidad creo que barenboim lo entiende todo, en cuanto a música se refiere. Un maestro de pies a cabeza.❤
1st Mov: 0:21 - 4:56
2nd Mov: 5:00 - 8:38
The most difficult part of this sonata for me is the tempo. Even with a metronome it remains tough
for me its the left hand
yes, i cant do the the triplets even :(((((( and my voicing is so BAD during the left hand triplets
(well but i blame the piano (lol) because when i play it soft, it doesnt make sound so i have to press it loud, pedal also so loud and bangy when i use it thats why i prefer to not use it eventhough it might be better on other pianos
For me it’s playing the trills at the beginning, so hard
i like the interpretation
БРАВО👏👏👏😃😃😃
Maestro Baremboim is a wonderful conductor, but he's even better of a pianist.
Its beautiful😍
I have heard him live. And i just uploaded this piece too :)
indeed
It is beautiful.I play it in my music school 🙂
БРАВО!!!!!!!!❤❤❤❤❤❤❤❤❤❤!❤!❤!!❤!❤!❤!!❤!
I loved your playing and staccatos
A very nice piece.
After I listened to your performance, I think I’m a bin... i really like your performance :)
I am a garbage
What's going on guys why are you using such terms to describe yourselves?
@@apostolismoschopoulos1876 that happens when musicians, be it consciously or unconsciously, compare themselves to other musicians, known or unknown, that might be more skilled or "pro". In this case the best they (we all) can do is look at them as inspiration and not a baseline in which to judge our own performance or (musical) growth. Easier said than done sometimes but I believe it's better than stay in the "comparing zone", which more often than not, makes you think in a not-so-nice way about yourself and the way you play your instrument.
Невероятный исполнитель🥹
❤
I'ts wonderfuul 😍😍
For the ones that sees this comment, please don’t make a judgment ending with “*”
Amazing playing! 😄 Thank you for uploading. 👍🏻👍🏻👍🏻
Thanks for listening! Don't forget to subscribe to receive notifications ;)
Thank you🎉🎉🎉
Amaizing
Wow! You played the piano beautifully.
Yes, he played cool.
聞いてて心地よすぎる
연주가 멋있어요 👍
I was using another famous beethoven interpreter as a model for this, and I got very tired very quickly of his random tempo changes and baffling tempo phrashing, which I felt really had no place in this type of beethoven work.
I've now found this and it's just better in every way.
More graceful, more dignified, unfussy in it's execution, and is letting the music come out without any feeling of the performer's ego intruding unecessarily.
A brilliant, clear, and authentic feeling performance.
I will now be using this version as my go to model for performance practice.
Thankyou.
What was the name of the previous famous interpreter?
Very nice playing
I like your how you played your notes because it’s clear!
Wonderful !! I am practicing the second movement now, and I can't wait to play it !
Barenboim does an amazing job as ALWAYS ! Love the first movement the best. Such a playful sonata by Beethoven ^^
P.S. : any tips on the Alberti bass at 5:51 / 5:52 ? How to get it chromatically correct ? Any help is welcome. Thank you !
Beethoven had a lot of humor and warmth in him - and playfulness!❤
原來它的的速度和風格該是這樣子。😅他的指尖，手形後好的控制了音質。我找到了改進自己的目標。😊😊
05:00 2 mov
지금으로부터 몇십년전 초딩5학년때 예선이곡으로 한국일보 콩쿨 나갔었는데 . 아직도 이콩쿨있나...
Очень красивоя музыка😊😊😊😍😍
Great!!
got this for piano homework
IT'S WONDERFUL 🤩🤩🤩
Yeah, it's gorgeous, I think... Such a legendary composer and a wonderful performance! It's really difficult and interesting! I wish it had a classical guitar "version"!
I can’t imagine how hard this would be on classical guitar 😂. We’d have to make a duo version almost
El trino es glorioso
❤
Very good and beautiful !
Espetacular!
In germany we say: insane gespielt digga
Abgelehnt
Silas shut up
Gut gemacht XD
werrry in sahne
Mooooooin
3:06; 5:00
grüssssse gehen raus an herr kögel sie sind super
i also forget to play that D quarter note at 3:37 .. guess i shouldn't be so hard on myself.
Cox gozel. Mende bu mahnini caliram
Beethoven: Sonata No.20 in G Major, Op.49 No.2
Neither the sonata numbers nor the Opus number is helpful other than for identification; these two ‘Sonates faciles’ are much earlier works than suggested being written in 1795/96, so are preceded only by the three sonatas Opus 2 of 1795 dedicated to Haydn.
The Opus 49 confusion arises as Beethoven discarded these trivial works, but his brother sold them to a publisher ten years later in 1805, hence the sonata numbers ‘19’ and ‘20’, and the Opus number being far too high.
Both Opus 49 sonatas should be eliminated from the list of 32 sonatas, put in the Appendix along with the three juvenile sonatas WoO 47 and the unfinished WoO 51, and the canon reduced to 30 - which was actually Beethoven’s wish.
Amazing
Исполнение супер!!!
🔝
저도 그렇게 연주하고 싶네요
전 이 곡을 급수 4급으로 연주를 해요
많은 응원 부탁드려요
화이팅!! 할 수 있습니다!!
How tf does he staccato the scales
0:22
加油！整曲彈完！
How many movements are there?
Two
Two too many.
@@elaineblackhurst1509 🤣
is this actually by barenboim? he is a beethoven expert. He played the beethoven concereto no 1 while conducting the orchestra! i play that too.
Dude, he played every piano sonata twice on tape
hi brian and yes it is barenboim
Спасибо за это
Me dieron esto en segundo
Мне в пятом
Grande sul podio come al piano ?
내가 콩클 곡으로 이걸 하는데 이아저씨는 백조가 춤추는 것 같이 예쁘게 치세요 부럽다
채윤진 오ㅓ
Barenboim가 이 아저씨라니... 😅 당황
표현을 잘하시네요!
초딩시절 추엌돋는 소나타네요.
😂
Its very beautiful song
It’s neither ‘very beautiful’, nor is it a ‘song’.
@@elaineblackhurst1509 agreed
Barenboim is much older now, when was this recorded?
First half of the 80s
00:20
😍🌺
저 2021년에 이 곡으로 콩쿨나가는데...ㅎㄷㄷ 제가 지금 치는건 아무것도 아닌걸 알았는데 좀 더 노례해야지 ㅎ
앗 실수요 처음꺼 곡으로 나가욥!헤헤
오 저도 이번년도에 나가요 3월1일에 콩쿨 첫번째 곡으로 ㅋㅋ
gut XD
5:00
OMG
just as good as Lupu Brendal or others
But why is he playing it so fast? It literally says "Ma non troppo"
To get through this succession of empty and meaningless notes in the shortest possible time.
He is a great pianist! I just uploaded this piece too :)
wow what luck I found you here.
@@toeless_ant7688 , great :)!
3.06
3.06
Durchführung
It's wonderful?
Young Anna Williams Paul Martin Edward
La misma melodia que la sonata 19 eso es autoplagio
moin aus der Schule Haha
This is just about as much as anyone could possibly make with this trivial piece, unworthy of Beethoven’s name, which in truth, should not even have been published.
Before anyone rushes to reply in a state of rare indignation, the three of the points made above are in fact, not entirely original views, though I do share them; they were reported by Beethoven’s former pupil and later biographer Ferdinand Ries and were in fact the opinions of .....Beethoven himself!
Even though it is an technically an easier piece, I completely disagree with your comment. What means "easy"? It is easier to play the notes even for a little advanced student. But to play them well "a tempo" I already doubt it.
It is not "easy" at all to play even simple passages in a way that are musically characteristic of the time period, and to play this piece in a lively, musically correct and fine-tuned way. It is a small but beautiful little Sonata. There is nothing trvial or unworthy of Beethoven. Check out what Andras Schiff is commenting in his lecture about this piece: www.theguardian.com/arts/audio/2006/nov/16/culture1408. It may be a first step into playing Beethoven sonatas of higher grades, or in fact, any kind of piano music -- whatever the genre. Musicially it does not have to hide at all. And it also means: No single note can be left unattended and each note must be made conscious.
I play this piece with deep respect. And even though I am advanced, I still find it not easy to express the simplicity of some phrases in a way that is not simplistic at all. In this piece, the play must be absolutely precise in keeping the length of notes in both hands relative to each-other. And so many times, there is no legato even though many play it. Most students, even some professionals, tend to play it sloppy, uninspired. Then they think that they can play it. That is far from truth. For example, look at the "simple" three notes in measure 20: How do you play three A notes to not sound boring or careless? Give more stress to the second note and then do not push the D in measure 21, but end the whole phrase as if it naturally flows opening the idea up to the next level. Easy? I am not sure it is "easy" to play even one note on the piano in such a controlled way that it exactly creates the effect imagined.
If someone can play this piece really well then that is a person who can play technically much more difficult pieces also well. If somone cannot play this as it should or could be, I doubt the ability to play anything more advanced well.
Roland Huettmann
I think you may have missed the point of my original comment; the words were not my own but those of Beethoven himself as reported by Ferdinand Ries his former pupil and later biographer.
I believe that the pair of Opus 49 sonatas, along with the three juvenile efforts WoO 47 (1783), should be excluded from the list of Beethoven sonatas; the remaining thirty represent one of the greatest achievements in western classical music - these five sonatas mentioned are not fit company.
This sonata is inadmissible as an audition piece in to any reputable music institution anywhere in the world, nor is it acceptable as a competition piece - for good reasons.
Players such as Barenboim or Brendel make about as much as can be made out of Opus 49 and whilst I appreciate your thoughts on these sonatas, I do not think they deserve the time and effort you have spent on their defence.
Thank you for your reply.
@@elaineblackhurst1509 Well, thank you for also taking your time to reply. If it is a question of categorization then ok. Maybe you can accept it as a Sonatina? But since it is labeled "Sonata" -- that will not change in the taxonomy of musical works. Most people enjoying classical music also enjoy this piece, especially when played as brilliantly as Bahrenboim is playing, no matter what Beethoven himself or his friend were commenting in whatever circumstances -- and all that is just more or less speculation. Sure -- it is not the Pathetique, but it is also not trivial. This piece here was probably written for educational purposes and as such it is a very fine one. Personally I do not really care so much how it is categorized.
Roland Huettmann Thanks again for your comment. Beethoven’s thoughts on Opus 49 and the story about his brother’s selling them to a publisher behind his back, and against his wishes, are not speculation; Ferdinand Ries knew Beethoven better than most and is a crucial and reliable source for Beethoven scholars.
I’ve absolutely no problem with anyone enjoying the works, it’s just that compared to the other thirty, they are just so far short, and I think Beethoven was right; Opus 2 No 1 is the first one, followed by everything except these two inexplicably ugly ducklings - No 2 especially!
@@elaineblackhurst1509 Well, Thank you again for replying. I think there is no point in discussing personal taste. It is different for everyone of us...) Nevertheless, even the greatest pianists feel no shame in playing this "duckling". Watch another great Beethoven interpreter: Igor Levit: th-cam.com/video/h9ME7TR_0zg/w-d-xo.html
not as good as langlang sorry if this is mean
for me just playing but no feeling..
grösster dreck den ich in meinem leben gehört habe , darüber einen kasl zu schreiben wird lustig
its verz bad
/
For real? this is one of the best interpretations out there. Can you do better? I bet not. You are just a useless piece of trash im sure.
not so nice
JUNGE DAS IS VOLL GUT DU PISSA
0:21
4:58
3:06
0:20
3:05
3:07
5:01