- Piano Sonata No. 14 (Beethoven)
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- BEETHOVEN AND SCHUBERT
- Piano Sonata No. 14 (Beethoven) - Wikipedia
View all New York Times newsletters. There was an extra layer of dramaturgy in the contrasts among the players, a reminder that there are as many ways to do Beethoven right as there are to be a successful pianist. Marian Hahn offered restrained classicism in Sonata No. Biss, one of the obvious rising stars in this group of variously active professionals many of them now teachers themselves , gave a tremendously virtuosic performance of the "Appassionata" Sonata No. But some listeners found him too showy. The audience, quite delightfully, displayed the strong opinions and partisan enjoyment of sports fans, rooting for favorites and debating the relative merits of performances, even in some cases without prior specialized knowledge of the music.
The theater stayed more than half full for most of the day, and filled altogether at the start of the late-evening session, for four of the last sonatas.
Piano Sonata No. 14 (Beethoven)
I heard 21 of the The cap on the evening was Jane Coop's performance of the final sonata, Opus , elegant and strong and never overdone. Please upgrade your browser. See next articles. His father took pains to ensure that this wish was granted. In March , the celebrated pianist and composer Johann Nepomuk Hummel hastened to Vienna to speak to Beethoven, having learned of his serious illness. Schubert and Beethoven inevitably had many other mutual acquaintances. Schubert and Beethoven must, in the natural course of events, have met as fellow musicians living and working in a small city.
Reports on the matter are of little assistance. The other occasion was a meeting at Baden in the Summer of , reported by the critic Rochlitz, who reports that Schubert actually took him to an inn specifically to introduce him to Beethoven, but this really does not ring true. While it is as certain as it can be that the two men met, the evidence is frustratingly circumstantial and the reports contradictory.
If we mean brief encounters, with a nodding acknowledgement of the other, then they did. While it can be fascinating, it is potentially facile to draw up a simple concordance of musical reminiscences, unless these have a semantic or biographical significance or give us an insight into compositional method or style. This encourages us — as it did the contemporary audience in March — to regard the whole event as a deliberate tribute to the dead Beethoven. Schubert, in his tribute, is not striving to compete on equal terms with his hero by some orchestral metamorphosis, but quietly weaving the familiar melody into the weft of the musical genre he had made his own — song.
Thus, it is the differences rather than the similarities which cast light on the compositional approach of the two composers. Certain works of Beethoven had a particularly pervasive influence on Schubert. Having adopted the dactylic figure into his musical armoury, however, Schubert proceeds to refine and redefine it. This is no simple imitation, as borrowing has led to complete assimilation and transformation. Susan Youens , in a virtuoso analysis of the song, suggests that Schubert may, in the opening bars of the song, be declaring his true kinship with Beethoven, his brother Titan Prometheus and Atlas.
The influence of the senior composer is self-evident in Der Zufriedene , the two songs employing a common key — A major — and even an identical pattern of semiquaver triplets in the piano part. Like Beethoven, Schubert sets the first two stanzas to identical music, using repeat markings. Schubert, at eighteen, does not seem to grasp the emotional subtlety of the poem and relies heavily on his exemplar. Sadly, Schubert did not return to this poem in January when he plumbed the psychological depths of the other Mignon poems in his D settings, speaking now wholly in his own voice.
It is interesting, incidentally, to see Beethoven and Schubert experimenting along similar lines in their early years. Although Schubert cannot feasibly have known the song An Laura WoO , which was discovered only in and first published in , there is an uncanny similarity of form in some of his own early settings of the poet Friedrich Matthisson.
Der Abend D , Lied der Liebe D , Erinnerungen D98 and Der Geistertanz D , for example, all show, like the Beethoven song, a strophic form interrupted briefly by recitative, before the original musical metre returns. Indeed, there is a fascinating contrast of styles in this case. What if the email associated with eGift is not for my regular Great Course account?
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Create Account. Beethoven's Piano Sonatas. Course No. Professor Robert Greenberg, Ph.
Share This Course. Choose a Format. Streaming Included Free. Pushing the Piano to Its Limit and Beyond Spanning the length of his compositional career, Beethoven's 32 piano sonatas provide a window into his personal musical development, and they show the concept of the piano as an instrument and the piano sonata as a genre undergoing an extraordinary evolution. An Engaging and Exhilarating Professor As in his previous courses, Professor Greenberg combines his perceptive analyses of musical excerpts with historical anecdotes, metaphors, and humor.
Popular, Experimental, Revolutionary, Shocking Beethoven's 32 piano sonatas include some of his most popular works as well as some of his most experimental. In this work, he fully embraced a genuinely experimental, avant-garde approach to the sonata. Moonlight Piano Sonata no. But like the title of Shakespeare's play, Beethoven's sonata must qualify as one of the most expressively "tempestuous" in the repertoire.
Farewell Piano Sonata no. Transferring Despair into Musical Action Beethoven's childhood was dominated by abuse and loss. Analyzing Beethoven's "Game" Professor Greenberg analyzes many musical passages, taking you note-by-note, phrase-by-phrase through different movements of the sonatas, showing how Beethoven plans and achieves his surprising effects. What You Will Hear: Extraordinary Performances by a Celebrated Pianist Beethoven died 50 years before the invention of sound recording, so we will never hear his voice or the sound of his playing.
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BEETHOVEN AND SCHUBERT
Professor Greenberg introduces the course with a brief biography of Beethoven and the early history of the piano followed by a discussion of the recordings of Beethoven's piano sonatas used throughout the course, performed by the distinguished pianist Claude Frank. This lecture explores the Classical style that Beethoven inherited from Haydn and Mozart, highlighting some of its more notable features.
Then we look at Beethoven's Piano Sonata no. Beethoven's first four piano sonatas are four-movement works that are orchestral in scope, reflecting Beethoven's concept of the piano as a major instrument.
Piano Sonata No. 14 (Beethoven) - Wikipedia
We look at the second of his opus 2 set—Sonata no. Continuing our study of Beethoven's grand sonatas, we examine Sonata no. In both these works, we see Beethoven's early artistic declaration that he was not interested in slavishly following the Classical tradition. In his three opus 10 sonatas, Beethoven continues his formula of composing a triad of starkly different works, ranging from darkly passionate to witty to grand.
We look at the first of these pieces: Piano Sonata no. Piano Sonata no. We examine the elements that make it seem so playful, before turning to the grander work that concludes the opus 10 set: Piano Sonata no. We focus on one of Beethoven's most popular piano sonatas: no. Professor Greenberg shows how time and popularity can trivialize even the most revolutionary creation, rendering us immune to what was once considered new and shocking.