베토벤피아노소나타22번
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Beethoven Sonata N° 22 Daniel Barenboim
M. B. : He just understands this music and through him we learn to hear and understand.
Camille Rebuffet : Très belle sonate de Beethoven.Merci à Daniel Barenboim que j'admire pianiste et chef mais j'ai aussi la plus grande estime pour
l'homme qu'il est toujours.
TERRYBIGGENDEN : Oh wow! Wow! :-) Beethoven at his idiosyncratic best .Baremboim gets better and better with the years.
Chris Wood : Whoever said Wagner was the first to push chromatic tonality to it's limit has obviously not listened to this piece.
Edo Petter : SUCH FRENETIC THIS END! Beautiful! Bravo!!!
Beethoven: Sonata No.22 in F Major, Op.54 (Lortie, Korstick, Buchbinder)
It's hard not to feel a bit of pity for the Op.54 – it’s a little thing jammed right between the massive Waldstein and Appassionata, and even though it’s every bit as radical as those behemoths it’s practically unknown and rarely performed. This is probably because its radical nature is expressed in a way that makes it hard to pin down: the Waldstein is bright, and Appassionata is dark, and the Op.54 is – well, what, exactly? Happy? Delicate? Tipsy? I suppose the way to put it is this: it’s structurally very odd, but in a rather gently misleading sort of way.
Take the first movement, which is in ABABA form. The A section is formed from a theme that’s designed to have no hint of tension or progression in it: all of its 8 phrases end in the tonic. The B section has a theme that (a) basically isn’t a theme, being formed of just brusque octaves, (b) modulates without preparation, (c) suddenly decides to shift midway to 2/4 time, and (d) has suddenly become a *lot* shorter the second time it appears. The only real development you get is the decoration of the A theme each time it appears, and the whole movement is built almost entirely around the contrast between the two themes (this is also a feature of some of the very latest sonatas, in particular the Op.109 in E Maj).
The second movement is even more bizarre. It’s in sonata form (ish), but either the exposition does not give you the full theme (and yes, it’s basically monothematic, with what might be a new idea in the development), or the recapitulation itself continues to develop the theme aggressively. And the whole texture of the movement is surprisingly Chopinesque: it’s a highly pianistic perpetuum mobile in 2-part harmony on a single theme, with some odd accenting thrown in (the LH “jerk” at 5:50). The only texture this movement seems to know is counterpoint, the only counterpoint it seems to know is 2-part counterpoint, and the only kind of 2-part counterpoint it knows is basically, well, arpeggios. Tonally, it moves between lilting farce and straight-up drama (Tovey calls this movement “childlike, or even dog-like”), and modulates with abandon into distant keys, in contrast to the more typical tonic-dominant schema of the first movement.
MVT I - In tempo d'un menuetto
00:00 – A section
00:54 – B section
02:15 – A section (with decoration)
03:09 – B section (now shorter)
03:33 – A section (more decoration)
04:30 – Cadenza and Coda [4:54] (or an extension of the A section – note how the triplet rhythm of the B section is now integrated into the A theme, and how some of the abrasiveness of the B section is present too: 5:27)
MVT II - Più allegro
05:48 – EXPOSITION (Theme 1 – just one theme, for now)
06:27 – DEVELOPMENT
06:49 – Introduction of syncopated motif
07:08 – Grating modulatory sequence
07:18 – Increasingly distant keys, accompanied by what might just about qualify as Theme 2
07:41 – Back on safe ground again, with the syncopated motif
07:56 – Back to the tonic, which is apparently safe ground for a RECAPITULATION[?], but – the music again shifts keys, and leads to
08:14 – Theme 2, now overtly dramatic, modulating relentlessly
08:31 – Lots of dramatic tiptoeing around the dominant, which leads first (very surprisingly) back to A major for a repeat, and the second time around to the
10:52 – CODA, which integrates both Theme 1 and the syncopated motif
Ashish Xiangyi Kumar : Lortie:
00:00 - Mvt 1
05:48 - Mvt 2
Korstick:
11:18 - Mvt 1
16:45 - Mvt 2
Buchbinder:
22:26 - Mvt 1
27:39 - Mvt 2
Lortie plays the whole sonata in a beautifully improvisatory, languid manner, even though the second movement's tempo is relatively brisk. Korstick has a hard-edged approach which (you'll expect this by now) emphasises contrasts where they exist: the two themes in the first movement are at polar opposites of the textural world, and every little accent in the second movement jabs at you. Buchbinder treats the whole sonata with a semplice approach: the first movement has a kind of distracted innocence to it (note that the A theme is played in what is effectively triplet rhythm), and the second movement is played with so much silkiness that the legato ends up sounding kind of toy-like: it would be criminal not to give it a listen.
Danny Drumplayer : The beginnig almost made me cry, I donť know why. It sounds very romantic and light-hearted. This sonata is extremely under-rated.
andré Mouss : Did anyone notice how jazzy the second movement is? It is full of off-beat structures, emphasizes weak tempos and swings all along. I do love this sonata, sadly it is not performed enough.
Mari Christian : What a work- out for the pianist! Devilishly tricky.
pianissimist : The second movement is marked Allegretto, not Più allegro. Only the coda is Più allegro. Schiff emphasizes this point in his lecture on Op. 54.
I think Tovey's and Kuerti's commentaries on this sonata are rather codescending, much too centered on what a virtuoso performer might wish Beethoven had written than on what Beethoven was trying to accomplish. In my opinion, the peculiar features of this sonata's movement structures and motifs (including the "jerks" in the second movement theme) suggest that Beethoven was recalling birdsongs he had heard while walking in the countryside near a babbling brook (first-movement triplet outbursts, never-ending sixteenths in the second movement). The writing is more impressionistic than the frankly programmatic passages in the 'Pastoral' Symphony, but letters indicate that Beethoven worked on this sonata during a summer vacation in Baden, so I do not think a birdsong interpretation too far-fetched.
부소니 피아노 콩쿠르 1위 피아니스트 박재홍 들려주는 베토벤 피아노 소나타 22번 2악장 _ 경기필포유 시즌2 17화
박재홍 피아니스트의 부소니 콩쿠르 1위를 축하드립니다!
성숙한 인터뷰를 들려준 피아니스트 박재홍의 두 번째
그리고 베토벤 피아노 소나타 22번 2악장
수원 경기아트센터 : https://tickets.interpark.com/goods/21000599
고양 아람누리 : https://tickets.interpark.com/goods/21002173
#경기필 #박재홍 #부소니
긍정플룻윤수연 : 박재홍피아니스트 수상에 감동받아서 박재홍님 영상 찿아보다가 오늘 4개월전 인터뷰 보며 느낀점은
이미 준비된 내공깊은 피아니스트 이네요^^
경기아트센터
구독ᆞ좋아요 눌러요^^
Op.127 Beethoven : 부조니 우승을 축하드려요^^
Susan : 박재홍 피아니스트님 축하드립니다. 순수국내파 이신데 대단하십니다.
사랑조 : 마인드가 너무 마음에들어요.부조니덕에 알게된 박재홍 피아니스트님 연주나 생각이 성숙한게 느껴지네요.진중하고 깊이있는 연주 최곱니다~^^~
앤빨간머리 : 박재홍님 부조니 우승 축하하러 왔습니다. 저때 이미 라피 3번 준비하고 있었군요. 파이브 포 파이브 때에도 멋지셨는데, 역쉬 안목의 경기필ㅎㅎ~~ 그때 뵈었던 5명의 영아티스트도 모두 응원합니다!
M. B. : He just understands this music and through him we learn to hear and understand.
Camille Rebuffet : Très belle sonate de Beethoven.Merci à Daniel Barenboim que j'admire pianiste et chef mais j'ai aussi la plus grande estime pour
l'homme qu'il est toujours.
TERRYBIGGENDEN : Oh wow! Wow! :-) Beethoven at his idiosyncratic best .Baremboim gets better and better with the years.
Chris Wood : Whoever said Wagner was the first to push chromatic tonality to it's limit has obviously not listened to this piece.
Edo Petter : SUCH FRENETIC THIS END! Beautiful! Bravo!!!
Beethoven: Sonata No.22 in F Major, Op.54 (Lortie, Korstick, Buchbinder)
It's hard not to feel a bit of pity for the Op.54 – it’s a little thing jammed right between the massive Waldstein and Appassionata, and even though it’s every bit as radical as those behemoths it’s practically unknown and rarely performed. This is probably because its radical nature is expressed in a way that makes it hard to pin down: the Waldstein is bright, and Appassionata is dark, and the Op.54 is – well, what, exactly? Happy? Delicate? Tipsy? I suppose the way to put it is this: it’s structurally very odd, but in a rather gently misleading sort of way.
Take the first movement, which is in ABABA form. The A section is formed from a theme that’s designed to have no hint of tension or progression in it: all of its 8 phrases end in the tonic. The B section has a theme that (a) basically isn’t a theme, being formed of just brusque octaves, (b) modulates without preparation, (c) suddenly decides to shift midway to 2/4 time, and (d) has suddenly become a *lot* shorter the second time it appears. The only real development you get is the decoration of the A theme each time it appears, and the whole movement is built almost entirely around the contrast between the two themes (this is also a feature of some of the very latest sonatas, in particular the Op.109 in E Maj).
The second movement is even more bizarre. It’s in sonata form (ish), but either the exposition does not give you the full theme (and yes, it’s basically monothematic, with what might be a new idea in the development), or the recapitulation itself continues to develop the theme aggressively. And the whole texture of the movement is surprisingly Chopinesque: it’s a highly pianistic perpetuum mobile in 2-part harmony on a single theme, with some odd accenting thrown in (the LH “jerk” at 5:50). The only texture this movement seems to know is counterpoint, the only counterpoint it seems to know is 2-part counterpoint, and the only kind of 2-part counterpoint it knows is basically, well, arpeggios. Tonally, it moves between lilting farce and straight-up drama (Tovey calls this movement “childlike, or even dog-like”), and modulates with abandon into distant keys, in contrast to the more typical tonic-dominant schema of the first movement.
MVT I - In tempo d'un menuetto
00:00 – A section
00:54 – B section
02:15 – A section (with decoration)
03:09 – B section (now shorter)
03:33 – A section (more decoration)
04:30 – Cadenza and Coda [4:54] (or an extension of the A section – note how the triplet rhythm of the B section is now integrated into the A theme, and how some of the abrasiveness of the B section is present too: 5:27)
MVT II - Più allegro
05:48 – EXPOSITION (Theme 1 – just one theme, for now)
06:27 – DEVELOPMENT
06:49 – Introduction of syncopated motif
07:08 – Grating modulatory sequence
07:18 – Increasingly distant keys, accompanied by what might just about qualify as Theme 2
07:41 – Back on safe ground again, with the syncopated motif
07:56 – Back to the tonic, which is apparently safe ground for a RECAPITULATION[?], but – the music again shifts keys, and leads to
08:14 – Theme 2, now overtly dramatic, modulating relentlessly
08:31 – Lots of dramatic tiptoeing around the dominant, which leads first (very surprisingly) back to A major for a repeat, and the second time around to the
10:52 – CODA, which integrates both Theme 1 and the syncopated motif
Ashish Xiangyi Kumar : Lortie:
00:00 - Mvt 1
05:48 - Mvt 2
Korstick:
11:18 - Mvt 1
16:45 - Mvt 2
Buchbinder:
22:26 - Mvt 1
27:39 - Mvt 2
Lortie plays the whole sonata in a beautifully improvisatory, languid manner, even though the second movement's tempo is relatively brisk. Korstick has a hard-edged approach which (you'll expect this by now) emphasises contrasts where they exist: the two themes in the first movement are at polar opposites of the textural world, and every little accent in the second movement jabs at you. Buchbinder treats the whole sonata with a semplice approach: the first movement has a kind of distracted innocence to it (note that the A theme is played in what is effectively triplet rhythm), and the second movement is played with so much silkiness that the legato ends up sounding kind of toy-like: it would be criminal not to give it a listen.
Danny Drumplayer : The beginnig almost made me cry, I donť know why. It sounds very romantic and light-hearted. This sonata is extremely under-rated.
andré Mouss : Did anyone notice how jazzy the second movement is? It is full of off-beat structures, emphasizes weak tempos and swings all along. I do love this sonata, sadly it is not performed enough.
Mari Christian : What a work- out for the pianist! Devilishly tricky.
pianissimist : The second movement is marked Allegretto, not Più allegro. Only the coda is Più allegro. Schiff emphasizes this point in his lecture on Op. 54.
I think Tovey's and Kuerti's commentaries on this sonata are rather codescending, much too centered on what a virtuoso performer might wish Beethoven had written than on what Beethoven was trying to accomplish. In my opinion, the peculiar features of this sonata's movement structures and motifs (including the "jerks" in the second movement theme) suggest that Beethoven was recalling birdsongs he had heard while walking in the countryside near a babbling brook (first-movement triplet outbursts, never-ending sixteenths in the second movement). The writing is more impressionistic than the frankly programmatic passages in the 'Pastoral' Symphony, but letters indicate that Beethoven worked on this sonata during a summer vacation in Baden, so I do not think a birdsong interpretation too far-fetched.
부소니 피아노 콩쿠르 1위 피아니스트 박재홍 들려주는 베토벤 피아노 소나타 22번 2악장 _ 경기필포유 시즌2 17화
박재홍 피아니스트의 부소니 콩쿠르 1위를 축하드립니다!
성숙한 인터뷰를 들려준 피아니스트 박재홍의 두 번째
그리고 베토벤 피아노 소나타 22번 2악장
수원 경기아트센터 : https://tickets.interpark.com/goods/21000599
고양 아람누리 : https://tickets.interpark.com/goods/21002173
#경기필 #박재홍 #부소니
긍정플룻윤수연 : 박재홍피아니스트 수상에 감동받아서 박재홍님 영상 찿아보다가 오늘 4개월전 인터뷰 보며 느낀점은
이미 준비된 내공깊은 피아니스트 이네요^^
경기아트센터
구독ᆞ좋아요 눌러요^^
Op.127 Beethoven : 부조니 우승을 축하드려요^^
Susan : 박재홍 피아니스트님 축하드립니다. 순수국내파 이신데 대단하십니다.
사랑조 : 마인드가 너무 마음에들어요.부조니덕에 알게된 박재홍 피아니스트님 연주나 생각이 성숙한게 느껴지네요.진중하고 깊이있는 연주 최곱니다~^^~
앤빨간머리 : 박재홍님 부조니 우승 축하하러 왔습니다. 저때 이미 라피 3번 준비하고 있었군요. 파이브 포 파이브 때에도 멋지셨는데, 역쉬 안목의 경기필ㅎㅎ~~ 그때 뵈었던 5명의 영아티스트도 모두 응원합니다!
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