Beethoven Piano sonata no.7, Op.10-3 in D Major, 1st mvt

2015년 금호아트홀에서 레코딩한 영상입니다.
어쩌다 손가락이 잘 돌아간 날인데 많이 응원해주시고 관심 주셔서 감사합니다 :)
@user-tt7wx5iw8u : 와 이렇게 깔끔하게 치기 정말 토나오게 어려운 곡인데ㄷㄷ
@user-zs9kq6go5s : 음 하나하나 소리가 잘들려서 너무 좋은것같에요
@piano_romi : 7번 듣고싶을 때마다 들으러 옵니다. 소리가 정말 맑고 고와요ㅜㅜ 어쩜 이렇게 예쁜 소리를 내면서도 깔끔하게 치시는지..정말 넘 멋있어요.
@phu1102 : 연주가 진짜 깔끔하고 정갈하네요
초기 소나타는 페달 사용을 잘못할 경우 자칫하면 지저분해 보일수도 있는데 페달링도 너무 완벽하게 잘하시는듯... 잘 듣고 갑니다
@_yoonseo4782 : 2월달 콩쿨 나가는 학생입니다 :) 인디애나 음대 목표로 하고 있는데 지금 이걸 발견하다니ㅠ 너무 깔끔하게 치시고 강약조절이랑 박자 너무 부러워요ㅠ 전 악센트가 약한데 덕분에 뭔가 더 잘할 수 있는 느낌을 얻은것 같아요! 진짜 너무 잘치세요 완저언 :))))))))

20세기 최고의 피아니스트가 연주하는 입시곡(베토벤 피아노 소나타 7번 전악장)

Sviatoslav Richter의 베토벤 피아노 소나타 7번 전악장 연주입니다
키와 손이 원체 좋다보니 피아노가 작아보일지경이네요
압도적인 터치력과 몰입감이 음악에 빠져들게 합니다
1976년 모스크바에서 한 리사이틀입니다

옴니스 피아노가 드리는 완벽한 팁 시리즈
ⓐ 연주 전 컨디션 조절하기 by 피아니스트 김정원
https://blog.naver.com/kensin4040/221756470361
ⓑ 음대생이 정말 힘든 이유(feat.공포의 레슨)
http://blog.naver.com/kensin4040/221719241410
ⓒ 모차르트 피아노 소나타가 어려운 이유
http://blog.naver.com/kensin4040/221709760491
ⓓ 절대음감과 상대음감
http://blog.naver.com/kensin4040/221709573173
ⓔ 피아니스트 김정원의 일기
http://blog.naver.com/kensin4040/221709066085

#피아니스트#베토벤#피아노소나타
@user-yq4qd7pg3p : 하… 이 곡 진짜 치기 싫어했는데… 듣는건 또 다르네요. 한번 연주해보고싶게 만드네요. 영상 감사합니다~
@handolee : 콩쿠르 준비할 때 많이 들었는데 역시 명연주입니다
@beatles7617 : 同曲 最高 演奏~♡
@user-ub8su9tx7z : 진짜 어떻게 이렇게 치냐고여ㅠㅜ
@user-jr5vf2wd2m : 0:38 피아노는 온몸으로 치는겁니다

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.

MVT I, Presto
EXPOSITION
00:00 – Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 – Transition Group. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 – Theme Group 2, Theme 1, opening with M1.
00:55 – Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 – Theme Group 2, Theme 3. Based on Theme 1
01:25 – Theme Group 2, Theme 4.
01:32 – Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 – M1, 4 bars. Theme 1 enters in D min.
03:31 – Modified Theme 1 (rhythm preserved) in Bb
03:36 – Development Theme. D min, Bb, G min, Eb
03:56 – Dominant preparation
RECAPITULATION
04:13 – Theme 1. At 4:24 diverted to E min
04:31 – Transition Group
04:53 – TG 2
CODA
05:42 – TG2, T4 extended for 4 steps
05:45 – Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 – Imitative treatment of M1 over tonic pedal
06:13 – Final crescendo over tonic pedal. Bass notes trace augmentation of M1

MVT II, Largo e mesto
06:25 – TG1, T1
07:30 – TG1, T2
08:27 – TG2, T1
09:26 – TG2, T2
DEVELOPMENT
09:53 – Episodic Melody
10:33 – Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 – Dominant preparation
RECAPITULATION
11:28 – TG1
12:57 – TG2
CODA
14:00 – TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 – (x) over dominant pedal
15:12 – TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.

MVT III, Menuetto: allegro
16:50 – Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 – Trio.
18:41 – Menuet

MVT IV, Rondo: allegro
19:28 – Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 – Transition
20:01 – Episode 1
20:16 – Theme
20:36 – Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 – Theme. The transition is diverted to
21:50 – Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 – Theme, with decoration.
22:30 – Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH.
@AshishXiangyiKumar : Lortie:
00:00 – Mvt 1
06:25 – Mvt 2
16:50 – Mvt 3
19:29 – Mvt 4
Jando:
23:18 – Mvt 1
31:12 – Mvt 2
40:44 – Mvt 3
43:33 – Mvt 4

Lortie’s performance is one of my all-time favourite B. recordings; when I’m listening to it, at least, it’s hard to imagine something more perfect. The dynamic control on display is pretty extraordinary [0:14, 0:38, 5:01], there’s all sorts of beautiful colorization everywhere [1:33, 5:05, all over the last movement], the 2nd mvt’s doleful lyricism is completely realized, and passages are articulated with a lot of care [see the non-legato closing at 23:09]. Jando’s performance displays the same attention to detail as Lortie’s, but his much slower tempi in the 1st mvt allow him to play with these microscopic variances a lot more: this performance is less sleek, but somehow more down-to-earth, more honest. There’s a lot less pedal in his recording, where the fingers do most of the work, and his tempo in the 2nd mvt is also brisker than Lortie’s. His dry style yields some unexpected rewards, such as the wonderful semidemiquaver passages at 34:58 and similar, where the textures are more orchestral but the grief starker/more biting, and the rondo, where the razor-sharp articulation gives a really nice, crisp, bite to the whole movement.
@AbCd-kq3ky : Wow. That second movement is definitely one of the most beautiful things EVER written. Beethoven was a master of emotion and his music is as relevant today as it was back then.
@smitlag : The second movement is the epitome of loneliness. The key of d minor is a sad key anyhow. Very beautiful
@thedaychr : This piece right here is something different I´m telling you, Beethoven just creating motifs based on the most unique patterns and make it feel so well connected, like a beautiful breeze.

I love the first theme from the first movement, its so cheery and playful with its scales, and it just keep that vibe through the whole sonata <3
@chrisclr : I love this Sonata. Especially the 2nd movement - I think this is where we truly hear Beethoven's sadness and depression, at the the time he composed this. It's such an emotionally powerful work. I know that there are many other Sonata's that portray that. But, for me, this is more of an in-depth and personal work of his. We can really grasp what he was going through when he composed this Sonata. It's bittersweet.

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