베토벤소나타2번

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작성자다혜 조회 11회 작성일 2022-08-04 03:08:48 댓글 0

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Beethoven: Sonata No.2 in A Major, Op.2 No.2 (Blechacz, Kovacevich, Pletnev)

The general impression of the Op.2 No.2 is that it is a lithe, graceful, often lyrical thing. This belies, however, its radical (even parodic) tendencies, and huge technical difficulty: it’s clear that B. was determined to outdo his predecessors early on, and this sonata is already well beyond Mozart and Haydn.

The most striking fact feature of this sonata is its way with key: it changes in unexpected and often extremely modern-sounding ways: see what happens in the second theme group at 00:47, where it moves in intervals of a minor third, the use of C and (extended) F major in the development of the 1st movement, Bb in the 2nd (11:45), G# min in the 3rd (14:16), and F + Bb major in the last section of the 4th. It’s incredible that something so graceful moves with such modulatory aggressiveness, but the colour B. generates with these sorts of shifts shows why the Romantics couldn’t get enough of their modulations to bVII or bVI or III.

There’s also the textures B. deploys here, which were previously unheard-of in pianoforte literature. In the 1st movement, parodic extensions of rise-and-fall melodic shapes so common in the classical period, with white-hot scales thrown in, as well as some magical 3-part textures at 4:06; in the 2nd, gorgeous Brahmsian textures (7:40) and pizzicato plucking in the lowest registers against sustained middle tones, and in the 4th an absurd operatic downward leap, together with deliberately overinvolved mimicry of a motif borrowed from the 1st movement – the rising A arpeggio.

Lastly, it’s worth noting that the defining features of B.’s style are already in abundance: lots of clever motivic manipulation in the 1st movement, and (by classical standards) an unusually long movement.

MVT I, Allegro vivace
EXPOSITION
00:00 – Theme Group 1, Theme 1. Note Motif (A), the opening descending 4th, the related long octave descending on m.4 (A*), and Motif (B), the quick downward run in m.1.
00:06 – Theme Group 1, Theme 2. TG1, T1 returns after.
00:25 – Theme Group 1, Theme 3. Containing (C), rapid rising scale, and slower descent (D). (Note connections to TG1, T1.)
00:32 – Dominant preparation
00:47 – Theme Group 2, Theme 1. A beautiful and incredibly modern-sounding series of enharmonic modulations, each raising the tonality by a minor 3rd.
01:01 – (B) returns. (Also the rhythm of (A) interspersed). At 1:08, cadence-theme 1
01:14 – (C)+(D) return
01:24 – Cadence-theme 2
DEVELOPMENT
03:16 – After closing chords in E min, TG1, T1 in C
03:22 – In Ab, (A)+(B)+(A*), moving into dominant of F
03:50 – TG1, T2 in F. Repeats itself, led by bass
04:06 – TG1, T2 developed in close 3-part imitation moving around the circle of fourths. At 4:12 (A) appears, together with scalar fragment from TG1, T2. Process repeated twice.
04:23 – Dominant preparation, extensively using TG1, T2
RECAPITULATION
04:41 – TG1. The counter-statement of TG1, T1 is absent.
05:21 – TG2, leading straight into closing cadence without coda.

MVT II, Largo appassionato
06:15 – Theme. The 20 seconds after 7:40 count as one of the most moving things B. ever wrote (and are already radically unlike anything Mozart or Haydn could have dreamt of, sounding like they came straight out of Brahms).
08:01 – Episode 1
09:12 – Theme
10:55 – Episode 2, beginning like a coda. At 11:35 theme returns suddenly in D min in ff, moving into Bb and home dominant
12:31 – Theme, in higher register, with delicately articulated accompaniment
13:11 – Coda

MVT III, Allegretto
13:51 – Scherzo. At 14:16, second melody in G# min
15:16 – Trio, in A min
16:01 – Scherzo

MVT IV, Grazioso
16:47 – Theme (Note the opening arpeggio extends the figure from TG1 T2)
17:17 – Transition
17:33 – Episode 1
18:00 – Theme
18:30 – Episode 2
20:11 – Theme
20:42 – Transition, in tonic
20:56 – Episode 1
21:18 – Theme/Coda (can also be read as Theme + Episode 2 + Theme, giving the movement an ABACABACA structure). At 21:28 – sudden enharmonic diversion into F, where the theme hovers for 5 bars. At 21:45 the theme is developed into the bass into tonic-dominant swing. At 21:56 the portamento from the theme is deployed in what looks like a final cadence that suddenly moves using an enharmonic switch (D#=Eb) into Bb. At 22:09 – Episode 2’s theme recurs in Bb, and at 22:31 the Theme returns one last time, richly ornamented and diverted at 22:46 into the final tonic-dominant swing.
Ashish Xiangyi Kumar : Blechacz:
00:00 – Mvt 1
06:15 – Mvt 2
13:51 – Mvt 3
16:47 – Mvt 4
Kovacevich:
23:07 – Mvt 1 (the development section is something special)
29:55 – Mvt 2
35:27 – Mvt 3
38:48 – Mvt 4
Pletnev:
45:12 – Mvt 1
52:59 – Mvt 2
59:55 – Mvt 3
1:03:30 – Mvt 4

Blechacz has an effortlessly clean, classical approach to the score: his scales are pearlescent, the chords voiced to a fault, and the tiniest details of articulation and phrasing are carefully projected (see 12:32, for instance). Kovacevich has a more earthy, mischievous approach: those bass arpeggios in the 1st movement are gulping snarls, the development (go listen to it) has Appassionata-esque pathos, and the staccati in the last movement are felt like pinpricks. The 2nd movement is taken at a tempo that is probably above the Largo indication, but is quite moving.

When I bought the Pletnev I was told that this recording only existed because someone in the studio left the mikes on while Pletnev was fooling around in between takes for another recording. It’s no surprise that his rendition of the sonata is intimate, hyper-expressive, even a bit flippant. There’s loads of rubato everywhere: the opening downward octave arpeggio, the cadence-theme of the exposition, the heart-stopping moment at 54:25, the little rhythmic tugs of the Scherzo’s main theme. There’s also the entirely improvisatory approach to the Rondo’s first episode (1:04:17) and the unexpected piano inserted into the otherwise stormy second episode (1:05:43). I find this kind of playing irresistible: its spontaneity and warmth is pretty compelling.
Andrej Dedik : When I started listening to B. sonatas I didn't listen to his earlier sonatas, coz I tought they wouldn't be so incredible as the later ones ... boy I was so wrong :D
Nadia Boulanger : This is the sonata that made me want to be a serious pianist rather than just a hobbyist. That was a loooong time ago, and this is still my favorite of the 32.
Jacob Simonson : I absolutely love Beethoven’s early sonatas!
I am learning no.4
TaedTundra : I really like this Sonata. More than 1, and 3-5 so far. Every movement is fun to listen to, and the 2nd movement is so nice.

Beethoven | Piano Sonata No. 2 in A major | Daniel Barenboim

Español: Sonata para Piano nº2 en La Mayor, Op. 2 nº2

1st Movement (Allegro Vivace)
2nd Movement (Largo Appassionatto)
3rd Movement (Scherzo, Allegretto)
4th Movement (Rondó: Grazioso)

Work: Piano Sonata No. 2 in A major, Op. 2, No. 2
Composer: Ludwig van Beethoven
Soloist: Daniel Barenhoim
Thomas Ogrodnik : First Movement - 00:05
Second Movement - 07:27
Third Movement - 14:55
Fourth Movement - 18:16
Andy Kimbel : This is a wonderful performance and interpretation.. Vey very nicely done.
たぁ : For myself
start 0:05
p24 122 3:56
p26 181 4:52
Ⅱ p30 7:29
III p34 Scherzo 14:55
IV p35 Rondo 18:17 p36 18:42
Brock Young : The second movement is very beautiful,great!
giovanni finucci : It's a Little slow than the normal tempo but i very Like It. You can hear every note. I'm studying this sonata and this is really inspiring. Bravo Daniel

백건우│베토벤, 피아노 소나타 8번 비창 (L.v.Beethoven, Piano Sonata No. 8 Op.13 Pathétique) Pf.GunWoo Paik

#클래식은티예무 #TV예술무대 #백건우 #MBCtvartshow

피아노- 백건우 (KunWoo Paik, Piano)

♪베토벤, 피아노 소나타 8번 c단조 Op.13 '비창' (L.v.Beethoven, Piano Sonata No. 8 in c minor Op.13 'Pathétique')

1악장 00:13
2악장 08:40
3악장 13:22

2013.6.7 통영 사량도 덕동 물양장

★TV예술무대 인스타그램
https://www.instagram.com/tvartshow_official
Sea Ra Shin : 베토벤의 비창 연주 중에서 이 연주를 가장 사랑합니다! 부드럽고 힘찬 백건우의 연주, 섬마을 주민들의 경청, 바다와 섬과 배, 상상으로 느껴지는 바다 냄새와 소리, 저녁의 어슴프레한 노을.... 이 모든 것이 어울어져서 이 영상 자체가 하나의 예술작품 같습니다.
최영환 : 백선생님의 연주 자체도 감동이지만 일부러 문화의 오지들을 찾아다니며 열악한 연주 환경에 전혀 개의치 않고 시골 농부, 어부, 어린이와 노인을 위해 영혼을 다받쳐 연주하시는 노피아니스트에게 진심어린 경의를 표합니다!
Ainri Kim : 분위기 진짜 죽이네요... 섬마을에서 리사이틀이라니.... 너무 좋다... 저기 계신분들 너무 부러워요,..,..
sunshine : 진짜 예술인...... 장사꾼 아닌 순수한 당신의 음악을 존경하고 사랑합니다. 감사해요....
Clause Santa : 티예무 방송사에 길이 남을 명연주. 백건우 선생님이라는 점에, 베토벤 비창, 그리고 섬마을이라는 장소까지... 모든 것이 특별하다.

... 

#베토벤소나타2번

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