베토벤소나타6번

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작성자애신아씨 조회 170회 작성일 2020-09-26 06:37:47 댓글 0

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Beethoven: Sonata No.6 in F Major, Op.10 No.2 (Lortie, Jando)

For some reason (probably its diminutive proportions?) the 6th sonata has acquired a reputation as one of B.’s less important sonatas, when any reasonably objective look will show that it really is one of his best. For a start, the first movement bursts with innovative touches: the lush lyrical sonority of the first theme of the second theme group (which implies maj7 harmony), the really unexpected harmonic turns (at 0:17 we get a really abrupt transition from F to E, and then, this time completely without preparation, we move from E to C – a pretty radical treatment of the usual transition between two theme groups), a development section which doggedly avoids all connection with the exposition with the exception of a microscopic ending phrase, and a recapitulation that begins in D(!), a key so far removed from F that it sounds like a lot of the tonal tension that ought to be in the development has decided to accrete there.

The second movement continues this sonata’s typifying feature of experimentation with sonority: it’s technically a kind of minuet/trio, but texturally is something more like a doleful bagatelle, again with beautiful textures at the return of the minuet. The last movement is just one of *the best* things B. ever wrote – a roguish, scampering, hyper-orchestral thing that never becomes anything like properly fugal yet sounds a lot like a fugue, and which contains sudden windows of translucent, luminous color: see 11:54 and 12:26, for instance. I find this final movement kind of earwormish, in fact, but that might be just me.

MVT I, Allegro
00:00 – Theme Group 1, containing two themes: the first short and angular, the second long and lyrical. The restatement of the first theme suddenly slips into E(!) maj.
00:21 – Theme Group 2, Theme 1, now blithely on C, which then modulates to G. At 0:34 dominant preparation, which is surprising as the key is already clear
00:42 – TG2, T2. Its closing uses the turn motif (M1) from the opening theme
01:02 – TG2, T3 (cadential theme). At 1:13 the closing three notes constitute M2
DEVELOPMENT
02:29 – M2, in A min, then in D min in bass with new counterpoint (x) above. Parts swap.
02:40 – Development Theme. D min – C min – Bb
03:00 – M2 + (x)
RECAPITULATION
03:26 – TG1, in D(!), a key more remote than any reached in the development. The repeat at 3:42 moves wistfully in to G min, then into the home dominant. The turn motif now repeats several times before TG1, T2 enters in F
03:58 – TG2, T1. At 4:08 theme is extended in F min, then Ab. The point of the “purposeless” dominant preparation (0:34) in the exposition is now revealed, for it now enters to right the course of the sonata by insisting on C.
04:26 – TG2, T2
04:47 – TG2, T3 (cadential theme). Note how its closing segues seamless back into the beginning of the development

MVT II, Allegretto
07:37 – Menuet. Middle strain at 7:52, with imitative counterpoint
08:55 – Trio, with a surprising amount of development. Closes in bare octaves moving into dominant
10:30 – Menuet, with some particularly beautiful variation (primarily syncopation, some changes in melodic direction, and fuller LH). Note the close on forte, rather than the original piano.

MVT III, Presto
EXPOSITION
11:17 – Theme 1. First two bars with M1, second two with M2.
11:32 – Theme 2 (Cadence). Note M1 in inner part
DEVELOPMENT
12:02 – Compound of M1+M2, rising in Ab. At 12:04 T1 in Ab.
12:07 – T1, with LH following RH in 3rds. M2 is then developed imitatively. Bb min/F min
12:14 – M2 dialogue with itself in RH. C min/G min/D min. At 12:22 preparation on dominant of D min
12:26 – T2 in A, with its bass now prominently in upper voice. Descends sequentially to
RECAPITULATION
12:39 – T1, with running counterpoint, and later diverted into G min/Bb/Bb min. at 12:58 sequence is initiated leading back into F
13:05 – T2 (extended into a kind of coda)
Ashish Xiangyi Kumar : Lortie:
00:00 – Mvt 1
07:37 – Mvt 2
11:17 – Mvt 3
Jando:
14:46 – Mvt 1
20:26 – Mvt 2
24:36 – Mvt 3

Lortie is as he usually is: lyrical, attentive to all sorts of color and detail, with some really fantastic dynamic tiering and voicing (see 13:10 and the way he adds a swell to the middle of the phrase at 11:55), and a lovely way of shaping long phrases (especially in the first two movements). Jando is slower (especially in the last movement), drier, but his contrasts are more granitic and biting, his staccati more sharply chiseled (the last movement has a pointillistic feel at parts). There’s some great voicing in his playing too: see 24:10 for one example.
SEKİZ : You don't read this comment because if you read this comment you want be able to read the other comments
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.
Kevin Garnica : Is it just me, or does anyone else find the last movement remind them of the overture to Magic Flute?
Denis Bajraktari : 5:47 to 5:52 sounds to me like one of Chopin's works, but I don't remember which one, can anybody tell me?
Tan Liu : trying to learn this for ARSM bruh..
Bryan Ho : I just love the third movement. It’s almost like a Scarlatti sonata or a Bach invention on overdrive.
I love cheese : Why am I losing self esteems
Dina Katz : op 10 is my favorite!
Miguelisaurus animations : The first movement is so nice
Nicolas Alexandre Messina 19.06.1975 : The first pianiste adds rallentandos, this is a pity. But the whole sonata is funny, specially the finale.

Beethoven Sonata N° 06 Daniel Barenboim


shady naeeni : Most amazing peace ever.
逸 ---郑昊钢琴练习分享 : Hermosamente hermoso. ¿Quién está de acuerdo?
Sledgehammer : Las sonatas 6, 7 y 8 son tres joyas de la música. No me gusta mucho el Beethoven de Barenboim, pero ya que no tenemos a Arrau, siempre se agradecerá poder oír y ver estas hermosas sonatas interpretadas en vivo.
Laura Robertson : Sounds like pathetiqe.
Fikret Egemen : Very underrated. Sad!
Michel M. : Final = apotheose !!
A Person : 3:18 - 3:40 reminds me of Liszt
현현 : 1 (0:00) 2(6:20) 3(10:40)
샘온 : ♡♡ 잘치신당
M. Ancona : Magnificent.

As per usual.

;-)

Beethoven, Piano Sonata No.6, Op.10/2

Su-ah Ye 예수아 (12y), Kumho Prodigy Recital, Oct.2012.
알쓸이모.알아두면 쓸데있는 이야기들 모음 : 멋진연주로 힐링되네요.
참 잘 표현하시네요.
^^
미래가 기대되는 피아니스트입니다.

Osalyn Tureck : 내 6번 교본 예수아
이대로 못친건 함정
philipos smile : 4:17
Christina Rhee : 아더 루빈스타인 유스 콩쿨에서 우승하신분맞으시죠! 예전부터 너무 팬이었는데, 연주영상들 너무 잘봤습니다 :) 앞으로도 승승장구하시길바래요!!
Евгений Мошкин : Чмо корейское, а для кого репризы писались?
정예원 : 지금은 현재 19살이시겠군요
haewon ryu : 너무잘치시네요~이분 몇살이신지?
티모 : 과제곡인데 이분너무잘치심ㅠㅜ배우고갑니다
reia m : スゴイ❗発表会で弾くのだが……頑張らないと………
kimwooseuk : 조성진 이후 쇼콩 한국 여성 우승자도 나오겠네 정말 구상 레가토 음질 곡해석 완벽하네요 지금 나가도 입상할듯 하네요 힘과 증속 지배감 메트로놈만 더 다듬어주면 유자왕급 테크니션도 될 수 있고 들을수록 너무 반짝거리고 봄 같은 무한한 레가토를 가지고 있네요 얼마나 더 성장할지 무섭네요..

... 

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